Zhang, Lu
(2025)
Chinese art going out and coming back: cultural journeys of Chinese art in exhibitions in 1935 and 2019.
PhD thesis, University of Nottingham.
Abstract
This thesis examines two pivotal exhibition events: the 1935 London International Exhibition of Chinese Art at Burlington House and “The Journey Back Home: An Exhibition of Chinese Artifacts Repatriated from Abroad on the Seventieth Founding Anniversary of New China” at the National Museum of China, Beijing. Drawing from diverse linguistic backgrounds, transnational institutions, and various archival formats, this research reveals the grand journeys of the artworks in these exhibitions, spanning both geographical and temporal dimensions. Through tracing the exhibitions’ journey, several key questions will be addressed: How do shifts in location and period affect the narratives of the artworks in these exhibitions? What aspects of China’s cultural identity are conveyed by the artworks? How did the curation, presentation, and narration of the 1935 and 2019 Exhibitions reflect and reinforce these notions? Finally, what role does art play in shaping national identity, as illustrated by the Chinese art showcased in the 1935 and 2019 Exhibitions?
This research represents the first comprehensive scholarly exploration of the 2019 Exhibition as a pivotal moment in the evolution of exhibition practices and their intersection with art and politics. Rather than presenting a linear historical narrative, this study frames exhibitions as transcultural intellectual journeys centred on Chinese art, highlighting their capacity to reflect the socio-political landscapes of their respective eras. Beyond being mere repositories of art, these exhibitions function as symbolic microcosms of society, constructing unique, reality-linked theatres within specific socio-economic contexts.
Employing anthropological research methods, the study investigates the activities and organisations involved in the exhibitions. It examines three main aspects—mobility of objects, individual engagement, and shifts of Chinese art concept, through four stages of the journey—origin, en route, destination, and afterlife. The research aims to offer a nuanced understanding of how these two exhibitions, situated in distinct historical and cultural contexts, conveyed unique messages to their audiences while shaping and reflecting broader societal narratives, and build a bridge between them to understand the interplay between Chinese art and politics on a global stage.
Beyond the explicit examination of the two exhibitions, a subtle thread runs through this research concerning the development of China’s museum industry. Museums, as repositories of a nation’s history and culture, are inextricably tied to its development. This research sheds light on what has unfolded within Chinese society since the dawn of modernisation: learning, interaction, collision, and integration. I explore the role of museums in strengthening national identity and shaping the collective memory of the nation through artistic and cultural activities.
Ultimately, this study explores the fluid nature of the national treasure, emphasising its context-dependent character. By juxtaposing historical and contemporary exhibitions, this research aims to offer a nuanced understanding of the intricate connections between art and politics within the rich cultural heritage of China.
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