Propaganda During China’s Cultural Revolution: Simple Art and Big Ideas

The effects of the Chinese Cultural Revolution were widespread and can be seen even to this day. With the rapid enforcement of communist policies by the government of Mao Zedong, as well as the elimination of capitalist norms and the constant fear imposed on both the general population and the political elite, the political and economic landscape of Chinese society was forever changed (Schoenhals 3-5). This change required carefully executed policies, and was supported heavily by the use of state-sponsored propaganda. One of the most commonly used forms of this propaganda was the poster, with this specific one being a prime example of how the use of art in the media can convey messages both subtle and obvious, and connect with an audience with desired effects.

The Cultural Revolution in China was designed for the entire population to understand the importance of Maoism, but it is clear that this poster is aimed at influencing those who have been swayed by capitalist ideals. The captive beneath the anvil is Liu Shaoqi, a man who once held the position of Chairman of the People’s Republic of China, yet later was persecuted by the Mao government for being a perceived capitalist. This poster was used to represent the harsh treatment anyone could receive for sharing anything other than a Maoist perspective.

When looking at the faces of both the persecutor and Mao portrayed in the art, it is seen how well the poster reflects the attitude of the Chinese government during this time. The man holding the anvil smiles intensely, holding a hand to the sky as if drawing attention to himself and the scene he creates, warning others of the fate that could befall them if they too fell to capitalist ideas. And in the background, Mao glances at the scene looking satisfied, as if he is staring past the location of the persecution and viewing the entirety of his rapidly shifting country. The look of content also contains a hint of smugness, as Mao looks on with his disapproving eyes at those who do not share his ideals, either domestically or beyond his own country’s borders. The majority of the scene is bathed in red, a blatant reference to the color most often linked to communism, with Mao’s face a drab, olive green, suggesting the connection between the militant nature of the omnipotent government. 

The text accompanying the poster contains an obvious meaning, in that those supporting the poster are somehow harbingers of truth. What is more quietly apparent, though, is how the quote is tied to the frightening nature of pure communism, as referenced in the literary work, Thinly Veiled. The words claim, “The just cause has to be victorious,” implying that anything in deviation of this action would be a sheer impossibility. The black-and-white nature of both the Chinese government’s views, as well as the ideas prevalent in communist literature at the time, allowed for Mao and his supporters to present the idea of anything in opposition to their values as inconceivable.

A final noteworthy part of the layout can be seen in the size of each of the individuals. Liu Shaoqi, a dissident who is punished for his actions against the state, lies in pain on the anvil and squirms with his tiny figure. His captor, a man twice the size of Shaoqi, represents the size and determination of the confidence of Mao’s supporters. And Mao’s face, a shadow in the background, remains larger than all, a token of his cult of personality, to remind the people of Communist China that he is an ever-present aspect of their lives that will judge their behavior and treat them accordingly.  

Work Cited

Schoenhals, Michael. China's Cultural Revolution, 1966-1969: not a dinner party., 1996.