By Cecilia Aisin-Gioro | Columnist
Ma Weidu, born in 1955, is a renowned writer, historian, and one of China’s most famous antique collectors. In 1996, out of his deep passion for preserving Chinese art and culture, he founded the Guanfu Museum—the first private museum in China. The name “Guanfu,” inspired by Laozi’s Tao Te Ching, reflects Ma’s vision of preserving and revitalizing cultural heritage. Over the years, Ma became a cultural icon, regularly appearing on television programs such as Collector Ma Weidu and National Treasure. Under his leadership, Guanfu became a prominent institution, committed to promoting traditional Chinese culture and advocating for cultural innovation.
In a smart strategic move, Ma Weidu invited Jackie Chan to join the Guanfu Museum’s board when it was first founded, leveraging Chan’s celebrity influence. This decision significantly enhanced the museum’s public appeal and helped establish its reputation.
The collaboration proved successful, with Guanfu thriving for the next three decades, supported by the public’s interest in its cultural mission and the allure of celebrity involvement. Ma also highlighted the lighter, more whimsical side of museum life through his Guanfu Cat Garden, where a group of formerly homeless cats now resides. The “Guanfu Cat” has since become an iconic symbol of the museum, capturing the attention and hearts of visitors in an unexpected way. For nearly thirty years, Guanfu Museum stood as a symbol of excellence in China’s antiques industry, with Ma Weidu’s deep understanding of Chinese history and culture, combined with his personal charm and academic rigor, making him a leading figure in the field.
However, in July 2024, news of an equity change at Guanfu Museum sent ripples through the cultural sector. Various rumors, many negative, swirled around Ma’s decision. Public records revealed that 95.18% of the company’s shares were transferred to other stakeholders, marking a significant shift in Ma’s long-standing legacy. His resignation followed a period of public controversy.
In early 2024, the museum faced criticism over allegations of unfair layoffs. Former employee Zhang Bin accused the museum of malicious terminations, which resulted in the dismissal of over 80 staff members. The controversy, amplified on social media, fueled public anger and cast Ma in a negative light. In response, Ma released an online video explaining the museum’s internal restructuring and apologizing for delays in salary payments. His transparency and willingness to address the issues head-on highlighted his integrity as a public figure and earned him respect. However, soon after, records showed the legal transfer of Guanfu’s ownership.
The Decline of the Museum Model: Challenges Facing the Private Museum Industry
Ma Weidu’s decision to step down must be understood in the broader context of the challenges facing China’s private museum industry. His departure reflects the complex dynamics of the sector, from financial instability to a rapidly shifting cultural market. As the founder of Guanfu, Ma was a trailblazer, whose personal success was tied to Guanfu’s early achievements. Despite this, China’s private museums, especially those operating under non-profit models, have long faced significant financial difficulties.
Private museums often struggle to generate enough revenue from ticket sales and cultural products to remain sustainable. Guanfu initially thrived thanks to Ma’s celebrity status and the booming antiques market, but over time, these revenue streams proved insufficient for the museum’s long-term stability. Guanfu relied on “buying low and selling high” in the cultural relics market and frequently participated in antique auctions to maintain its operations.
As external funding remained limited and government support insufficient, Guanfu—like many private museums—faced a growing financial gap. Over the years, Ma leveraged his cultural prominence, participating in auctions and selling valuable items to keep the museum afloat. However, the economic downturn caused by the COVID-19 pandemic, followed by China’s 2024 recession, severely impacted the antiques market. The museum’s two primary revenue streams—antique porcelain and classical furniture—suffered significant declines, adding further financial pressure.
These economic challenges, coupled with the increasing financial burden on private museums, led Ma to seek a new path for Guanfu. His decision to transfer shares can be seen as a strategic retreat, allowing the museum to continue under new management. This choice reflects his belief that preserving cultural heritage is more valuable than retaining business ownership.
Cultural Intellectual Property in the Digital Era: New Challenges
The difficulties facing Guanfu are not limited to the antiques market. In recent years, the rise of digital platforms, particularly livestreaming, has revolutionized how cultural content is consumed and monetized in China. Ma recognized the potential of these platforms and sought to use them to reach new audiences. However, in the fast-paced world of digital media, audiences have become more discerning and less forgiving. Despite these challenges, Ma has remained a relevant cultural figure by leveraging the Internet to maintain his status as a champion of traditional culture. He has created numerous educational and cultural videos that have garnered substantial viewership and attracted a loyal following.
Ma Weidu’s authority in Chinese culture was built over decades. As he once said, “Culture’s unique trait is participation, especially in one’s own traditional culture.” This vision shaped the founding of the Guanfu Museum. Though it is difficult for any one person to lead in all aspects of cultural heritage, Ma has proven to be an exceptional case. Aside from being an accomplished antique connoisseur and collector, he has hosted influential programs like CCTV’s Hundred Forum. He has worn many hats: a member of the China Democratic National Construction Association, founder of the “Haima Film and Television Studio” (which produced popular shows like The Story of the Editorial Department), and creator of Ma Weidu’s Collection in 2008. In 2016, he was honored with the title of “Ambassador of Great Intangible Cultural Heritage,” further cementing his legacy in China’s cultural landscape.
Conclusion: What Does Ma Weidu’s Exit Mean for the Future of Private Museums?
Ma Weidu’s exit from Guanfu highlights the fragility of China’s private museum industry, which has long been dependent on individual cultural figures and has struggled with weak financial foundations. The challenges faced by Guanfu reflect larger systemic issues that private museums must address if they wish to survive in the long term. While Ma’s legacy as a cultural pioneer remains intact, his departure is a reminder that even the most successful institutions must evolve to meet the needs of a rapidly changing world.
Ma’s decision to step down should not be viewed as a failure, but as a strategic move—a decision shaped by the constraints of China’s unique system and the volatility of the cultural economy. The name “Guanfu,” meaning “observation, returning to the roots,” reflects the cyclical nature of cultural preservation. His exit serves as a moment for reflection, not only for private museums but also for private enterprises and individuals navigating China’s ever-changing cultural landscape.
As always, Ma Weidu has proven to be a visionary. His departure from Guanfu reflects his deep understanding of the forces shaping the cultural sector. For private museums in China to thrive, they must embrace innovation, explore new models, and adapt to the realities of the 21st century. Only then can they continue to serve as stewards of China’s rich cultural heritage, ensuring it is preserved for future generations.
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