CULTURAL REVOLUTION!

During the Cultural Revolution (1966-1976) this policy was implemented vigorously. Visual imagery of the leader and his state propaganda appeared everywhere – on large posters or small papercuts, and on items of everyday use.

Chairman Mao's image and imprint were ubiquitous, and it has been estimated that 10.8 billion Mao texts and images were printed by the state between 1966 and 1976.

Mao is shown principally in two ways. He stands alone in a rolling landscape that represents the extent of the nation, or he is depicted in conversation with people representing different categories of the population: worker peasant soldier groups, national minorities, model revolutionaries, successful industrial or agricultural brigades.

The title above this image reads 'Follow Chairman Mao's Words, Become Successors of the Revolution' and the verse on the bottom left corner of the poster states:

Posters combining text and images to promote political messages were a key tool of Cultural Revolution propaganda.

The compositions were often based on Soviet socialist heroic models, with strong central figure groupings.

The predominant colour was red, and where Mao was depicted, there was always a glow of reflected light. Figures around him were unfailingly eager and smiling.

Some of these posters are attributed to particular artists but many are collaborative, or anonymous.

Between 1972 and 1976 the Chinese national committee for art organised a series of national art exhibitions. The second exhibition, in 1973, included a large section devoted to guohua (literally 'national painting'). 

The ink paintings in this category used the traditional medium of brush and ink, and revived traditional Chinese landscape styles.

However, these new landscapes now incorporated elements representing socialism; such as figures clad in military uniform, or symbols of modern industry.

The folk art tradition of papercutting has a history of some 2000 years in China. This exhibition includes examples from a number of provinces in both north and south China, each with local papercutting characteristics.

From the 1930s onwards, both papercuts and woodblock prints were used for promoting and circulating political ideas. However, whilst woodblock prints became part of an urban intellectual movement, papercuts remained within local rural practices. 

These two papercuts depict heroines from the famous ballet Red Detachment of Women. This was one of eight revolutionary plays created by Mao's wife Jiang Qing, and tells the story of the liberation of a peasant girl and her rise under the influence of the Communist Party

Other images on papercuts celebrated national successes brought about by the People's Republic, such as new engineering and infrastructure initiatives. Some papercuts depicted sacred revolutionary locations, such as Chairman Mao's birthplace.

Revolutionary images could also be found on everyday items. Matchboxes are a prime example and the range of motifs that appeared on them is comparable to those found on postage stamps in the West, but the circulation was even wider.

Before the cultural revolution, matchboxes were often illustrated with images from Chinese popular legend. During the 1960s and 1970s the boxes instead carried images promoting industrial progress, public health, safety, literacy, and self-improvement. 

This exhibition presents a selection of Cultural Revolution art and state graphics, that were collected in China between 1968 and 1979.

The exhibition can be adapted to suit all venue sizes from 150 - 350 square metres and will come with object labels and interpretation panel content and design. The exhibition will be available to hire for a 12 week display period.

The final selection will be decided in consultation with the touring venue, depending on display requirements and venue space. All the works will be mounted and framed.

The exhibition hire fee includes:

• A selection of mounted and framed posters and papercuts, and a selection of matchboxes; to be displayed cased. 

• Object labels and text panel content and design

• The exhibition's curator would be available for a lecture at the touring venue

• A selection of five images (to be determined by the venue) for use in the venue's press and publicity

• Object preparation and condition reporting

• Tour co-ordination by the Ashmolean Museum Registrars' Department

CULTURAL REVOLUTION! State Graphics in China from the 1960s to 1970s is a touring exhibition from the Ashmolean Museum, Oxford.

All our touring exhibitions are curated by experts from the University of Oxford and based on original research. They utilise works of art and historical objects from the collections of the Ashmolean, to tell fascinating stories across cultures and time. All curators are available to give a lecture as part of the exhibition package.

Our touring exhibitions team will provide expert assistance with all aspects of the exhibition, from the planning stages to the installation and beyond. We aim to build long term, mutually beneficial relationships with our touring partners.

Please contact us if you are interested in hiring, or require any further information:

Touring Exhibitions, Ashmolean Museum:

E: touring.exhibitions@ashmus.ox.ac.uk

T: 01865 288 074/197

W: www.ashmolean.org/touring