展览导读 | 袁运生的思想与绘画


纵浪大化——袁运生与壁画梦


主办:中央美术学院

承办:中央美术学院美术馆 中央美术学院油画系


展览时间:2023年9月15日–10月15日

展览地点:中央美术学院美术馆3层B展厅


2023年9月15日,“纵浪大化——袁运生与壁画梦”展览在中央美术学院美术馆三层B展厅隆重开幕,引起广泛好评。“纵浪大化 ——袁运生与壁画梦”并非一个日常形式的展览,策展人希望的是观众通过展览走入艺术家的思想。艺术家的作品是艺术家思想的体现,展览中的语录文字来自于袁运生先生自己的话语,展览希望通过袁运生先生的自述和作品,抽离出袁运生先生作品背后的精神支撑,呈现出一个自传体的展示。这是一次观众与艺术家的直接对话,策展人则退隐到了展览之后。


在艺术生涯中,袁运生着重探索了中国艺术的抽象性和精神性,他强调艺术家的内心关照,重视作品中的情感表达,并在自己的作品以及教学之中反复实践,形成了独具特色的创作手法和创作风格。本推文将展览当中出现的文字与作品相对照,希望更加真切地呈现艺术家对中国传统艺术精神的理解及自身创作的理念。


自画像 168×92cm 布面油彩 1980年代 艺术家自藏


我画画,常常源自瞬间感悟,而这种感悟正是进入状态才生发,因此我十分珍视状态的把握。


中国传统文化,它在各个历史时期的重要文化遗存,对我来说,是无尽的宝藏,是艺术精神和语言的源头活水。它也许是来自中国人的生命理想和思维方式。


我们失去与它的关连,便失去自信,因为它是根。


艺术的发展来自生命和生活的需要。一个人又常常需要某种意义上的反叛精神,但这种反叛总有归复的内在需要。


我们之需要开放,是为了发展自己,同时也宣示了一种正常的有自信的心态。


但是,我们不能成为某种文化的附庸,不能交出话语权,俯首称臣,忘记自主的极端重要性。


这些关系并非十分复杂,但以中国的现状,加以自省,理清这些问题,又并非容易之事。毕竟,我们进入现在的状况也已经有一百年的历史了。


——  袁运生 2000年


板块一

初试壁画——水乡的记忆


水乡的记忆 243×245cm 1962 布面油彩 2021年艺术家捐赠中央美术学院美术馆


1962年,我的毕业创作《水乡的记忆》,可以算是我的第一张壁画稿。


那年春天,有两个幽灵徘徊在我的心头:一个是敦煌,我刚刚从上海连续看了十天大规模的敦煌展;一个便是陈老莲的博古叶子。春节前后,我用白描临摹了一套48张。为了消化它们,我来到苏州郊区的甪直镇。


这是一座古老的小镇,有着浓厚的江南水乡特色。人们,尤其是妇女的衣着与环境十分和谐,一切,都透着古老文化的影子。镇里小河的岸上常有石块伸向水面,那是为来往支系船绳用的,不单有孔,还有浮雕的纹样。小舟往来,我坐在岸边,身边放一小袋炒面,一瓶墨汁勾画着,感到十分亲切和喜悦。

......

这次创作对我最大的启发是什么呢?我想,因为我曾经不辞辛苦地画了两个多月的写生,充实了自己,因而换来作画的信心。不用模特儿,我感觉更自在,连写生也放到一边去,结果却比写生更接近我的感受。可能,这就是真诚的力量。不久,批评我的文章登在杂志上,说这张画里的人被丑化了,我不禁哑然。也许,我丢掉真诚,就会取得赞美。此后,为了坚持艺术中的真诚,十几年一事无成。非但一事无成,听批判成了家常便饭。


                                ——袁运生《壁画之梦》


《水乡的记忆》创作素材 33.5×19cm 纸本水彩 1962 中央美术学院美术馆藏

《水乡的记忆》创作素材 26.4×19cm 纸本水彩 1962 中央美术学院美术馆藏


我坐在学生宿舍的上铺,在暗淡的灯光下,浮想联翩。很快便用杂乱的钢笔线画满了四十公分见方的稿纸。这样一张毕业创作的稿子立刻为董希文老师肯定了。满纸错综的钢笔线表示了我对家乡人民深切的怀念。我又用更小的纸,画了几张局部人物的素描和一张只能提供一点启发的色彩小稿,便完成了我的毕业创作的全部准备工作。往大布上画去,已经急不可待。真是幸运,我为自己借到一间藏有大量中国古代雕塑复制品的陈列室作画室,有霍去病墓前的卧虎陪伴着,作画便更大胆了。


这时,我已经有了几个月画白描的经历,一张25×10公分大小的棉纸,可以画很多人,也有几十公分大小的,一张便容得下整个市镇了。我把这些素材放到一边去,在想象中,我的画中人物就很自然地显现在眼前,我不过把他们组织一下罢了。


《水乡的记忆》创作素材 12×20cm 纸本墨笔 1962 中央美术学院美术馆藏

《水乡的记忆》创作素材 12×19cm 纸本墨笔 1962 中央美术学院美术馆藏


记得我最先画了右下角沉思的女孩,我给她以希望,就像我自已也用希望来填补我心灵的不安一样。从局部画去,一个多月的时间紧张地度过,画布终于给我填满了,已经没有更多的时间改动。


——袁运生《壁画之梦》


板块二

壁画梦与中国魂

《泼水节——生命的赞歌》


《泼水节——生命的赞歌》是我的第一次壁画实践。去年 ,几位朋友为我提供了一个好机会,可以去西双版纳及临沧傣族地区生活几个月。从东北到西南,行程万里。而最令人兴奋的是奇妙的西双版纳和傣族人民的美。我不得不压抑住兴奋,凝聚自己的感情,用更缓慢作画的办法来更精确地保留我的感受。我不断在自己的心中,也在画里设法塑造我的西双版纳。丰富的、浓郁的,充满生命的又很整体的植物群形象,以及单纯的、多姿的、质朴的、爱美的傣家妇女的形象,构成了我的西双版纳总的形象。这是一个既丰富而又单纯的线条世界——柔和而富有弹性的线条,挺拔、秀丽的线条,也有执着、缠绵、缓慢游丝一般的线条。


傣族是一个善良而又热情奔放的民族,有名的傣族民间传说记载在古老的贝叶经里,被傣家人视为珍宝。它结聚着这个热带民族烈焰一样的感情、自由奔放的想象、明晰纯朴的哲理。每个故事都善恶分明,追求爱情、自由、幸福是最常见的主题,还有为民除害的英雄,饱经忧患、坚贞不屈。有一个关于泼水节来源的传说,特别吸引我,深化了我对于这个爱美的民族的认识。


当我接受首都机场的壁画任务时,我想到的唯一题材便是泼水节。在一幅27米宽、3.4米高德巨大墙壁上,画一幅赞颂傣家人的精神、情操的壁画,对我来说,真是如梦一般美好的事。


画泼水节,为的是表现人们对自由和幸福未来的追求与向往。在这里,情节故事是次要的,也是不完整的。画面企图通过形象、线条、色彩的综合处理达到一种充分的表现。壁画里的人物造型不同于话剧,却较接近舞蹈。其中,线条之于形象的意义,如同节奏之于舞蹈和音乐。人物的造型应当是装饰的、夸张的、性格化的和抒情的。在《泼水节》的形象处理上,将现实提供的大量特征和细节删繁就简,保留基本特征,加以夸张,是为了在简约中求得个性化的充分表现。单纯化是走向抽象的重要一环。在整体与局部、各个局部之间,抓住基本特征对造型的意向将提供可靠的依据。


——袁运生 《壁画之梦》


泼水节——生命的赞歌 340X2700cm 1979

泼水节——生命的赞歌(局部)

泼水节——生命的赞歌 铅笔稿第一稿 39×213cm 纸本铅笔 1979艺术家自藏

泼水节——生命的赞歌 色彩稿第一稿 33.9×198


板块三

躁动的中国心

用线条和色块去符号生命价值


艺术的抽象性,首先是线条的抽象性。这正是东方艺术的特征。独立的线在世界上是不存在的。为了这一点,西方艺术吃了很大的亏。直到二十世纪,由于西方艺术家受到东方艺术的启发,对线条与色彩作了重新认识,才有现代诸流派的革命性变革。对作为精神世界的表现对线的重视.实际上是通向表现个性的最重要的认识上的飞跃。当然,还有色彩。而线的本质是抽象的,这是它的独立的个性,人们在现实世界里只能感觉到线的存在,而找不到它的实体,当它上升到主要的艺术表现手段时,艺术表现上的飞跃就是必然的了。东方艺术里一个重要的组成部分是书法艺术,它是独立的抽象的线的艺术,书法与绘画在东方分了家已有千年以上的历史。近百年觉醒了的西方,却在拼命寻找绘画艺术的抽象的发展。这个现象从侧面对我们是有启发的,我们现代艺术的发展也应当可以从祖先流传下来的伟大书法艺术的宝库里,吸取更多的营养,结出新的果实。


艺术的综合将产生综合的艺术,我们的艺术的触角,应当伸向过去,伸向世界,也伸向未来。要发展未来,必须努力去丰富自己,应当吸取的东西实在太多,我们继承的传统实在太狭窄,我们熟悉、认识的世界更是狭窄。


——袁运生


哈佛大学壁画《人类寓言》草图系列之生命 51×76cm 纸本硬笔 1985 艺术家自藏

哈佛大学壁画《人类寓言》草图系列之演变 51×76cm 纸本硬笔 1985 艺术家自藏

哈佛大学壁画《人类寓言》草图系列之演变 51×76cm 纸本硬笔 1985 艺术家自藏


板块四

魂兮归来

中国传统造型艺术与其教育体系


我深信,当我们真正研究古代艺术之后,再回味现代艺术之所以追求,也许能找到一个共同的基础,也许会认识到现代艺术的追索与我们在本质上相去并不很远,并且可以从中得到必要的启示。那时,将出现一种、十种甚至一百种重内容的素描,重情感的素描、重精神的素描。


追索民族艺术的真精神。才是所谓继承传统的实质。其他的一切,都不在话下。魂兮归来。


——袁运生


内观 174×187cm 纸本水墨 1980年代 艺术家自藏


笔墨是大财富,也会成为大负担,笔墨可以是精神的情感的表现,也可以是因袭古人不辨表里的嘘头。数百年来,对于笔墨的研究积累了丰富的经验,对于造型却处于停顿阶段,甚至是后退。唐宋以前的中国艺术对于造型的研究曾经达到的高度成就当今尚有几何?对于往昔之大宗我们失之交臂,伟大的过去对于我们已经变得陌生,这是何等的悲剧?!那种面对巨壁放笔直下,视整座大山为土丘,自由进取的宏大精神哪里去了?


——袁运生


面壁者 189×181cm 布面油画 1987 艺术家自藏

纵浪大化(大)600x1800cm 布面水墨 2011 2023年艺术家捐赠中央美术学院美术馆


西方现代艺术在二十世纪初想解决的问题,中国画家早就以自己的方式,作了非常圆满的解决。石涛曾准确地表达了中国画家对艺术的独特的态度……从第一笔开始,直到‘万物’,笔笔相生,成为有机的构造。而西方绘画则有一个统一的观点,整幅画面的构成,受某一固定视点的决定。中国画却没有固定的视点,所以中国画不是对眼睛所看到的自然物象的模拟,而是心象的生成。中国画的空间是一个包括时间在内的四度空间。


始祖像 200×180cm 布面油彩 2009 艺术家自藏


艺术不同于文学,在于它的直觉性。


如果说文学运用形象思维的方式进行创作。那末艺术则还可以运用彩色思维、线条思维、光与空间的思维、因为造型艺术強大的感染力不仅仅是来源于形象啊!晚霞的号召力是色彩与空间的力量,而不在于云彩的形状。


归根结蒂,造型艺术是视觉的艺术。这既是它的局限也是它的特色。


造型艺术是靜止的艺术。但是它在靜中求动,动中复靜,取得作品的生命。完成它精神的表现。


——袁运生


立壁谜团 250×420cm 布面油彩 2018 艺术家自藏


共工触不周山、女娲补天(大兴机场壁画) 300×2000cm  布面炭笔 2019 艺术家自藏


艺术家简介


袁运生,1937年生于江苏南通,1962年毕业于中央美术学院油画系董希文工作室。1979年参加首都机场壁画创作,先后在中央工艺美术学院、中央美术学院壁画系任教,以云南西双版纳线的线描人物画和首都机场《泼水节——生命的赞歌》大型壁画引起美术界与思想界的关注。1982年应邀访美至1988年并任教于塔夫茨大学、麻省大学、斯密斯学院、哈佛大学,期间创作了大量纸本水墨综合材料作品。1996年9月应邀回国,任教于中央美术学院油画系第四画室,并承担“中国传统雕塑的复刻与当代中国美术教育体系的建立”课题的研究工作,并尝试在中国传统雕塑、壁画、画像石、画像砖等“非书画系统”的视觉空间中寻求灵感和新启发。


展览信息


纵浪大化——袁运生与壁画梦


主办:中央美术学院

承办:中央美术学院美术馆 中央美术学院油画系 


展览时间:2023年9月15日–10月15日

展览地点:中央美术学院美术馆3层B展厅


总顾问:高 洪

学术主持:林 茂

艺术总监:邱志杰

展览总监:张子康 韩文超

展览统筹:王春辰 高高

策 展 人:李垚辰

设计总监:纪玉洁

设计协理:闵志伊 刘宇晗

藏品管理:王春玲 崔然然 徐 研 窦天炜 梅 琦 姜 楠 西华伟

资料协助:谭子鸣

展览管理:吴 鹏 马 亮  宿世存 荆 鹏 

媒体宣传:何一沙 吴 靖 贺伊飞

官网文宣:王 静

智识中心:肖宝珍

公共教育:任 蕊 姚轶群 梁 雯 王 军

财经事务:杨 柳 门 婧 寇 蕾

行政支持:蒋思妤 岳君瑶 张 倩 郭 旭

后勤保障:孙 炜 陈小华 吕智发


鸣谢:王瑞支持展览使用摄影作品 


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II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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