Abstract
In exploring displays in European and North-American museums with regards to Chinese arts, this article discusses how cultural hierarchies from Western hegemonies structure the concept of global art. Here the main focus is on the Meat-Shaped-Stone, carved in Beijing during the late Qing dynasty, and on its travelling trajectory through the international stage. By considering how Western cultural institutions shape practices and languages of incorporation of the other, this article looks at the appearance and disappearance of objects, in the context of the creation of narratives of virtuous national identities, and imaginaries of political salvation through art.
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