Wúchǎnjiējí wénhuà dà gémìng de hàojiǎ chuīxiǎng le
A Bugle Call for the Great Proletarian Cultural Revolution
Nov. 1965-May 1966
The scroll held by the raised hand represents Yao Wenyuan’s article “On the New Historical Play Hai Rui Dismissed from Office”, published on November 10, 1965. Three figures in the left corner are three officials of the Beijing Municipal Government, Deng Tuo, Wu Han, and Liao Mosha who were contributors to the column “The Village of Three Families” in the official journal The Front Line. The column was openly criticized in May 1966, an event represented by the large piercing pen in this image.
Chairman Mao Reviewing the Army of the Cultural Revolution
The first rally of Red Guards and students took place on August 18, 1966 and the eighth rally on November 26, 1966. An estimated 12 million students from all over China went to Beijing to see Chairman Mao.
“Destroying the four olds”, that is, the old ideas, old culture, old customs, and old habits of the exploiting classes, was a call issued by Lin Biao on August 18, 1966 when he accompanied Mao on the Tiananmen Rostrum at the first students rally. The characters on the flag with Mao’s image read, “Rebellion is justified.”
Long Live the Great Proletarian Cultural Revolution
This is the title piece of the set and the name of the producer is embedded in the front wall of the Tiananmen Rostrum. It reads: Paper Cuts by the East Is Red Arts and Crafts Factory, Foshan, Guangdong. The name of the institution was used temporarily from 1971-1973 and then it was switched back to The Folk Art Research Society of Foshan, founded in 1956. The set of paper cuts was produced by a group of artists of the Society.
The Inception of the Great Proletarian Cultural Revolution
Jiang Qing’s leading role in producing proletarian revolutionary performing arts （1964-1967) is acknowledge and artistic efforts in transforming performing arts are identified as the inception of the Cultural Revolution. The figures surrounding the central figure-Jiang Qing- are mostly characters from the model Peking operas and ballets. The two figures on the far left side represent famous cultural products in the Yan’an period, suggesting continuity between the two periods in terms of creating proletarian culture. The female peasant and male factory worker on each side of the top corner and the old Uygur man in the lower left corner represent the CCP’s policy of cultural representation that centers on workers, peasants, women and ethnic minority.