Reversing cultural identity in the West: the 1935-1936 International Exhibition of Chinese Art in London: in philosophical perspective

Abstract: The 1935-1936 International Exhibition of Chinese Art in London played a pivotal role in reshaping Western perceptions of Chinese cultural identity. This study examines the philosophical and curatorial frameworks underpinning the exhibition, analyzing how the transition from “Japonisme” to a distinctly “Chinese Style” was strategically curated to challenge entrenched Western stereotypes. Through a multidisciplinary approach integrating cultural philosophy, art history and museum studies, the study employs theoretical frameworks from Homi Bhabha’s cultural hybridity, Pierre Bourdieu’s cultural capital and Edward Said’s orientalism to interrogate the power dynamics in the representation of Chinese art. The findings demonstrate how curatorial decisions, deeply rooted in Confucian and Taoist aesthetics, functioned as both artistic and diplomatic tools, reinforcing China’s cultural sovereignty while influencing Western museological practices. This paper contributes to ongoing discourses in cultural diplomacy, transnational art history and the global circulation of aesthetics.