This book provides an illustrated guide to China's numerous museums, and will inspire all those with interests in Chinese history.

The Henan Museum, in Zhengzhou City, is one of China's oldest museums - a key museum with modern displays and exhibitions, modernised equipment, and a unique architecture. The province of Henan is situated in the middle reaches of the Yellow River. Its ancient name is Zhongzhou, or central region, in the cradle of ancient Chinese civilisation. The result of many years of excavation in the province have contributed to one of the great and most representative collections of early Chinese art and culture with a wealth of examples of all kinds of ancient art objects, ancient architecture and crafts. It is second only in wealth of artistic and historical finds to the Palace Museum in Beijing. There are 120,000 objects displayed in twenty galleries over an area of more than 100,000 square metres. The galleries include major displays of the ancient history of the province, and special displays of statuary, bronzes, and jade. There is a gallery dedicated to ancient astronomy, and a 'history classroom' that caters for the different taste of experts, tourists and children. Ancient Chinese music played on beautifully reconstructed instruments gives an added dimension and emotion to the experience of the museum. AUTHOR: Zhang Wenjun is the director of the Henan Museum. SELLING POINTS: *Explores key aspects of the museum's history and architecture *Guides readers through the vast galleries and displays which make the Henan Museum second only, in wealth of artistic and historical finds, to the Palace Museum in Beijing 300 colour illustrations

The growth of the number and scale of Chinese museums in the 21st century, from about 1,400 at the turn of the century to over 5,000 to date, reflects the government’s Museum Development Plan for 2011-2020 to open one museum per 250,000 inhabitants, with the goal of attracting one billion visitors at the end of the decade. It is not just the numbers but the speed of development of Chinese museums that takes our breath away—with nearly one new museum per day being opened or expanded in this huge country. What are the motivations for the rapid development of museums in China? How is the public responding? Who pays for these museums and how? What has been the impact of china’s urbanization? How do Chinese museums balance education, scientific research, social cohesion, cultural diplomacy and tourism both internal and external? These are issues that continue to be discussed and debated among western museum professionals in the context of our 200-year history of modern museology. How are these debates evolving in China, which has its own history of museology over that same period from colonialism to communism and from isolation to opening up to the world? This book explores these issues while introducing English-language readers to a sample of the new Chinese museums in case studies and photographs. To accomplish this goal, Lord Cultural Associates partnered with the Chinese Museums Association who engaged leading Chinese museologists, museum directors, academics and architects to provide chapters and case studies on the history of museums in China, on evolving national museum policies, museum exhibitions and cultural diplomacy, the role of private museums, and the impact of museums on society. The four sections of this book build our knowledge of the roles of China’s museums through social and political changes, the systems of governance, the complex relationships between private and public sectors and many levels of government. Section One places the current building boom in context. Section Two addresses how China’s rapid urbanization has fueled the museum building boom, framed it, formed it and in some cases financed it. Section Three analyzes how Chinese exhibitions are tools for cultural diplomacy and key elements of soft power The six case studies in Section Four provide perspectives on the diversity of innovative approaches in the sector. Museum Development in China --- a beautiful, full-color book --- is the product of an international collaboration to discover how much East and West can learn from each other about museum roles, our publics, how we preserve, what we conserve, and our future sustainability—even as we marvel at the accomplishments of China’s museum building boom.

Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2010-Jan. 2, 2011.

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How are the public and political lives of Chinese women constrained by states and economies? And how have pockets of women's consciousness come to be produced in and disseminated from this traditionally masculine milieu? The essays in this volume examine the possibilities for a public sphere for Chinese women, one that would both emerge from concrete historical situations and local contexts and cut across the political boundaries separating the Mainland, Taiwan, Hong Kong, and the West. The challenges of this project are taken up in essays on the legacy of state feminism on the Mainland as contrasted with a grassroots women's movement challenging the state in Taiwan; on the role of the capitalist consumer economy in the emerging lesbian movement in Taiwan; and on the increased trafficking of women as brides, prostitutes, and mistresses between the Mainland and wealthy male patrons in Taiwan and Hong Kong. The writers' examples of masculine domination in the media include the reformulation of Chinese women in Fifth Generation films for a transnational Western male film audience and the portrayal of Mainland women in Taiwanese and Hong Kong media. The contributors also consider male nationalism as it is revealed through both international sports coverage on television and in a Chinese television drama. Other works examine a women's museum, a telephone hotline in Beijing, the films of Hong Kong filmmaker Ann Hui, the transnational contacts of a Taiwanese feminist organization, the diaspora of Mainland women writers, and the differences between Chinese and Western feminist themes.