Why is Chinese art being stolen?

The discussion delves into the historical context of China's "century of humiliation" and its shaping of the nation's view on culture heritage, particularly in relation to the looting and destruction of the Old Summer Palace.

"Century of Humiliation" Shapes China's Cultural Heritage View

During the century of humiliation, China was subjected to exploitation by global powers, most notably from 1841 to 1860 during the opium wars. European countries and the UK forced China into unfair treaties and the acceptance of opium imports. The humiliations, including conflicts with Japan leading to the loss of territories, sparked a national sense of shame and a drive for reclamation of sovereignty and culture.

Chairman Mao Zedong declared in 1949 that China would no longer tolerate insult and humiliation, marking China's resolution to reassert itself following this era of degradation. Clark speaks about a growing repatriation movement, as many countries, China included, are now demanding the return of cultural treasures that were historically stolen.

Cultural Vandalism at the Old Summer Palace

The Old Summer Palace in Beijing, constructed in 1709 and expanded over centuries to include temples, gardens, pools, and art, became a target during the Second Opium War.

Destruction of Beijing's Old Summer Palace by British and French in 1860

In 1860, British and French forces, responding to the torture of a European delegation by Chinese forces, participated in one of history's most egregious acts of cultural vandalism. They looted, destroyed, and desecrated the extravagant complex of the Old Summer Palace. Josh Clark describes this as "one of the biggest acts of cultural vandalism ever," representing a deep humiliation for China.

This destruction is singled out as an acute loss for China, symbolizing the assault on its culture and heritage by foreign powers. The Europeans ravaged the palace, eventually burning it over three days. Rather than reconstructing, China left the ruins as a memor ...

The podcast delves into the complex motivations and methods behind a series of art heists targeting Chinese antiquities, raising questions about whether these thefts are financially or culturally motivated.

The Chinese Government's Efforts to Reclaim Looted Artifacts

In the 2000s, China Demanded the Return of Stolen Cultural Relics From Auction Houses and Museums

In 2009, the Chinese government initiated a global campaign to reclaim looted artifacts, with a treasure hunting team investigating art across the United States, Europe, and the UK. Chief detective, Liu Yang, identified items likely stolen from the Summer Palace and noted that, subsequently, museums began to discreetly remove web pages and mentions of these Chinese artifacts.

Museum Heists: Chinese Artifacts Targeted by Billionaires or Criminals

After a spate of heists, discussions emerged about negotiating the return of some Chinese antiquities held in museums. In one case, a Chinese billionaire, Huang Nubo, showed interest in certain historical columns during his visit to Bergen. Queries arose whether the Chinese government or wealthy individuals, like Huang, or even criminals might have been commissioning these art thefts.

The Tactics Used by the Art Thieves

Robbers Used Car Fires to Divert Attention, Targeting Chinese Artifacts While Ignoring Other Valuables

The thieves demonstrated a sophisticated approach, with robbers deliberately setting car fires as distractions—most notably during a heist at Stockholm's Drottningholm Palace. They stole specific items from the Chinese pavilion within six minutes, suggesting they were operating with a precise list of sought-after Chinese items, often overlooking other valuables.

Professional and Amateur Thieves Smuggled Artifacts Successfully

These heists exhibited levels of professionalism, with one in France described by Chuck Bryant as remarkably efficient. However, Josh Clark notes that some British individuals implicated in an art heist claimed ...

The Chinese art market is experiencing rapid growth in value, significantly impacting the repatriation efforts for culturally significant artifacts.

Growing Value of Chinese Art on Global Market

China's Economic Rise Boosts Demand and Prices for Cultural Artifacts, Fueling a Market for Stolen Goods

The value of Chinese art has significantly increased in the global market, correlating with China's economic rise. Chuck Bryant points out that what was almost a non-existent market in 2000 had grown to roughly a billion dollars a year by 2018. This boom has escalated the demand and prices for cultural artifacts, inadvertently fueling a market of stolen goods. An example of this soaring value is seen in a 2010 auction where a Chinese billionaire purchased a 16-inch vase valued at $800,000 for almost $70 million.

Chinese Billionaires Buying Artifacts to Reclaim Heritage at High Prices

Chinese billionaires are increasingly involved in reclaiming their heritage by buying back artifacts at high prices. Some have even opened private museums to display these repatriated items. Bryant notes these private collectors have formed close relationships with auction houses to grow their collections of historical art, taking active roles in the repatriation efforts. Less than ten years after having minimal influence over major auction houses, the Chinese government succeeded in convincing Christie's to hand over two Zodiac heads in 2009, following which Christie's gained a license to operate independently in China.

Challenges In Repatriating Stolen Artifacts

Reluctance to Return Looted Artifacts Due to Legal Disputes

Legal hurdles significantly contribute to the reluctance in repatriating artifacts. While museums argue they can better protect these artifacts, countries like the UK have laws that prohibit the repatriation of cultural artifacts. Even with the Chinese government retorting that the UK could change such laws, the repatriation of artifacts remains a contentious issue. The podcast discusses scenarios where repatriation arguments are less clear-cut, ...