Abstract
This chapter tells two distinct stories. The first charts the construction and evolution of China’s cultural policy since 1949 and reveals its relationship to the country’s transition from planned to market economy and consequent reforms of political, economic, and cultural institutions. This context is important for the second story, where we examine the retrocession of a former colony of the UK, Hong Kong, back into China. This transition is also, for the arts and cultural institutions of Hong Kong, as dramatic as the changes taking place in similar sectors in China. These stories converge in their response to change, and the evidence suggested in this chapter reveals that this is not an easy process. Each is following a journey that might be described as traveling in opposite directions, and yet they also need to meet somewhere in the middle in the not too distant future. The obvious question is whether they will collide, which will result in something getting broken, or will they find a workable solution? Indisputably arts and culture will play a key role in China over the next few decades, and uppermost in this will be the different perceptions of the role and value of cultural governance.
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Notes
- 1.
According to the definition of the Modern Chinese Dictionary, system (Ti Zhi 体制), refers to the organizational form of governments, enterprises and public institutions, such as school system, leadership system, and political system. There is another word mechanism (Ji Zhi 机制), which means the construction, functions, and interactions within an organism, widely referring to the process and pattern of interaction between different components of a working system, such as market mechanism, competition mechanism, and human resource mechanism. The two Chinese words have different connotation and registers: mechanism emphasizes the internal interplay of an organization, and organizational system refers to the form and structure of an organization. In conclusion, the concept “system of fine arts” mentioned here refers to a whole set of organizational form and structure related to the fine arts industry.
- 2.
On October 4, 1956, the Conference on Expanding China National Art Workers’ Association was held in Beijing, where the association was renamed the China Artists Association. A total of sixty-two people were elected as council members, with famous painter Qi Baishi as chairman.
- 3.
The construction of the National Museum of History of China, the Museum of Chinese Revolution, and the Military Museum of the Chinese People’s Revolution marked the thriving state of Chinese museums in the 1950s.
- 4.
The Ten National Day Projects originally planned (September 1958) include: Great Hall of the People, the Museum of Chinese Revolution, National Museum of History of China, National Theater, the Military Museum of China, Science and Technology Museum, Art Exhibition Museum (the Museum of Chinese Art), the Cultural Palace of Nationalities, Agriculture Exhibition Hall, and Polytechnic Exhibition Hall (Beijing Exhibition Hall). The final list of projects (February 1959) was: Great Hall of the People, the Museum of Chinese Revolution, the Military Museum of the Chinese People’s Revolution, National Agriculture Exhibition Center, Beijing Railway Station, Beijing Worker’s Stadium, the Cultural Palace of Nationalities, Minzu Hotel, Guesthouse (Diaoyutai State Guesthouse), and Prime Hotel (now demolished).
- 5.
On May 31, 1961, the Ministry of Culture released No. 683 Document, in which it was pointed out “the Museum of Chinese Art is a public institution subordinated to the Ministry of Culture. But for now, we suggest that it be managed by China Artists Association.”
- 6.
This translation was determined on August 8, 1963. See the Chronology of National Art Museum of China. http://www.namoc.org/msg/dsj_1/dsj_1_1974/index_1.html.
- 7.
“Three natures and two tasks” refers to the natures and tasks of museums. Museum carries the triple nature of institution for scientific research, culture and education, and collection of tangible and intangible heritage or natural specimens. Its two tasks include serving scientific research and serving the public.
- 8.
Quoted from The Issue of Painting Academies in Contemporary China, originally published on the website of Shanghai Chinese Painting Academy (www.iiye.net), December 27, 2007.
- 9.
A View on Contemporary Art from the Perspective of Art System - a discussion of contemporary art standard in China by the author, National Art Museum of China Journal, 2008 (1).
- 10.
The definition of public institutions is based on two laws, Interim Regulation on the Registration of Public Institutions (revised in 2004) and Law of the People’s Republic of China on Donations for Public Welfare (released in 1999), where a number of profit-making institutions, such as state owned troupes, broadcasting and telecasting institutions, newspapers, and news publishers, were also defined as public institutions.
- 11.
Notice on the Participation of Non-public Sector Economy in the Cultural Industry by the State Council, 2005.
- 12.
Selected Works of Mao Tse-tung: Volume VII, People’s Publishing House, 1999.06, pp. 229–230. quoted from Song Huichang, “Double-Hundred Guideline”: Lifeline of the Flourishing of Art and Literature, see Chinese Cadres Tribune, 2011.12, p.5.
References
Chronology of the Museum of Chinese Art. http://www.namoc.org/msg/dsj_1/dsj_1_1974/index_1.html.
Hayrynen, S. (2013). A Centralized Market Orientation: The Implicit Determinants of Finish Cultural Policy in 1990–2010. International Journal of Cultural Policy, 19, 623–640.
Ooi, V. (1995). The Best Cultural Policy Is No Cultural Policy: Cultural Policy in Hong Kong. The European Journal of Cultural Policy, 1, 273–287.
The Issue of Painting Academies in Contemporary China, originally published on the website of Shanghai Chinese Painting Academy (www.iiye.net), December 27th, 2007.
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Ding Yu, King, I.W. (2019). China and Hong Kong. In: King, I., Schramme, A. (eds) Cultural Governance in a Global Context. Palgrave Studies in Business, Arts and Humanities. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-98860-3_4
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