ABSTRACT
International scholars and commentators often doubt the effectiveness of China’s soft power strategy and image-building efforts, and attribute this to the heavy involvement of the Chinese government. Museums are increasingly treated or treat themselves as non-governmental actors in the pursuit of cultural diplomacy and soft power. Research has explored how museums in Europe, North America, and Australia contribute towards cultural diplomacy while pursuing their own agendas and maintaining professional independence. All the exhibitions of Chinese cultural relics have worked together to portray China as a ‘civilized country featuring rich history, ethnic unity and cultural diversity’. Local media, journalists, and art critics all have their own political positions while dealing with China and commonly try to insert their political views into the interpretation of Chinese exhibitions. The British media, for example, often tries to explore ‘contemporary resonances’ from the exhibitions of ancient Chinese art, by introducing an economic or political perspective.
