It is not just that seeking to placate the public at home with braggadocio overseas will make it harder still for China to garner allies and respect. There is a deeper problem. Many countries around the world admire, and would like to emulate, the undemocratic but effective way that China has managed its decades of growth. If China’s domestic politics look less stable, some of that admiration will wane. And even if things can be held together, for the time being, admiration for China does not translate into affection for it, or into a sense of common cause. Economically and militarily, China has come a long way towards regaining the centrality in Asia it enjoyed through much of history. Intellectually and morally, it has not. In the old days it held a “soft power” so strong, according to William Kirby of Harvard University, that “neighbours converted themselves” to it. Now, Mr Xi may know how to assert himself and how to be feared, at home and abroad. But without the ability to exert a greater power of attraction, too, such strength will always tend to destabilise.
In the 20th century artistic ideals changed and art moved away from representing reality. Since the Pre-Raphaelites were fixed on portraying things with near-photographic precision, though with a distinctive attention to detailed surface-patterns, their work was devalued by many painters and critics. After the First World War , British Modernists associated Pre-Raphaelite art with the repressive and backward times in which they grew up. In the 1960s there was a major revival of Pre-Raphaelitism. Exhibitions and catalogues of works, culminating in a 1984 exhibition in London's Tate Gallery , re-established a canon of Pre-Raphaelite work.  Among many other exhibitions, there was another large show at Tate Britain in 2012–13. 
At Pink Tentacle (a completely safe-for-work page, believe it or not), you can find a roundup of Japanese print advertisements for products that tap into just such vices. Japan opened up to the world in a big way in the mid-to-late 19th century, and the country's acceptance (and subsequent Japanification) of all things foreign kept chugging along right up until the Second World War. At the top, we have an appealing example of this internationalism at work in the service of Sakura Beer in the late 1920s. The 1902 ad just above depicts not just the globe but a smoking Pegasus astride it in the name of Peacock cigarettes.