Comparative study of Chinese art exhibitions in the USSR in the 1940s and 1950s: based on the example of two "Exhibitions of Chinese Art"

The subject of the research is two large-scale exhibitions "The Art of China," held in the USSR in 1940 and 1950. The focus of the work is on the organizational forms of these exhibitions, the principles of selecting exhibits, the narratives constructed by them, as well as their cultural-diplomatic functions and political context. Both exhibitions were conducted at the initiative of the Chinese and Soviet leadership, but they differed in historical eras (the period of World War II and the early years of the PRC), as well as in themes and objectives. In particular, the author analyzes how each exhibition utilized a combination of traditional and contemporary Chinese art, and whether this reflected an intention to showcase cultural continuity and learn from the USSR. Thus, the research focuses on a comparative examination of diplomatic artistic projects from the two eras and the impact of changing Sino-Soviet relations on their content and functions. The study employs a comparative method for investigating exhibition activities. The analysis is based on a thorough study of plans and reports on the preparation of both exhibitions, a comparison of the structure of the exhibitions and their thematic narratives, as well as a sociocultural contextual analysis of the role of the exhibitions as a form of cultural diplomacy. The comparative study of the two "Exhibitions of Chinese Art" held in the USSR in 1940 and 1950 reveals both continuity and significant differences in China's external cultural strategy. The 1940 exhibition was aimed at gaining international support during the anti-Japanese war and was characterized by genre and thematic diversity. The 1950 exhibition, organized by the government of the PRC, had a more institutionalized and ideologically constructed character, reflecting the objectives of shaping the image of "new China" and strengthening the Sino-Soviet alliance. The scientific novelty of the work lies in examining these exhibitions within a unified comparative context as interconnected stages in the evolution of China's cultural diplomacy. The research shows that art exhibitions served not only as instruments of foreign policy but also as an independent form of cultural practice, reflecting changes in the political and international context.