What happened to the Chinese laborer?

Surprisingly, China was still included in the new Panthéon. Yuan Shikai, Hu Weide, and the Republican Chinese flag are clearly visible on the left end of the painting. Their position is, however, less prominent than in the original version. The Chinese laborer was painted out of the picture, possibly because the figure did not bring anything to the new narrative, or it distracted from the scene in the center. Whatever the reason may have been, China’s role in the MacMorris Panthéon was diminished, and the Chinese laborers were no longer recognized at all.

For those seeking recognition for the Chinese Labour Corps, the MacMorris version symbolizes the dismissive attitude by Western states of China as an equal member of the international community since the nineteenth century. This point is ironically emphasized by the Wilsonian quote that calls for nations’ self-determination. When placing the MacMorris Panthéon within the context of the Cold War, it makes the decision seem not only insensitive, but highly politicized. Afterall, China was now on the “wrong” side of history.

From its inception up until today, the Panthéon de la Guerre has been an instrument to project certain narratives, be it French bravery and sacrifice, American glory, or China’s fight for recognition. In the end, meaning is in the eye of the beholder. The Panthéon is a symbol for how we perceive, remember, and create the past.