Page 180 - C.T. Loo A paper about his impact and activities in the Chinese art Market

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desire to represent comprehensively the products of Chinese civilization.” (Loo 1931, 3-

4) During 1935-6, Loo not only contributed important loans to the International

Exhibition of Chinese Art but also launched a satellite show at John Sparks in London,

which, in content and concept, mirrored the Chinese government’s archaeological

collection in the International Exhibition of Chinese Art. Some items on display in Loo’s

satellite exhibition were thus described: “…coming possibly rather within the category of

archaeology than of fine art, but nevertheless of great interest, are some fragments of

carved bones, dating from approximately 1500 B.C.” 375

The rising nationalism in China not only resulted in a surge of interest in the study and

display of Chinese antiquities, but also in the Chinese government’s tightened control

over the export of Chinese art. In 1929 Wu Chao-Chu from Chinese Legation

Washington voiced his concern about the outflow of Chinese antiquities, “…the Chinese

people are gratified that their art has in recent years received due recognition in Europe

and America, even though, as you say, the zeal to collect has in some instances outrun

discretion… The productions of genius are the common possession of mankind, and

Nationalistic China has no intention of adopting a dog-in-the-manager policy. At the

same time, it would be a reflection on the Chinese people if the collections of their art in

foreign countries should excel those in their own possession.” (March 1929a, 28) He

further announced, “The Legislative Council is …even now engaged in considering a

law dealing with the export of archaeological and artistic objects, probably somewhat on

the lines of similar laws in other countries.” (March 1929a, 28) In the 1930s, the Chinese

375 “Chinese Art in Mount Street,” Connoisseur, Vol. 97, No. 413 (January, 1936): 48.