Professor Mario Pisani is an architectural historian and critic. He is Professor at the Faculty of Architecture “Luigi Vanvitelli” in Aversa, Italy, and at the International Academy of Architecture in Sofia, Bulgaria, and serves as Visiting Professor at the University of Malta. He has lectured extensively at universities and academic institutions across Europe and the Middle East, contributing to the fields of architecture, architectural history, and criticism.

Dean of Yangming Academy of Communication University of China, professor and doctoral supervisor at the Institute of Arts of Communication University of China, member of the Academic Committee of Communication University of China, member of the expert group of the National Art and Science Planning Project, and vice chairman of the organizing committee of the China Yangming Mind Philosophy Summit Forum.

Ning Qiang (May 1962 – November 22, 2025), born in Leshan, Sichuan Province, held a Bachelor of Arts degree in History from Sichuan University, a Master of Arts degree in Fine Arts Studies from Harvard University, and a Ph.D. in Philosophy. He was a professor at the School of International Journalism and Communication, Beijing Foreign Studies University, the academic leader of "International Art Communication," a doctoral supervisor, the dean of the Art Research Institute, and a distinguished art historian and art educator.

In 1983, Ning Qiang served as an intern researcher at the Dunhuang Academy. In 1987, he became the assistant director of the Dunhuang Academy. In 1997, he became a lecturer at Yale University and an assistant professor at California State University, San Diego. In 1999, he became an assistant professor at the University of Michigan, later becoming an associate professor. In 2005, he became the director and professor of the Asian Art Department at Connecticut College. In 2006, as one of the first "Changjiang Scholars" distinguished professors in the field of Chinese art studies, he returned to China full-time to work, serving successively as the dean of the School of Art at Lanzhou University and a professor at the Dunhuang Studies Institute. From 2012, he served as a professor at the School of Fine Arts and the School of History at Capital Normal University. In 2021, he was transferred to Beijing Foreign Studies University, where he served as Dean of the Academy of Arts, Professor, and Doctoral Supervisor. At BFSU, he established the "International Art Communication" major. On November 22, 2025, he passed away suddenly in Dunhuang at the age of 64.

Xi Mu was born in Weinan, Shaanxi Province in 1966. He is the President and Researcher of the China Academy of Art Economics (Li Keran Painting Academy), Vice President, Professor, and Doctoral Supervisor of the China Academy of Art Industry (Shanghai University), Director of the Expert Committee of the Key Laboratory of Immersive Interactive Animation Culture and Tourism of the Ministry of Culture, and Chief Scientist of the China Cultural Industry Think Tank Research Center (Shaanxi Cultural Investment Group). He also serves as an Adjunct Professor and Doctoral Supervisor at Xi'an Academy of Fine Arts, a Distinguished Professor and Doctoral Supervisor at EAC France, an Expert Reviewer of the Degree Center of the Ministry of Education, an Expert Reviewer of the National Cultural and Technological Enhancement Program of the Ministry of Culture, a Director of the China Folk Literature and Art Association, Director of the China Intangible Cultural Heritage Resource Management and Evaluation Research Committee, a Founding Director of the China Federation of Literary and Art Circles and Director of the Art Industry Research Committee, and a Founder and member of the Preparatory Group of the China Art Industry Association.

Artist, Curator, Professor in China Academy of Art.

Director of Zhejiang Environmental Artists Association, member of German Artists Association, member of Berlin New Artists Association, and director of Berlin Art and Philosophy Association. From 1986 to 2002, he studied and graduated from the Oil Painting Department of Zhejiang Academy of Fine Arts, the Fine Arts Department of Kassel University in Germany, and the Graduate School of Art Context of Berlin University of the Arts.

Professor Shaofeng Chen is Professor and Doctoral Supervisor in the Department of Philosophy at Peking University. He serves as Vice Dean of the Institute for Cultural Industries and Chair of its Academic Committee, as well as Deputy Director of the National Research Base for Cultural Industry Innovation and Development, jointly established by the Ministry of Culture and Peking University. He is also Director of the China Internet Cultural Industry Research Institute at Zhejiang Gongshang University.
Professor Chen holds a number of academic and professional leadership positions, including Vice Chair of the Cultural Committee of the China National Democratic Construction Association (CNDCA), Vice President of the National Society for Economic Philosophy, and Expert of the China Origins Think Tank.
His research focuses on ethics, management philosophy, cultural industries, and cultural policy. He is the author of numerous influential publications, including A History of Chinese Ethics, New Perspectives on the History of Chinese Ethics, and Cultural Industry Strategy and Business Models. His work has made significant contributions to the development of cultural industry studies and cultural innovation in China.

Professor Ruiqi Liu graduated from the School of Law of Renmin University of China in 1982. He currently serves as Dean of the Lawyers College of Renmin University of China, Executive Vice President of the China Law Society's Research Association on Lawyer Law, and Arbitrator of the China International Economic and Trade Arbitration Commission (CIETAC). His expertise encompasses legal education, lawyer law, arbitration, and dispute resolution.

Professor Jin Song received his PhD in Music Aesthetics from the Central Conservatory of Music, China. He is Professor and Doctoral Supervisor in the Department of Musicology and serves as Deputy Director of the Institute of Musicology, a Key Research Base for Humanities and Social Sciences designated by the Ministry of Education of China.

Ding Fang is a Chinese oil painter, academic, and former curator whose works blend surrealist elements with metaphysical explorations of landscapes, human solitude, and transcendent themes drawn from Tibetan highlands, Chinese plateaus, and later Christian symbolism. He trained at Nanjing University of the Arts, earning a bachelor's in arts and crafts (1978–1982) and a master's in oil painting under professors Liu Haisu and Su Tianci (1983–1986), before co-founding the Red-Travel surrealist group in 1986 and editing China Art News (1988–1990).
Ding Fang's early career featured dark, introspective cityscapes and plateau-inspired scenes emphasizing the sublime (chong gao), evolving into large-scale Metalandscape series with impasto techniques and symbolic figures, such as the angelic shadow in Angel of the Fortress (2003–2009), which reflects historical bitterness and spiritual depth. In later phases, influenced by his Christian faith, he developed the One Person’s Renaissance series, reinterpreting European masters like Rogier van der Weyden to evoke serenity, grace, and biblical motifs like "God is her rock and her fortress."Academically, he has served as professor and doctoral supervisor at Renmin University of China, dean of its School of Art (2014–2017), and president of its Renaissance Research Institute since 2014, authoring works on Eastern-Western art comparisons and leading projects on art technology and cultural preservation.
His exhibitions include the major traveling show Weathering and Cohesion (2002) at venues like the National Art Museum of China and Nanjing Museum, alongside international participations such as the 2001 Los Angeles Biennial and domestic retrospectives like Sacred Landscape (2015). Ding Fang's oeuvre stands out for prioritizing timeless beauty and spiritual inquiry amid China's post-Cultural Revolution artistic shifts, often through monumental formats that infuse natural desolation with redemptive presence.