Page 185 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

claimed that 1.64 million Chinese antiques reside in nearly 200 museums in over 47

countries. 234 Other European institutions like the Château de Fontainebleau, claim to

hold between 600 and 800 objects that were originally part of the Yuanmingyuan. 235

Institutions that currently possess objects with potential connections to the

Yuanmingyuan typically maintain their ownership. Generally, institutions claim that

these artifacts were part of their patrimony and if they are removed, it would constitute a

loss for their own respective countries. Understanding what was removed from China

during this era is riddled with speculation, because no palace records existed at the time

to catalog the palace’s contents, making it increasingly difficult to track the objects as

time progressed. The records that describe what was packed and shipped by the foreign

looters are just as difficult to follow, with the majority providing no description and

possibly offering vague titles. While it is clear that the objects were removed, it is

unclear just how many and exactly what types. Over recent years, numerous auctions

have supposedly sold objects that were removed due to looting. Although the idea of

looting could be further investigated, for the purpose of this study it allows for the

th
establishment of imperial-caliber porcelain having frequently left China during the 19
th
and 20 centuries. The country that had the most interaction with these imperial

truly looted during events like the Boxer Rebellion. Sources also change the number of artifacts
held by the British Museum with the largest estimates found totaling nearly 230,000.
234 These numbers were utilized by The China Centre for International Economic Exchanges as
early as 1998. A study by UNESCO in 2016, also echoed these exact numbers.
235 French troops that plundered the Yuanmingyuan were said to have boxed up the best of the
collection and shipped the boxes directly to Emperor Napoléon III. According to personal
accounts of the time, the Empress Eugénie supposedly took part in opening the crates upon their
arrival in France. She was responsible for the arrangement and display of many of these objects
within France. For further information, see Jean-Paul Desroches, From Beijing to Versailles
Artistic Relations between China and France (Hong Kong: Urban Council of Hong Kong, 1997).
Additionally, see Colombe Samoyault-Verlet, Le Musée Chinois de l’impératrice Eugénie (Paris:
Réunion Des Musées Nationaux, 1994).

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