The Shanghai Museum

• In association with a major Chinese cultural institution, close to the heart of the new Chinese self-awareness but wholly uncontentious. The book will be the official guide to the whole collection
• The book will be the indispensable purchase for every visitor, both Chinese and foreign. It will be guaranteed display in China’s finest museum, and will have a life of a decade or more
• Introduction by Chen Xiejen, Director of the Museum
• Will be published in the internationally renowned format of Scala Publishers, the world’s leading publisher of books for museums such as The Prado, The Uffizi, The Louvre and The National Gallery Washington, among many others

The Shanghai Museum is the finest museum of modern China – in terms of wealth of collection, display and architecture. Originally built in 1952 on the site of the old racecourse, it re-opened in 1993 in a startling new building in Renmin Square in the heart of central Shanghai. Designed in the shape of an ancient bronze ding, opposite the new City Hall and the new Opera House, it provides an iconic symbol of the staggering new wealth, power and taste of the city of Shanghai. Each of the nine galleries is of world class in its own right. The displays are among the most modern in the world, and the most sophisticated. Alone among China’s major museums, a large proportion of its collection of 120,000 objects is displayed. The lighting, presentation and labelling (in English as well as Chinese) is crisp, accurate and informative. There are nine major collections, all important and representative, among which the Ancient Bronze Collection is unique and most unexpected. The others are: Sculpture, Ceramics, Painting, Calligraphy, Seals, Jades, Ming and Qing Furniture, Coins, and the Arts and Crafts of the Minority Nationalities. The multitude of visitors includes not only foreigners, but also a cross-section of Chinese society. The Shanghai Museum not only gives the visitor an unparalleled view of Chinese art, but also an insight into modern China’s perception of its visual culture.