Reflections on the object diasporas in museums. Guest post by Mingshi Cui.
Sitting atop a display stand at the Museum of Fine Arts (MFA), Boston, a wooden sculpture of the Bodhisattva of Compassion, Guanyin, quietly receives admiration from museum visitors. This Guanyin sculpture, originally from a Buddhist monastery in China, was removed and sold in the early 1900s, and then became part of the MFA’s Asian Collection. Now in the Art of Asia gallery room 274, with the same gaze of serenity and compassion once cast down upon the worshippers in the temple, it encounters museum visitors from different parts of the world who come to seek aesthetic pleasure and culturally diverse experiences.

© Mingshi Cui 2025
Part of my research interest involves examining how object diasporas in museums with the same place of origin are classified and displayed differently based on the distinct criteria and missions of the organizations. Using the biographical approach to trace the social lives of displaced objects now held in cultural institutions like museums, I examine how a specific group of objects has been appropriated and integrated into various narrative strands within different social and organizational contexts; and how the objects’ diasporic journeys reflect the complex history of intercultural encounters between nations throughout history.
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