Chinese Posters
The Chinese posters on this site are divided in three sections: the early years (1949-1965), the Cultural Revolution (1966-1976) and the period of modernization up to the present (1977-1997). See also Stefan Landsberger's Chinese Propaganda Poster Pages.
Since 1949, the Communist Party is in power in China, with Mao Zedong as chairman. In the early years, poster propaganda focuses on building the new country. The late 1950s bring the forced collectivization of agriculture and the campaign for the Great Leap Forward, which was to boost China's industrial production. The happy, energetic, and idyllic scenes on the posters contrast with the grim reality of mismanagement in industry and agriculture, which resulted in a horrible famine in which 30 to 40 million people starving to death.
On the posters, elements of Socialist Realism are recognizable, inspired by examples and teachers from the Soviet Union. From the beginning they are blended with elements of traditional Chinese painting and popular art: sweet colours, applied in soft gradations or combinations of heavy black contours with bright flat colours.
In the early 1960s there is an economic liberalization to encourage production. At the same time, an extremely aggressive style of propaganda is developed for use against Western imperialism. This is especially evident in posters on the Vietnam War. In 1966 Mao launches the Cultural Revolution to eliminate his reformist rivals and set the country back on a rigid communist course. An enormous propaganda campaign gets under way, with hundreds of thousands of copies of posters being distributed. The posters show political adversaries crushed by giant workers, determined volunteer soldiers carry machine guns and seem ready to use them. The smiling image of Mao overshadows all, hovering above crowds carrying red flags and Little Red Books.
Designers use examples rather than an individual style, as individualism is not appreciated. Experienced designers have to work anonymously or in collectives, or are not allowed to work at all. Every detail has a distinct meaning on the posters. Gestures and grouping of figures in frozen poses often call to mind scenes from the revolutionary Beijing Operas. Red is the dominant colour on almost every poster. Every nuance of the ruling ideology is spread with an incredible intensity.
In the early 1970s the situation loosens up slightly. The emphasis shifts to the countryside and to the glorification of life in the agricultural communes. Posters become more colourful again, often painted in the style that combines heavy contours with carefully shaded colours. The folk painters from Huxian county are touted as true folk artists, demonstrating the innate artistic abilities of the people. Hundreds of their paintings are made into posters.
After Mao's death in 1976, his most fanatical supporters (called the Gang of Four) are arrested by Mao's successor, Hua Guofeng. He brings about reforms that are carried further by Deng Xiaoping, who gradually gains power. In his view, some liberalization is necessary to allow China to catch up with the world industrially and economically. For the first time, posters show traces of growing material wealth. Role models are used to teach people the desired attitude. But social problems are becoming visible too: corruption, crime, and overpopulation. Political control over the visual arts is loosened. The Chinese version of Socialist Realism is no longer the only form of expression permitted, as the restriction had caused the most talented artists to turn away from creating propaganda posters. The influence of Western advertising becomes increasingly evident. Even the people on the posters seem less 'Chinese'.
Conspicuously absent is the glorification of political leaders after Hua Guofeng. Deng detested the cult of idolization. Absent also are reactions to the great drama of Tian'anmen Square in 1989. The posters are no longer as central in state propaganda as they had been. In the later 1990s, poster production declines dramatically. The heyday is over.
Check it out
Do I need to even talk about what a hoot these posters are?
Since 1949, the Communist Party is in power in China, with Mao Zedong as chairman. In the early years, poster propaganda focuses on building the new country. The late 1950s bring the forced collectivization of agriculture and the campaign for the Great Leap Forward, which was to boost China's industrial production. The happy, energetic, and idyllic scenes on the posters contrast with the grim reality of mismanagement in industry and agriculture, which resulted in a horrible famine in which 30 to 40 million people starving to death.
On the posters, elements of Socialist Realism are recognizable, inspired by examples and teachers from the Soviet Union. From the beginning they are blended with elements of traditional Chinese painting and popular art: sweet colours, applied in soft gradations or combinations of heavy black contours with bright flat colours.
In the early 1960s there is an economic liberalization to encourage production. At the same time, an extremely aggressive style of propaganda is developed for use against Western imperialism. This is especially evident in posters on the Vietnam War. In 1966 Mao launches the Cultural Revolution to eliminate his reformist rivals and set the country back on a rigid communist course. An enormous propaganda campaign gets under way, with hundreds of thousands of copies of posters being distributed. The posters show political adversaries crushed by giant workers, determined volunteer soldiers carry machine guns and seem ready to use them. The smiling image of Mao overshadows all, hovering above crowds carrying red flags and Little Red Books.
Designers use examples rather than an individual style, as individualism is not appreciated. Experienced designers have to work anonymously or in collectives, or are not allowed to work at all. Every detail has a distinct meaning on the posters. Gestures and grouping of figures in frozen poses often call to mind scenes from the revolutionary Beijing Operas. Red is the dominant colour on almost every poster. Every nuance of the ruling ideology is spread with an incredible intensity.
In the early 1970s the situation loosens up slightly. The emphasis shifts to the countryside and to the glorification of life in the agricultural communes. Posters become more colourful again, often painted in the style that combines heavy contours with carefully shaded colours. The folk painters from Huxian county are touted as true folk artists, demonstrating the innate artistic abilities of the people. Hundreds of their paintings are made into posters.
After Mao's death in 1976, his most fanatical supporters (called the Gang of Four) are arrested by Mao's successor, Hua Guofeng. He brings about reforms that are carried further by Deng Xiaoping, who gradually gains power. In his view, some liberalization is necessary to allow China to catch up with the world industrially and economically. For the first time, posters show traces of growing material wealth. Role models are used to teach people the desired attitude. But social problems are becoming visible too: corruption, crime, and overpopulation. Political control over the visual arts is loosened. The Chinese version of Socialist Realism is no longer the only form of expression permitted, as the restriction had caused the most talented artists to turn away from creating propaganda posters. The influence of Western advertising becomes increasingly evident. Even the people on the posters seem less 'Chinese'.
Conspicuously absent is the glorification of political leaders after Hua Guofeng. Deng detested the cult of idolization. Absent also are reactions to the great drama of Tian'anmen Square in 1989. The posters are no longer as central in state propaganda as they had been. In the later 1990s, poster production declines dramatically. The heyday is over.
Check it out
Do I need to even talk about what a hoot these posters are?
posted by Rev. Dr. Eric Z. Willman at 9:04 AM
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