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24
Craig Clunas, “China In Britain: The Imperial Collections,” in Grasping the World:
The Idea of a Museum, eds., Donald Preziosi and Claire Farago, (Burlington, VT:
Ashgate, 2004).

25 The caveat here of course is that any person today who has access to the constant flurry
of articles and attention covering the Chinese art scene in such major newspapers as the
New York Times or online blogs such as www.danwei.org is able to observe that the
views held towards contemporary art scene in China are more than optimistic.

26 The Chinese Nationalist Government came to hold centralized power in 1927.
Generally scholars agree that the government’s efficacy of rule and sovereignty ended
around 1937 with the bombing of Shanghai by the Japanese. The party in power is often
referred to as the Kuomintang (KMT) and I use the hanyu pinyin system of romanization:
Guomindang (GMD).

27
See Lloyd Eastman, The Abortive Revolution (Cambridge: Harvard University Press,
1974) for this dour view of the Nanjing Decade. For Ma Heng and his career, see Ma
Wenchong, “Gugong guobao de shouhu zhe,” ݂ࢗ਷ᘒٙςᚐ٫ [Protector the Palace
Museum’s national treasures] Zongheng ᐽዑ (1997): 34-39. Ma Heng (1881-1955) was
also known as Ma Shuping.

28 The organizing committee included Minister of Education Wang Shijie, Palace
Museum president Ma Heng, Minister of Finance T.V. Soong, and other state officials
and experts of art.

29 “Zhi you bei qinzhan de tudi meiyou bei qinzhan de wenhua – Zhongguo zai qianyun
zhong de zhanlan,”(2005). For biographical information on Tang Lanࡥᔝ, see Tang Lan
xiansheng quanji lunji ࡥᔝ΋͛Όණሞණ [Collected writings of Tang Lan] (Beijing:
Gugong bowu yuan chuban, 1995); also for Tang Lan’s cataloguing of bronzes chosen
for the exhibitions, see “Canjia Lundun Zhongguo yishu guoji zhanlan hui tong qi
shuoming,” ਞ̋ࡐ౱ʕ਷ᖵஔ਷ყ࢝ᚎึზኜႭ׼ [Annotated index of bronze
objects for the London International Exhibition of Chinese Art] Shixue luncong ̦ኪሞ
ᓉ 2 (November 1935): 1-24.

30
Wu Hufan, Da Gongbao, April 13, 1935. On Wu Hufan’s traditionalism and view of
the past as distinctly separate from the present, see Joseph Levenson, Confucian China
and Its Modern Fate (Berkeley: University of California Press, 1958), 133-136.

31 Zhuang Shangyan୿֠ᘌ, “Fu Ying canjia Lundun Zhongguo yishu guoji zhanlan
huiji” ࠌߵਞ̋ࡐ౱ʕ਷ᖵஔ਷ყ࢝ᚎึা [Record of going to England to attend the
International London Exhibition of Chinese Art], Beiping gugong bowuyuan nian kan ̏
̻݂ࢗ௹ي৫ϋ̊ (1936).