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45
See also Xinwenbao, April 10, 1935, and Da Gongbao, December 14, 1935; August 13,
19, and 20, 1936. The Glasgow Herald and the London Observer were both quoted and
reprinted in the Chinese translation.
46 See The Times, December 3, 1935 for the public speeches made by Guo Taiqi and
Laurence Binyon.
47
Mme. Guo Taiqi, “Introduction,” in Chinese Art: An Introductory Handbook to
Painting, Sculpture, Ceramics, Textiles, Bronzes & Minor Arts (1935), xvi; for Guo
Taiqi’s comments and the use of the word “force,” see The Times, December 3, 1935.
See Zheng Tianxi’s remarks at the opening luncheon in London reported in article in The
Times, November 12, 1935.
48 Ye Gongchuo, Da Gongbao, April 6, 1935.
49
Teng Gu, Xinwenbao, April 16, 1935.
50
Zheng Tianxi’s official name was Zheng Futing. See Howard Boorman et al.,
Biographical Dictionary of Republican China (New York: Columbia University Press,
1967), 275. Zheng Tianxi, “Canjia Lundun Zhongguo yishu guoji zhanlan hui baogao,”
ਞ̋ࡐʕᖵஔყ࢝ᚎึజѓ [Report on attending the London International
Exhibition of Chinese Art] Da Gongbao, December 14, 1936. The exhibition generated a
flurry of special lectures at the Burlington House which were published as related survey
books on Chinese art and civilization, including Zheng Futing’s (also spelled F.T. Cheng),
Civilization and Art of China: Lectures (London: n.p., 1936).
51 As Timothy Mitchell has argued, an exhibition’s distinction between objects’
representational value and the reality embodied therein was part of a historical shift in
modern epistemological modes.
52 For a discussion of linear teleology and its relationship to the writing of nation-
centered history, see Prasenjit Duara, Rescuing History from the Nation (Chicago:
University of Chicago Press, 1995); Benedict Anderson Imagined Communities:
Reflections on the Origin and Spread of Nationalism (London: Verso, 1991).
53
Fu Zhenlun, “Zhongguo yishu guoji zhanlan canguan ji” ʕᖵஔყ࢝ᚎਞᝈা
[Record of viewing the International Exhibtion of Chinese Art], Beiping gugong
bowuyuan nian kan ̻݂̏௹ي৫ϋ̊ (1936): 137-168.
54
See Margaret Kao, China’s Response to the West in Art (1972), 64-66.
55 Stephen W. Bushell, Chinese Art, 2 vols. (London: Wyman, 1904-1906).
