Iconography of Mao Zedong

during the Cultural Revolution 1966 – 1976

Propaganda vehicles of Mao iconography• Standardised portraits• Posters and paintings (e.g., Chairman Mao goes to Anyuan)• Papercuts• Statues and figurines• Badges• Teapots and other ceramics/earthenware• And more…

Stylistic conventions for representing Mao• Revolutionary realism – triangular composition• Revolutionary romanticism – relentless optimism• Height• Size (changes according to degree of ‘divinity’ being represented)• Left/right orientation• Red, shiny and bright (红光亮 ); lofty, big and perfect (高大全 )• Proscribed use of certain colours

Aspects of Mao• Mao as father and teacher• Mao as red sun, or as god-like figure• Mao as young revolutionary• Mao in profile, e.g. among leaders• Mao among the masses

Social and ritual significance• Decoration of public and private spaces• Asking for instructions in the morning, reporting back in the evening;

confessions• Awarding as prizes, or use as gifts• Bodily adornment• Religious and ceremonial incorporation• Talismanic character

Social and ritual significance, cont’d.• Proper handling and placement• Height• Framing• Extended even to newspapers bearing Mao’s image

Symbols of Mao• The red sun• Sunflowers• Mangoes• The character 忠　 (loyalty)• Mao’s calligraphy• The text of his quotations• The Little Red Book, or the Collected Works

Food for thought• Ubiquity• Quasi-religious and fetishistic aspects• Cult grew among the masses in non-approved ways• Performative and self-preservatory, or genuine expression?• Applicability to other art forms• Relevance of Mao iconography persists

• https://www.youtube.com/watch?v=plstYBk54Q8