THE NATIONAL MUSEUM OF CHINA, which opened two years ago to much fanfare as the Communist Party unveiled this mammoth showpiece to project its cultural ambitions, has now taken another step in trying to establish its legitimacy in the art world.
The museum, reinvented from past incarnations and criticized by some for its party-approved depictions of modern Chinese history, on Friday will open an exhibition of nature-theme works from the Metropolitan Museum of Art in New York. It is the first large-scale exhibition that the National Museum has put on with the Met, and it is being hailed by both sides as a major expression of the growing cultural exchange between China and the United States.
“Never before has an exhibition of this scope and theme, drawn entirely from the Met’s holdings, traveled to China,” Thomas Campbell, the Met’s director, said at a news conference here on Thursday.
The exhibition, “Earth, Sea, and Sky: Nature in Western Art,” aims to introduce to Chinese viewers the breadth and depth of the Met’s vast collection. Drawn from the galleries of 12 of the 17 curatorial departments at the Met, the 130 pieces represent an assortment of textures, mediums and time periods. The objects include tapestries, lacquerware and oil paintings, and they date as far back as the third millennium B.C. It is scheduled to run through May 9.
The exhibitors aimed to recreate a quintessential Met experience for Chinese visitors to the National Museum, which is on the east side of Tiananmen Square at the heart of this ancient capital. It begins on the second floor, where viewers enter the exhibition via a model of the Met’s neo-Classical facade. Highlights include masterpiece works by major artists like Rembrandt, Monet and Hopper. There are two paintings by van Gogh, who is loved by many Chinese and whose “Cypresses” appears on the cover of the exhibition’s comprehensive Mandarin catalog.
“I chose the theme of nature as a very broad-based theme from which we could pull from all over our collection,” said Peter Barnet, the exhibition creator and organizer, as well as the medieval art curator at the Met.
“By bringing these objects together I think we can see things in a way that one cannot even when you visit New York,” he added.
Unusual juxtapositions of pieces are found throughout the exhibition, like that of a Babylonian frog-shaped weight from 2000 B.C. placed opposite a 19th-century Monet painting of coastline cliffs. The exhibition takes a broad interpretation of the meaning of Western art, with pieces ranging from a landscape painting of American mountains by Frederic Church to a falcon statuette from ancient Egypt that depicts the god Horus and dates to around 360 B.C.
The Met show is the latest in a series of international exhibitions hosted by the National Museum. In less than two years since it opened after its renovation the museum — the largest in the world under one roof at two million square feet — has featured a number of exhibitions from prominent museums, including the Uffizi Gallery, the British Museum and the Victoria and Albert Museum.
“The team we have here at the National Museum is young just like the museum itself is young,” Chen Lusheng, deputy director of the National Museum of China, said. “So we are very willing and open to learn from the varied experience of well-known museums, such as the Metropolitan Museum.”
But whether the National Museum has what it takes to propel itself into the top ranks of the world’s museums is unclear.
“Right now I think that the National Museum may become like the National Concert Hall, which has become a routine stop on international tours,” said Alfreda Murck, a Chinese-art historian living in Beijing, referring to the striking dome-shaped performance space west of Tiananmen Square. “They need more staff, but they have been doing a brilliant job with what they have.”
Many liberal Chinese and Western critics have raised questions about whether the museum, which they deride as a centerpiece for the Communist Party’s propaganda efforts, can or should be accepted in a field that places strong emphasis on the integrity of an exhibition’s narrative. A central part of the museum’s permanent exhibition is a historical showcase of modern China called “The Road to Rejuvenation,” which glorifies Communist China while avoiding accurate depictions of the era. For example references to the Cultural Revolution are almost entirely omitted.
Some might see the Metropolitan Museum’s partnership with the National Museum as lending legitimacy to an institution designed for the dissemination of party propaganda.
“I suppose the Met’s very presence does legitimize the propaganda to a degree,” Ms. Murck said. “But it’s also good for the Met because it gives them a high profile.”
Mr. Campbell said collaborating with the Chinese museum seemed natural since the Met had lent some of its pieces to an exhibition in the Shanghai Museum. “We see this as an opportunity — a central space in Beijing to share the treasures of the Metropolitan Museum with a broad Chinese audience,” he said. “I’m sure in the future we will have other collaborations as well.”
