The cover of the Chinese edition of The China Collectors: America's Century-Long Hunt for Asian Art Treasure by Karl E. Meyer and Shareen Blair Brysac
Over the years, the recovery of long-lost Chinese relics overseas has been a lengthy and convoluted process involving complicated legal debates and motivated by rising patriotism. Historical viewpoints have also further complicated matters, with China and other countries each viewing the removal of these objects from their homeland from different perspectives.
With their latest work The China Collectors: America's Century-Long Hunt for Asian Art Treasure, U.S. writers Karl E. Meyer and Shareen Blair Brysac are trying to build bridges between these different views by offering a U.S. perspective on this debate.
One of the Washington Post's Notable Nonfiction Books in 2015, the book details the tangled history of how Chinese relics ended up in North American museums through the eyes of overseas - mostly U.S. - collectors, dealers and museums. These groups turned the collection of Chinese art into a thriving business during the 19th and 20th centuries.
Delving into their perspective on things, the book makes heavy use of their correspondences and other historical records that "Chinese scholars may not have access to," according to Zhang Jianxin, the translator of the book's Chinese version, which hit bookshelves in the Chinese mainland in September.
In an interview with the Global Times in late October, Zhang - also the deputy director of the Museum and Social Relics Department under China's State Administration of Cultural Heritage (SACH) - described the book as "an extraordinary work based on solid investigation that may appeal to average readers who don't know much about this subject."
In the U.S., the shady past of the Chinese collections displayed in many major U.S. museums was not a subject often covering in publications. This provided the writers, who both have backgrounds in archaeology and art, the motivation to write the book.
"We felt it worth writing precisely because, with few honorable exceptions, only a few academic or specialized books provided telling details on the provenance of Asian art in leading museums," Meyer and Brysac told the Global Times in an e-mail interview in late October.
"What we deplore is the common reluctance in America to acknowledge shady provenance of museum treasures."
Curiously, while the book is on shelves of the bookshops in many U.S. museums that boast major Asian collections, including the Boston Museum of Fine Arts and the Peabody Essex Museum in Salem, it is nowhere to be seen in the Metropolitan Museum of Art in New York, even though the museum was "at every point responsive to our questions," according to Meyer and Brysac.
When the Global Times contacted the museum back in October, representatives said "we will try to get you a response," yet further attempts to contact these representatives have been ignored.
Some suspect that the book's absence may be due to its mention of one of the museum's most valuable Chinese artworks - Emperor Xiaowen and His Court, a relief carving that was removed from the Longmen Grottoes in Central China's Henan Province during the 1930s.
The removal of the carving is outlined in a chapter of the book covering the growing outflow of Chinese cultural relics that started during the Opium Wars in the 19th century and lasted to the mid-20th century - a dark period of history when China had fallen into political turmoil that involved looting by foreign soldiers and controversial transactions between foreign dealers yearning for "exotic" Chinese art and money-driven Chinese merchants.