The woman is a famous Ballet dancer from the cultural revolutions. Her name is Wu Qionghua. Film has been exploited by communist parties through out History. Vladimir Illych Lenin commissioned various works by Sergey Eisenstein, during the early years of the Russian Revolution. Chairman Mao, also experimented with film, and other forms of western media and the ballet depicted here is called Hong Se Niang Zi Jun, and it was one of the eight Revolutionary Ballet's, the most famous being "Little Women Red Soldiers".
It was the synthesis between traditional European dance, and Chinese folklore which made these ballets so effective. They were modern in style while being traditional in content. They were progressive but also easily identifiable. The ballet dancers were hugely popular, and they helped to promote female equality, strength and emancipation. The dancers were political role models, as well as artists themselves.
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The two repeated Chinese characters mean 'eligible' and 'suited'. The repeated images of Chairman Mao, and the Buddha present a dichotomy, and is controversial. During the Cultural revolution, the Red Guards and the citizens were urged to fight against the 'old beliefs' and doctrines of the Buddha and other famous Chinese philosophers. Though they enjoyed limited success, during the Cultural Revolution, the Buddha's image, much like Chairman Mao's is highly revered. There thusly a parallel drawn between these two iconic figures, diametrically opposed in thought, while sharing importance and significance. One interpretation is that Mao supersedes the Buddha, and indeed replaces him. Chairman Mao, being deified and elevated as only a Buddha could be. Such was the love for Chairman Mao.
The large star in the centre of the print represents unity and strength, and is supposed to be the central star on the flag of the people's republic of china.
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In the middle of the painting, there is a young female soldier wearing an army uniform. Her name is Hong Wei Bin. During the Cultural Revolution she was set aside by the CCP (Chinese Communist Party), to act as an example for the youth. Her image is synonymous with youthful energy, woman's emancipation, ideological firmness, and an unwavering belief in the principals of the communist ideal, (see Hong Wei Bin).
One may also notice a smaller seal Mao's head on her cheek. The two other seals are distinct symbols of The Cultural Revolution.
The red seal on the left hand denotes that 'Beijing is the ancient capital'. Seals of this type use a distinct form of Chinese calligraphy which is hand carved on wood blocks to make the print.
The calligraphy on the right hand side is a reproduction from Chairman Mao's, 'Little Red Book', and roughly translates into ''the means to do anything for all the millions''. It is a famous quotation of Chairman Mao's. The Calligraphy is in the style used by Chairman Mao, and is associated with his poetry.
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The lack of a central character may suggest the lack of thoughts, ideas, or opinions. The artists wants to convey the uncertainty of the cultural revolution, and the sometime necessary 'Blind Faith' in what was know as ''The Chairman's thoughts'', a collection of political doctrine detailing the prevalence of Marxism, Leninism, Maoism, and the correct ideological line. ''The Chairman's Thought'' was much more than just dense political philosophy and economic formulas; it delt very much with questions of principals and ethics which most people were expected adhere too.
The artists emphasizes the isolation between the mass peasantry and the complex system of thought which became ''Maoism'' (or: Marxism-Leninism-Maoism). For most, Maoism was a way of life, and relations, not an abstract political dichotomy, formulated for the propagation of world revolution.
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The young woman is holding Chairman Mao's "Little Red Book\ and smiling. The "Little Red Book\ was a collection of poems, aphorisms, quotations and extracts from Chairman Mao. Copies were initially printed in their millions in China, and its circulation is unmatched by any other text in China. Copies were handed out at rallies and its reading and often memorization became part of the national curriculum during the Cultural Revolution. The young men and women loved and adored Chairman Mao and were infatuated with his image and line of thought, few doubt the sincerity of the time.
The four large Chinese characters, when translated read, "give up the old-fashioned objects and the obsolete and outdated ideas, to develop and to accept the new and the progressive ways and thoughts".
This print is done in the style of "The Red Age and The samples of Youth". These were largely propagandistic and mass produced, being visually striking and carrying simple messages, colloquially know as 'peoples art'.
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The four large Chinese characters on the right hand side mean 'Hard Work' and 'Live Plainly / Simply'. It comes from Chairman Mao's "Little Red Book" The three smaller characters lower down is Chairman Mao's signature. The other Chinese characters in the left hand side of the painting are also quotations from Chairman Mao.
The various seals on the top, are governmental and national seals, which the artists has included to signify the national struggle, and the important role of the state and government, in societal progression.
In her right hand the young woman hold a copy of the "Little Red Book". And as is typical of the style, the woman has a gun slung over her shoulder, demonstrating the military strength and will to fight for ideology.
More interesting, is that the PLA (Peoples Liberation Army), had its own system of education. Chairman Mao stressed the importance of literacy, and for many, their army service is where they learned to read and write, as well as basic arithmetic and other essential skills. By the 1970's, illiteracy in China was largely confined to the elderly, and those in highly isolated communities.
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This print illustrates the conflict between the modern and the ancient. The smaller figures represent the old Chinese 'master', philosophers, artists, writers and spiritual leaders who discouraged during the Cultural Revolution. One is pointing to two Chinese characters which read "Confucius' Ideas". The woman in the centre is exposing her breasts. Perhaps the artist is trying to convey the need to return to nature, and the importance of the natural form. She is dressed in a Red Army uniform, and a gun and knife are clearly visible. However the aggressiveness and hostility of her exterior is marred by her nakedness. The soft feminine quality is vividly juxtaposed by the violence she wears, and the need to fight. Despite her seductiveness and supposed fealty, the woman is prepared to die for ideal and belief, and turns her back on the old 'masters'. Note, she also carried a copy of Chairman Mao's 'Little Red Book', with his image on the cover.
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To use the colorful faces for the background of the whole picture represents the special, and the only one in the world. Since Beijing Opera is very famous quintessence of China Only. The colorful faces belong to Beijing Opera. And also Mao was the only one in the world; he was one of the outstanding Chairmen.
Two Mao wave together in this painting means Mao was human-being; he also has good points and weak points.
The red Mao's portrait on the top means Mao was great man; he made great efforts to establish PRC. New China would not appear in the world without Mao's full contribution and endeavors. This red portrait represents active and positive role and aspect of Mao's whole life.
On the contrary, the green one means negative and passive aspect.
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The female soldier in the center of the print is the famous Red Guards Man, and a revolutionary icon Hong Wei Bin (see. Hong Wei Bin). One may also see some beautiful Chinese calligraphy on the left and right sides. These are famous quotations and aphorisms which come from Chairman Mao's Little Red Book. The quotation roughley translates too "The young girl dislikes fashion and trends, but loves her army uniform and the army". During the cultural revolution, military khakis, and dress, were the fashion. The young all dressed like soldiers or wore the ceremonious "Mao Suit\ also in the Chinesee military style. The seals printed over the calligraphy are government seals, and these give the impression that the work had been "Officially Approved".
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The woman in the centre of the painting represents the desire for spirituality during the Chinese Cultural Revolution. Concepts of religion and superstition were highly discouraged. Nevertheless, many found it difficult to detach themselves from their extensive history, and continued practicing their colloquial traditions. In many ways s the body and their sexuality was one of the few areas where one could have greater freedom.
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The portrait of the young Chairman Mao holding a smoking box was typical reproduction of the cultural revolution. It comes from a famous picture of Chairman Mao during the period of the 'Long March'. The maps with red arrows are also military maps of the same period, when the PLA (Peoples Liberation Army) was attempting to outmaneuver the GMD (GuMinDang - Nationalists), which resulted in the 'The Long March' north. The maps are reproduced from the originals.
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This painting shows Chairman Mao's concerns and about the younger generations. Indeed, Chairman Mao was seen as a serogat father to the youth of China. Their loyalty, respect and admiration for him was entirly sincere, and he was accredited with their education both scholastic and moral. He was greater than any single patriarch, because he was the father of the community and the nation.
The four young soldiers were listening to Mao's doctrine and his teaching in the painting. The younger generations represent the best wishes and the hopes of the country, a strong foundation for a greater Chinese future. The calligraphy compares the the youth of china to an early rising sun, full of light and inspiration, a source of life for the country.
The printed handwritings also comes from Chairman Mao's "Little Red Book". It roughly translates to, "We must spread the revolutionary message to all the developing countries around the world".
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This painting is one of a series of ten, attempting to reflect the ten years of the Cultural Revolution (1966 - 1976). During this decade, the workers, the peasantry, and the soldiers were the sole representatives of the Proletariat. Collectively they made up the "Three Pillars of Mao's Society" The three elements of the revolution. There images were widely reproduced, and they were considered the vanguard of the revolution, or the existing proletariat of what Chairman Mao called "The Toiling Class". In this picture, we may see so many 1968 repeated as a background in order to commemorate and to monumentalize the year of 1968 and its achievements.
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The first thing one notices in this painting are the "Three Pillars of MAo's Society" the Worker, Peasant, and the Soldier. They embody the Chinese revolution, and their images invoke the sentiments of the cultural revolution. The woman is holding in her right hand a large poster with two Chinese characters, meaning revolution and progression.
All three strike aggressive poses, nevertheless the fact that two are holding a pen a and a brush instead of a gun, indicates the power of Chinese artistry, and that guns were not the only weapons of the time. There were major emphases on developing the artistic and cultural lives of the the Chinese proletariat.
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The four newspaper and the old fashioned pictures represents the juxtaposition between the traditional Chinese Culture and the culture of the revolution. The artist contrasts and compares the old publications with the new. She makes a statement about the similarities of the periods in question, and draws on ancient Chinese publications to make the connection.
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The four quadrate newspaper and several black and white old fashion pictures represents the traditional Chinese Culture and the past China.
The three repeated black and white photos are the leading role of Chinese Opera of the right side of this painting.
In the middle of the painting is a female Hong Wei Bing with a red sleeve emblem during the Chinese Culture Revolution.
The painter combined these dramatis personages with different culture background and different times and different roles and positions together in order to transfer and to communicate the civilization and culture information in every phase of Chinese History.
Three big red seals represent the Governments and official activities and conducts at that time.
We may feel assonant of each parts of the painting at the beginning, but the whole combination is harmonious, something like music has very different and cadence rhythms.
It must leave you a deep impression.
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A female soldier is once again the subject of the painting. Here she is exposing one of her breasts. Modesty was a much lauded virtue of the cultural revolution, and displays of public nudity were forbidden. It was thought that if a woman exposed herself, she was conforming to the pre-revolutionary standards of female conduct. Women were no longer oppressed or considered socially inferior, and any attempt to diminish their standing in society would have been met with much resistance.
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One again, the focus of this painting are the "Three Pillars of Mao's Society\ The worker the Soldier and the Peasant. Two are holding traditional Chinese calligraphy brushes, as if they were weapons. This suggests the power of writing and literature, as if it were a weapon of its own, to rival any piece of military hardware, or perhaps surpass it? Many writers flourished during the cultural revolution, and importance of literary development was highlighted in this period, as the party attempted to increase the scope of modern Chinese literature, especially poetry.
One may also note, that the woman is holding in her fist a copy of Chairman Mao's Little Red Book.
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This painting shows two young soldiers, male and female. Soldiers were a very common subject for artists during the cultural revolution, as the youth of china was already highly militerised. Those who were not in the army,aspired to be so, and often wore army uniforms, or red guards uniforms for every day life. Soldiers were highly respected and admired, and they represented the altruistic selfless attitudes of the modern Chinese Man: liberated and free from false consciousness.
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A woman soldier dare to show her breast in order to achieve and to creative an effect of the big difference and comparison between the ancient and the modern Culture, she wears a red sleeve emblem with three characters which are the signature of Hong Wei Bing in Chinese. She holds a big gun means she prepares to fight with enemies at any times. The red book in her waist means she remembers and learns Mao's idea and theory at all times.
To match an old but traditional landscape as a background to decorate the painting, and also to form the comparison of the two Cultures in the different times.
A rolled paper behind the woman, is a special letter for tendentious and agitprop actions and behaviors and purposes and aims to retaliate and to shock their enemies and hostiles. At that time, this kind of letters was very familiar and popular with Chinese.
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As we know, the Culture Revolution went on 10 years from 1966 to 1976. In order to commemorate and to memorialized it, the painter prepared a series to represent each year of the Culture Revolution. Once again the "Three Pillars of MAo's Society" are the central theme of the painting. The soldier is holding a paper with two large Chinese characters which means Revolution and Progression. And in his other hand he holds a large pen representing the strength of Chinese intellect, the importance of literacy, and as homage to he many Chinese artists, and authors, who's most effective revolutionary weapon is their art.
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The repeated date of 1967 , recalls the importance of the beginning of the cultural revolution. The year 1967 ushered in a period in which many Chinese still today consider to be the apex of Chinese cultural in its long history. 1967 was a year of revolution, and convey all the turmoil, and creative chaos which existed then. The three figures of the Soldier the worker and the Peasant, otherwise know as the "Three Pillars of Chairman Mao's society".
The soldier is holding in his hand a paper asking to criticize the Bourgeoisie, the Landlords and the Oppressors. The Pen symbolizes the potential intellectual might of the Chinese masses, and the strength of their art and written word. This may be in reference to the many authors and poets which emerged during the cultural revolution.
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The female soldier, the old Chinese figure represent the ongoing conflict between the ancient and the modern, the struggle between the culture of feudal china, and the the culture of revolutionary china. There is a distinct tension between the two. Nevertheless they seem almost complementary accentuating the inextricable connection between the two "cultures"; both old and new, they are quintessentialy Chinese.
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The imperial palace at the bottom of the painting has long since been a symbol of China, or more still, China's power and wealth. The yellow flowers, are possibly a refrence tot he Hundred flowers movement, initiated by Chiarman Mao during the Cultural Revolution. The characters behind Chairman Mao's read "See what Mao has achieved for China".
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This painting is part of a series, depicting the Eight Revolutionary Operas, during the Cultural Revolution. During this period many traditional operas were commissioned depicting the great revolutionary struggles between the CCP (Chinese Communist Party) and the GMD (GuMinDang - The Nationalist Party), as well as the struggle against the Japanese during the Second World War.
This Opera is know as the, Long Jiang Song, and was very popular during the sixties and early seventies. The name is spelt out in Chineese calligraphy in the centre of the page. The lead actress, know as, Yu Hai Zhen, is carrying a torch in one hand and a shovel in the other; the shovel in Revolutionary China was often used to symbolize the working classes, and in many statues of the time soldiers or peasants would hold shovels in solidarity with the working class, just as in Russia they would have held a sickle or hammer.
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The message of this print is clear. It is about the woman of China, it is about their liberation from male dominance, and their emancipation from domestic slavery. In Socialist evolutions world wide, woman played a major role. One is reminded of the Soviet Union, as being the first country in the world to fully enfranchise their female population, and to actively promote female participants in government and in the Armed Forces - professions in which female occupancy would have been unheard of in the west. Socialism was the only ideology of its time which offered woman equal rights, by attempting to destroy the old stigmas and expectations of earlier cultures which have haunted women for centuries.
The artist depicts Chairman Mao with a young woman, possibly Hong Wei Bin (it is not made clear), in order to illustrate the solidarity between the two.
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The woman wears a red star on her cap which identifies her as a member of the PLA (Peoples Liberation Army), or possibly a member of the Red Guards. The text translates too "In thanks to Chairman Mao, who helped and rescued the poor from an abyss of suffering and misery at the hands of the landlords and Bourgeoisie". Mao by her side means that he is supporting the efforts, to raise up , dancing , working and taking arms. He is fully inspiring the full emancipation of woman.
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This is a mural, with the many aspects of the Cultural Revolution . In the corner the black and white photo of the man on the left hand side, is a picture of Lin Ze Xu, who was a famous official from the Qing Dynasty and one of the foremost advocate for illegalizing opium trade in China. He is known as a humanitarian concerned with China's future, and the future of his people.
The centre of the painting depicts a woman during the Cultural Revolution, and further below there are three pictures of the same woman taken some time before the revolution. It is clear the artists mean to contrast the two woman with one another, as they represent different periods in history as well as different mind sets. The women of the old regime, are old, oppressed and subjected. In contrast, the woman of the revolution are proud, equal, independent and strong.
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This painting reflects the Spirit fields in holy Taoism. The bare woman soldier wants to go beyond herself and to exceed the reality, and to seek and to pursue a kind of Nihilism. She wears a red sleeve emblem with Chinese character reflects she is a Hong Wei Bing.
The two ancients were writing some Chinese characters on the woman's legs, these words means: Nihilism. Do not pay more attention to substance; people should control their desire, the appetite, the appetency, the lust, and orexis. The spirit is immaterial and hard to hold and to control, and also hard to describe with others.
The famous ancient landscape as the background decorates the picture in order to express the Traditional Chinese Paint Style.
A big red seal on the top is just for remind us of the permanent link between the Chinese life , religion and traditions.
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One of the most common traditions in the Chinese post revolution period is to have, papers , manifestos in public spaces to all the people to read. Perhaps the headless body of the soldier represents the instance of "Blind Faith"(or loyalty), the Cultural Revolution doctrine which urged the people to have supreme confidence in the ideas of Chairman Mao and the policies of the CCP (Chinese Communist Party). It was believed that open challenges to the party line might cause factionalism and infighting amongst the cadre, and disrupt the Leninist concept of Democratic Centralism, in which public criticism of the party line was forbidden in order to preserve a unified front, and single direction.
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In this print we have Hong Wei Bin, the famous Red Guard soldier, holding a pen and a small book. This may be in reference to the stress placed on educating the military during the Cultural Revolution. It demonstrates the willingness of the young to study and create. It is also in the same context that all should be exposed and read by the people. That we should have all in the open.
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The woman in red, in the centre of the print represents the youth of China. The seal at the bottom of the page is governmental, and is a seal of approval, most likely used for documentation. Together it represents the Chinese Government's firm commitment to the development of Chinese youth. Traditional arts always were in the forefront of Chinese life. Even during the Cultural Revolution, art was a very important element of the struggle. Not to mention that Chairman Mao was a great poet and his words and calligraphy is now firm into the Chinese Cultural Legacy.
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Chairman Mao and Lin Biao are posed together, as traditionally seen in art works during the revolution. They were at first in very close friends, and he took control of the PLA after the revolution. He was one of the 7 Marshals of China, the 7 heads of the Chinese Military incorporating also the air force and the Navy.
However during the Cultural Revolution, it was said that there was a split between the two, and a power struggle in sued in which Lin Biao attempted to escape by plane to the Soviet Union. However, his plane mysteriously crashed over Mongolia. It was said to have been sabotaged, but the CCP denied responsibility. In response to the event, Chairman Mao was quoted as saying, "Rain will fall, Widows will remarry". The Plane in the centre of the print is perhaps an ironic play on the fate of Lin Biao.
Nevertheless, the white star in Lin Biao's eye recognizes all his achievements and contributions to the Chinese Revolution.
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This painting has a young Chinese soldier, naked, bathing yet still armed, with her gun slung around her shoulders and two pens tucked in her bathing suit. One also notices the Chinese figures, around her representing the old literary Chinese masters. The body and sexuality was always a positive and respected aspect of Chinese life.
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In the middle of the painting, a young soldier who wears an army uniform and she is smiling with the visitors.
The red sleeve emblem on her arm and the red star on her bag are the clear and vivid symbols of The Culture Revolution which means Hong Wei Bing.
This painting represents the young generations of the Culture Revolution were childish and stupid and puerile.
Girls during that decade are the samples and specimens of the Youth and Bloom, they have no own thinking, their minds are vacant and empty, and they have no their Weltanschauung. On the other hand, they have no rights to have their own feelings, ideas and thoughts. They only could do is to follow like sheep and fetishism. Mao became their idolatrous idol and God.
The two big Chinese characters on the right of the painting means get married. To marry is the beautiful dream to every young women; this female soldier with green army uniform is not an exception, she is also has her nice dream besides the thoughts of Revolution, so she is smiling to all.
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The three people in the centre of the painting represent the three Pillars of Chairman Mao's society. You see the peasant with the sickle in his hand, the worker wielding his ax, and soldier holding a copy of Chairman Mao's Little Red Book. The Chinese expanded on the old Soviet symbols of the worker and peasant by including the soldier, thus creating what Chairman Mao referred too as the Toiling Class, the three Pillars of society, the Worker the Peasant and the Soldier.
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Paintings by the Chinese artist Zuo Jing Fan
The woman on the painting is wearing a portrait of Chairman Mao and a red emblem, which is symbolic of Hong Wei Bin, the great revolutionary icon of the 1960's; representing womens emancipation and social progression. It is almost as if the woman is asking not to forget the struggles of the revolution. The inscription reads "Do not forget the struggle and fights between the proletariat and the bourgeoisie".
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The female Hong Wei Bing sits still as a form of contemplation, and to think how to carry through the revolution smoothly, and how to gain the success at the ends. During the Culture Revolution, people were very sensitive and over suspicious with others, they lose the basic safety and security, and faith and trust. She is looking at us as trying to understand her and our position in those turbulent times.
The background is a paper which called Da Zi Bao, to object and to criticize the bourgeois' ideas and behaviors.
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The woman lying down on the red flag symbolizes the unflinching devotion of the masses to the revolution. It is almost as if she is telling us, that she will continue the revolution at any cost and continue to fight the enemies of the people. The flag is an early military flag of the Communist youth group, the Chinese version of the Pioneers. It was named after Hong Wei Bin, the famous revolutionary icon. The yellow calligraphy spells out the name of Hong Wei Bin. This organization was massively expanded during the latter years of the cultural revolution, and exists till today.
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The red has always been associated with socialism. Ever since the Communist Manifesto in 1848-9, Red has been the color for revolutionaries, as it signifies struggle, power and blood shed, but also societal progression. In this print it is juxtaposed with he black, which in Chinese tradition represents death and reprehension. The female soldier also holds in her hand a copy of Chairman Mao'Little Red Book. The band around her arm was customary dress for those in the Red Guards.
The colour Red has obvious connotations with socialism, but in China it has many historical significance as well. Historically Red in China represents rebirth, luck, happiness and success, but given the overtly political theme of the print, it also connotes traditional socialist themes such as progression, struggle, self sacrifice and blood as well as bright collective future. This would have been apparent to most Chinese, who connected the ancient significance of the colour red, with its new meaning. Some believe that one of the reason as to why socialism faired better than other experimental ideologies in China during the early 1900's, was largely due to their evocative propaganda. Socialist posters were always themed in vivid reds, whereas other competing ideologies like Anarchism were identified with black, traditionally symbolizing death, decay and poverty.
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The largest Chinese character means "fight" and "army force". The smaller ones translate to "The Proletariat are the leaders, with all the powers and all the rights". This woman is also wearing a red sleeve emblem with Hong Wei Bins yellow handwriting - a symbol of the cultural revolution, her yellow handwriting was an affiliate trade mark of hers, and is instantly recognizable. The writing on the bag reads, "Proud to server, all millions of brother".
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This painting has a young woman in an army uniform, bearing the description, "the younger generations love the Green uniform". The back-ground has large Chinese characters which translate to "Continue the fight between the two classes, the Bourgeois and the Proletariat". The smaller characters on top translates to "The Proletariat Revolution has gained large success so far". The red emblem and on the bag with the red star, are both symbols of the Cultural Revolution.
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Portfolio of the Chinese artist Cai Yi Lin:
The young woman in the painting is Hong Wei Bin. She holds a copy of Chairman Mao's Little Red Book, and we also notice a gun over her legs. She is also wearing an arm band with two Chinese characters which read "Verbal struggle" and "Resort to Violence as a last resort".
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The central character of the painting is Chen Yong Gui, the archetype peasant of the revolution. He was an example for all the peasants, in much the same way that Hong Wei Bin was an example to the youth and women of China. Chen Yong Gui, then went on to be the Secretary of the Party Committee in Da Zhai region of Shan Xi Province, after having a massive agricultural campaign to cultivate the hilly regions of Da Zhai. Behind him are three Chinese characters which are derived from Chairman Mao's Little Red Book. They read "we should learn from Da Zhai's productive methods, and move forward to develop China's agriculture".
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This is a portrait of Zhou En Lai, Perhaps Chairman Mao's dearest friend and closest Comrade. He held many governmental positions, such as head of the PLA during the early stages of the Chinese Revolution, Secretary of Foreign Affairs, and the Prime Minister ship. He was perhaps Chairman Mao's most loyal friend, and defended him against the Rightists during the last years of his life. He wears a badge with Chairman Mao's Portrait, and several Chinese characters which read "To serve the community". After the defeat of the Gang of Four, and the Dengist coup (Led by Deng Xiao Ping), Zhao En Lai's reputation was unfortunately tarnished by the ones who betrayed Mao's ideals. Nevertheless he is still highly revered and admired in China, as the Great leader's greatest friend and ally, and also a shining example of the virtue of the 'Socialist man'.
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In this painting, Mao was waving means he was interviewing Hong Wei Bings during the Chinese Culture Revolution. And we may see a big character in Mao's sleeve emblem which is one of the Chinese words of Hong Wei Bing.
Behind Mao are the scenes and views of the ancient Beijing City as the background of this painting. This is one more ever lasting presence of the Great Leader that led China and the World to a better future. His charismatic and magnanimous presence is eternal.
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Paintings by the Chinese artists Qiao Shan:
The woman is holding a sheet-of paper called a 'Dazi Bao'. Dazi Bao was used to write criticism, that would then be glued to a wall in the center of the village/city, where all would come to read the notifications. In this case the woman is criticizing the class enemies and the Bourgeois. Often individuals would place anonymous criticisms of state policy, or of work conditions. The wall acted as a public sphere in which anyone would feel free to criticize.
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1966, Tiananmen SquareThe young female soldier wears a red emblem on her sleeve, which belongs to the Hong Wei Bin youth Group. This was the Chinese version on the Pioneers, and very popular among the younger generations. The red gates behind the young girl are the entrance gates to Tianamen Square in Beijing. During the Cultural Revolution there were many calls for the educated urban youth to move out into the country side and help the peasants with the industrialization of rural China.
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The woman, is Hong Wei Bin, with her back to the train. She is leaving for the country side to assist the peasantry in the industrialization of rural china. Many youths from urban cities were asked to go out to the countryside and assist with the evolution taking place outside the city centers. The red banner hanging from the windows of the train read "the educated and urban youth and intellectuals go to the countryside to experience the poverty and to improve their conditions".
An original contemporary oil painting on cotton canvas
Artwork by the Chinese artist Wang Run Chun:
This is a painted reproduction of a famous photograph taken of Chairman Mao, shortly after having joined the CCP (Chinese Communist Party) in the early 1920's. Chairman Mao wears a traditional military cap with a red star which was the insignia of the Eighth Route Army, in PLA (People's Liberation Army), stationed in the area of Yanán in Shan Xi Province.
An original contemporary oil painting on cotton canvas
