Chinese digital nationalism is currently experiencing significant attention. A notable indicator of this is the increasing nationwide interest in cultural heritage, especially among younger Chinese individuals. They showcase their passion through the romantic consumption of heritage items, such as traditional Hanfu 汉服 clothing, including the mamianqun 马面裙 skirt and the cheongsam, also known as qipao, a popular women's dress style from the early 20th century. According to Alibaba’s digital marketing platform, sales of mamianqun increased by nearly 25 percent and cheongsam by over 31 percent in January 2024.
The government's proactive promotion of Chinese culture, combined with the rising influence of digital platforms as channels for patriotic messaging, has significantly enhanced the visibility of cultural heritage on social media. These efforts have inspired Chinese youth to actively engage in studying, sharing, and enjoying cultural heritage in today’s digital landscape.
Reflecting this digital nationalism is China's acceptance of the global trend of repatriating cultural artifacts. Towards the end of August 2023, a three-part mini-series titled ‘Escape from the British Museum’ 逃出大英博物馆 gained traction among Chinese viewers on Douyin, the Chinese version of TikTok. Created by content creators Pancake Fruit Boy 煎饼果仔 and Summer Sister 夏天妹妹, the series narrates a tale in which a Chinese jade teapot transforms into a girl and escapes from the British Museum. Eager to return to China and reunite with other cultural relics in Chinese museums, the teapot girl encounters a young Chinese journalist in London, who assists her in returning home. After reading emotional letters from other artifacts in the British Museum to their long-lost counterparts in China, the jade teapot ultimately decides to go back. The narrative concludes with the message: ‘We Chinese don’t go around stealing chickens and dogs. But one day, we will return home with honour and dignity. May our nation and our homes be forever safe and peaceful.’
As reported by The Guardian, ‘Escape from the British Museum’ reached 370 million views by September 21, 2023, just 16 days after releasing its final episode. Through careful use of language, including quotations from ancient Chinese poetry and romantic portrayals of traditional culture, the series resonated deeply with young people's selective engagement with Chinese history and cultural heritage. It also communicated a subtle yet politically significant message about the role of cultural heritage in shaping national identity. Despite some criticisms regarding its narrative, characters, and production quality, the series initiated discussions across Chinese society about the repatriation of cultural artifacts.
Chinese state media have praised the series for highlighting the younger generation's regard for cultural heritage. For example, China News characterized it as ‘a creative and profound work, imbued with a strong sense of patriotism,’ concluding with a hopeful wish for ‘more lost cultural relics to find their way back home.’
In recent decades, the Chinese government has worked to recover cultural artifacts stolen and smuggled out of the country during the period known as the ‘century of humiliation’ (1839-1945). China has successfully brought back lost cultural items, such as the bronze animal heads looted by British and French forces from the Yuanmingyuan (The Old Summer Palace) during the Second Opium War in 1860, through diplomatic efforts, international law enforcement, negotiations, donations, and commercial repurchases. However, distinguishing between stolen relics and legally acquired items is complicated, and many repatriation efforts face legal hurdles. Although there are international agreements promoting the return of unlawfully taken cultural properties, such as the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and the UNESCO 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property, the chances for repatriating Chinese artifacts held abroad are significant challenges. UNESCO estimates that around 1.6 million cultural antiquities from China are spread across 200 museums in 47 countries, with about 23,000 items residing in the British Museum.
Unlike the more typical global discussions on the repatriation of cultural heritage, which often address colonial histories via truth-telling and reconciliation, the dialogue sparked by ‘Escape from the British Museum’ primarily centers on nationalist feelings. The narrative reflects China's century of humiliation through the displacement of these cultural artifacts. With China's resurgence under the Communist Party of China (CPC), there is a strong belief that these items should be returned with dignity. Thus, consistent with state-promoted ‘Cultural Awareness and Self-Confidence’ initiatives, the patriotic narrative of the series fosters a heightened sense of responsibility for China's future and its cultural legacy.
Traditionally, efforts to instill patriotism in China were mainly driven by government propaganda, including national cultural policies, messages spread through official media, and patriotic education in schools. This top-down approach to patriotic education has been in effect since the
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Chinese digital nationalism is experiencing a notable rise. A significant indication of this is the increasing public interest in cultural heritage across the nation, particularly among younger generations. They showcase their passion through the enthusiastic purchase of heritage items, such as traditional Hanfu 汉服 fashion, which includes the classic skirt known as mamianqun 马面裙 and the cheongsam, a widely recognized women's dress style from the early 20th century, also referred to as qipao. As reported by Alibaba’s digital marketing platform, in January 2024, sales of mamianqun rose by nearly 25 percent, while cheongsam sales increased by over 31 percent.