The establishment of the Rodin Art Center is a manifestation of Shanghai's openness, inclusiveness, and diversity as an international metropolis, and a result of the mutual trust and deep cooperation between China and France.

The Luo Dan Art and Cultural Development Center in Pudong New Area, Shanghai (hereinafter referred to as the "Luo Dan Art Center") recently opened its doors. As part of the "Sino-French Cultural Spring - Special Presentation on the Anniversary of Sino-French Diplomatic Relations" project, the inaugural exhibition at the Luo Dan Art Center, titled "Rodin: The Genesis of Modern Sculpture," is currently on display. The exhibition features a special presentation of Chinese artworks from Auguste Rodin's collection, including his cherished Guanyin statues, Sui and Tang dynasty pottery figurines, bronzes, and Ming and Qing dynasty porcelain.

Why did the master sculptor Rodin have a penchant for collecting Chinese art? What has the establishment of the Rodin Art Center brought to Sino-French exchanges, and what future cooperation and exchange projects will there be? Wu Jing, founder of the Rodin Art and Culture Development Center in the Pudong New Area of Shanghai, recently accepted an exclusive interview with China News Service's "East-West Question" on this topic.

Reporter from China News Service: During the Shanghai World Expo, you brought the French national treasure-level exhibit "The Age of Bronze" to Shanghai, where it was displayed alongside other exhibits at the French Pavilion. Now, the original site of the French Pavilion has been transformed into the Rodin Art Center. What kind of connection and continuation does this represent?

Wu Jing: "The Age of Bronze" is Auguste Rodin's masterpiece and his first large-scale work to be publicly exhibited. The sculpture showcases the symmetrical posture and realistic muscle lines of a young male body, embodying Rodin's artistic creation philosophy of pursuing truth and nature. It marks the beginning of a new era in sculpture art and holds a milestone significance.

"The Age of Bronze" is a national treasure of France. In the year, France brought the bronze version of this work to the World Expo pavilion for exhibition, not only showcasing Rodin's artistic prowess but also reflecting the high importance France places on China's hosting of the World Expo. A deeper reason is the deepening development of friendly relations between China and France.

This year, on the occasion of the anniversary of the establishment of diplomatic relations between China and France and the completion of the Rodin Art Center, France has long-term loaned the more precious plaster mold of "The Age of Bronze," signaling France's proactive efforts to develop and deepen friendly relations with China.

It is a coincidence that the work is exhibited at the same location again, a destiny that we often refer to as "fate." It is an honor for the Rodin Art Center to serve as a vehicle for the development of friendly and mutually trusting relations between China and France. I feel deeply honored and also keenly aware of the responsibility. I will lead the team to run the Rodin Art Center with the spirit of craftsmanship, providing the public with more high-quality cultural products.

Reporter from China News Service: The exhibition showcases the Chinese artworks collected by Rodin. Why was the master sculptor Rodin so fond of collecting Chinese artworks?

Wu Jing: We have specially set aside a section in our limited exhibition hall to showcase Rodin's collection of Chinese artworks, aiming to embody the spirit of art transcending national boundaries. Rodin never visited China, but he collected numerous Chinese artworks during his lifetime and displayed them in the windows of his home. He had unique interpretations of these artworks, such as referring to the "Guanyin Holding a Child Seated Statue" as "China's Muse." This reflects both the attitude of a great artist embracing diverse cultures and the influence of Chinese culture on the world.

The director of the Rodin Museum, Amelie Smee, stated: "The period when Rodin collected Sui and Tang dynasty pottery figurines coincided closely with the time he created his great work 'Balzac'. The posture of 'Balzac' is very similar to that of the pottery figurines. Rodin referred to 'Balzac' as the fulcrum of his aesthetic life. We can boldly speculate that Rodin likely drew inspiration for this work from the pottery figurines in his collection."

I believe that Rodin's collection of Chinese art represents a silent dialogue between this great sculptor and China, a dialogue that ultimately finds expression in his artistic creations. This exchange deeply moves me, and I hope to become a messenger of cultural dialogue between China and the rest of the world, allowing Chinese audiences to appreciate world-class museum art without leaving their country, while also enabling international audiences to understand the achievements China has made in cultural development.

Reporter from China News Service: What concept does it convey to present numerous representative works of Rodin in a single exhibition? What do you hope these works will bring to China, to Shanghai?

Wu Jing: The exhibition introduces "Who is Rodin," "Where Rodin came from," and the impact of Rodin on world sculpture art. Taking Rodin's life as the timeline, it presents his artistic style that inherited the neoclassicism of the previous century and initiated the modern sculpture of the next, exploring the continuous and profound influence Rodin has had on the development of contemporary art, and showcasing the continuation of Rodin's artistic life. It is the first time in China that so many representative works of Rodin are exhibited together in the same exhibition.

China is a culturally open and inclusive great country, hoping that Chinese museums can house authentic masterpieces from other nations, allowing children to learn and copy from museum-grade art pieces. I hope to make some beneficial contributions to China's museum endeavors within my capacity.

Shanghai's inclusive, innovative, and international characteristics are the important backdrop for the establishment of the Rodin Art Center. The Rodin Art Center is a partner of the Rodin Museum, a teaching and practice base for the China Sculpture Society, and the Shanghai Academy of Fine Arts at Shanghai University. Relying on the permanent exhibition featuring Rodin's original works, we will organize domestic and international special exhibitions, develop art projects, hold seminars, forums, and other activities, dedicated to providing artists, researchers, educators, and students with an internationally top-tier platform for academic exchange and artistic practice. We will also integrate appreciation, creative markets, and other aspects of life aesthetics to offer the public high-quality cultural services, creating a cultural leisure space that combines both academic and diverse lifestyles.

Reporter from China News Service: The Rodin Art Center is the only institution in the world authorized by the Musée Rodin in France. What makes this "only" unique? What kind of support have the Chinese and French sides provided?

Wu Jing: Many museums around the world house works by Rodin, primarily through national collections and personal donations. These museums did not collaborate with the Rodin Museum during their establishment and development, nor do they have the right to use "Rodin" in their institutional names. The Rodin Art Center is the only institution globally authorized by the Rodin Museum to use "Rodin" in its name. However, the Rodin Art Center is not a branch of the Rodin Museum; it operates and manages independently, maintaining a close cooperative relationship with the Rodin Museum.

I am an art enthusiast, and my dream is to establish a museum. The effort required behind this dream far exceeds my imagination and cannot be fully articulated. I have spent nearly a year exploring, advancing, learning as I go, and learning through doing. I firmly believe this is a meaningful endeavor.

This process could not have been achieved without the support of both Chinese and French parties. The Rodin Museum provided invaluable technical support during the establishment of the Rodin Art Center and the preparation of the exhibition, with the loan of so many national treasures being the most powerful testament. The attendance of the French Ambassador to China, the French Consul General in Shanghai, and the French Deputy Consul General in Shanghai at the opening ceremony of the Rodin Art Center exhibition deeply moved me.

Shanghai Waigaoqiao Free Trade Zone Customs has proactively intervened, designated special personnel and windows for frontline service, significantly reducing the series of risks associated with the transportation of exhibits and providing great convenience. The Management Committee of the China (Shanghai) Pilot Free Trade Zone, Expo Administration, has provided relevant guidance for the construction of the Rodin Art Center. Shanghai Real Estate Group has offered strong support and cooperation during the renovation and transformation of the Rodin Art Center venue.

I would like to emphasize that the completion of the Rodin Art Center is a manifestation of Shanghai's openness, inclusiveness, and diversity as an international metropolis, and a result of the mutual trust and deep cooperation between China and France.

In the future, we will maintain close cooperative relations with the Rodin Museum in Paris and other French museums in academic fields such as exhibitions, forums, and artistic practices. We hope to develop the Rodin Art Center into an important platform for cultural exchange between China and France.