From museums to minds: Cultivating cultural strength in China

Developing a strong socialist culture in China is among the seven objectives proposed by the Resolution of the Third Plenary Session of the 20th CPC Central Committee.

This includes improving the institutions and mechanisms for developing cultural programs and industries to promote cultural prosperity and enrich the intellectual and cultural lives of people.

In an exclusive interview with Shanghai Daily, Professor Philippe Cinquini of Shanghai International Studies University, talks about how Chinese culture should contribute to the whole world and why it's important to engage young people to experience arts.

Cinquini is also a curator and the first foreign member of the Shanghai Artists Association.

Shanghai Daily: The Third Plenary Session of the 20th Central Committee proposed to "develop a strong socialist culture in China". How do you view this goal?

Cinquini: As André Malraux, the Minister of Culture during De Gaulle's era, once said, culture ensures that humans are not just a coincidence in the universe. Therefore, I believe that both China and France with their civilizations, deeply understand the crucial importance of culture. This is something in common between France and China, tracing back to the time before the French Republic, to the monarchy, which corresponded to the era of emperors in China.

The relationship between the state and culture is necessary, though it may not be a universal example. For instance, in the United States, there isn't a significant connection between the country and culture.

Today, I think China's major advantage is rooted in being a socialist country. Within this framework, China has the means and methods to establish significant directions and frameworks for the development of culture. The aim is not to control culture but to set certain boundaries and provide direction.

Perhaps other French might not say this, but I believe that given China's significant role on the global stage today, it should take on a role distinct from other great powers such as France and other Western European cultural powers.

Shanghai Daily: Having arrived in China in 1999, how would you evaluate the progress of China's cultural sector over the past twenty-plus years?

Cinquini: I've lived in China for twenty-five years and have witnessed its tremendous changes, particularly in the cultural sector. One noticeable development is the rapid increase in museums. China now has over 5,000 museums, compared to just over 1,000 twenty years ago. This explosive growth is remarkable.

China has had certain success on the global stage, such as the popularization of the Chinese language. Even in non-central regions of France like Corsica–my homeland, and a small island in the Mediterranean, a considerable number of students at the middle school, high school, and university levels are learning Chinese. This is impressive. Many people in France are learning Chinese, and this may be the case in other countries as well. Young foreigners are interested in China because of the language, and I believe this is a great success.

However, in other areas, it's almost challenging to see significant Chinese art or cultural exhibitions abroad. Compared to other great powers, China still has much to do. Japan, for instance, consistently exports its art and cultural heritage exhibitions abroad. Japan can single-handedly organize exhibitions at places like the Grand Palais in Paris.

I don't recall ever seeing a large-scale modern Chinese art exhibition at the Grand Palais in Paris. This is an old topic that has been discussed for a century.

Shanghai Daily: What distinctive strengths does Shanghai possess in terms of cultural development, and what accomplishments has it achieved?

Cinquini: What I find intriguing is there exists a culture in Shanghai that is not dominated by international consumerism. People gather to discuss literature. Shanghai has a deep literary tradition. With Suzhou and Nanjing nearby, the whole Jiangnan region to which Shanghai belongs emphasizes culture, where literature and poetry thrive, and people value simple things, including food.

When I describe Chinese culture as a conservative force, it is a form rooted in China's political, social, and cultural systems. In this direction, China naturally has something to say to the world, such as aesthetics, and the importance of family values, beauty, and love. These things may seem simple, but they constitute the core and prevent many bad, ugly things from happening.

There is a very free, aggressive, and destructive culture in the world. It undermines a certain set of values. So, statues are toppled, and churches are destroyed–this is almost equivalent to iconoclasm. We have seen this phenomenon in the United States, and it is gradually emerging in Europe, even affecting the field of knowledge and universities.

So far, China has not been affected, but you must foresee its occurrence. Therefore, China must be able to respond and offer something else.

I hope China will oppose this extreme form of progressive liberalism. I also hope France will do the same.

Shanghai Daily: You have been committed to cultural exchanges between China and France. What significance does cultural exchange hold for both countries?

Cinquini: This year marks the 60th anniversary of the diplomatic relations between the French Republic and the People's Republic of China. It's an opportunity to look back on the past and review the contemporary connections between France and China, which are based on political relationships. This implies mutual political recognition, and it has also had an extremely important impact on culture, art, and knowledge. This relationship is unique. This bond is precious, like a golden thread.

This golden thread doesn't exist between all countries and China. Therefore, I think France should be proud because some of China's greatest modern artists, such as Xu Beihong and Lin Fengmian, studied in France. This is something to be proud of, rather than those large advertisements for French brands.

So, we have a shared history. I don't particularly like the word "community," which follows Anglo-Saxon logic, but there are shared values between France and China. This has been proven in the past and will continue to be proven in the future.

Of course, this means that we must continue to maintain it, and nothing is eternal. It's like love–love needs to be nurtured, and you must provide evidence to prove it. Therefore, between France and China, we must continue to demonstrate our love for each other in the fields of culture and art, and explaining this isn't so simple.

Shanghai Daily: What are your prospects for future Sino-French cultural exchanges and China's construction of a culturally strong nation?

Cinquini: I can no longer see the resonance and shared values between France and China in certain aspects. The consequence is that France is unable, or increasingly unable, to bring the various cultural elements that have historically nourished the France-China relationship to China.

The cultural connection between France and China needs to be rediscovered and revitalized. We need to explore it, activate it, and make the most of it through dedicated exhibitions. The works of Courbet, the great painters of the French Revolution, or the compassionate naturalist painters who embraced socialism -- these should be brought to China, rather than the ubiquitous Impressionists that we introduce everywhere else.

On the other hand, large exhibitions should be held in France, such as an exhibition of Xu Beihong's work at the Grand Palais or a major French museum. Exhibitions of Chinese art are usually hosted in Asian art museums, which means they are confined to a limited space. Why can the Japanese hold exhibitions at the Grand Palais, but not the Chinese?

We need to bring young Chinese people to France, and young French people also need to come to China for specific projects. These could be restoration projects or maintenance projects. Imagine young Chinese university students, even if they are not experts, assisting or participating in the restoration of a French château. I'm particularly thinking of Château d'Avignon, where a large 18th-century Chinese decorative painting is being restored. There are many feasible projects like this.

Shanghai Daily: You also place great importance on the popularization of art and culture among citizens. How do you believe the enhancement of citizens' artistic cultivation can help to build a culturally strong nation?

Cinquini: We must engage the young people. Especially in Shanghai, and perhaps in other cities like Chengdu, there is an entire generation of young people who are eager to learn, curious, intelligent, and sensitive. Wisdom is sensitivity. More and more young people are attending lectures and visiting museums that interest them.

This generation of young people can also travel everywhere. These young individuals have realized that to become stronger as Chinese, they must take an interest in foreign cultures, I hope it's French culture.

I believe young people understand that culture is not a consumable product, it's not something you can buy with money, it's a path to knowledge. Visiting the Louvre is not the same as going to Las Vegas.

I know in China, the pressure on young people is great, they must study hard, successfully obtain diplomas, and so on. But they must also take the time, as Voltaire said, to cultivate your garden, especially when they are young. Because later you'll have less and less time, and your mind will become less sharp. Therefore, one must cultivate their garden well when they are young, to increase their knowledge, and to see the works themselves.