{"id":411,"date":"2016-04-06T17:54:38","date_gmt":"2016-04-06T17:54:38","guid":{"rendered":"http:\/\/blog.westminster.ac.uk\/contemporarychina\/?p=411"},"modified":"2016-04-06T17:54:38","modified_gmt":"2016-04-06T17:54:38","slug":"disappearing-artists-2","status":"publish","type":"post","link":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/disappearing-artists-2\/","title":{"rendered":"Disappearing Artists"},"content":{"rendered":"

\"Share<\/a><\/p>\n

Written by Cassie Lin<\/span><\/p>\n

I came across a lot of names when cataloguing the poster collection, names of the artists, printed at the bottom of each poster, some appear more often than the others. So I began to wonder –\u00a0who are they, what are their life stories, and their artistic pursuits behind these reproductive and strongly stereotypical propaganda posters, especially when they were\u00a0living through war and social turbulence?<\/span><\/p>\n

Jin XueChen and Li MuBai are 2\u00a0names often appeared\u00a0on\u00a0the posters. Together with another artist Jin MeiSheng, they were known as the “Three Pillars of Calendar Posters” in 1920s Shanghai. As one of the earliest commercial hubs in China, Shanghai breed a large number of companies and brands at that time, and calendar poster was the main advertising method. These calendar posters\u00a0often feature images of women with\u00a0gentle body curves\u00a0in fashionable outfit, promoting mostly cigarettes and beverages.<\/span><\/p>\n

\"12\"<\/a><\/p>\n

Jin XueChen (Left) and Li MuBai (Right)<\/strong><\/p>\n

\"Coca<\/a><\/p>\n

Coca Cola Calendar Poster from the 1920s<\/strong><\/p>\n

After\u00a0joining the ZhiYing\u00a0Studio in Shanghai in 1928,\u00a0Li MuBai and Jin XueChen formed their partnership\u00a0that lasted decades. The two created many commercial calendar posters together – Li would sketch the human figures, while Jin would paint the clothes and accompanying scenery. After 1949, the establishment of Communist China, the Li and Jin partnership shifted their products from serving a commercial purpose to a political one. Both of them joined the Chinese Artist Association, and contracted on a special basis by the Shanghai Poster Publishing House. In their later works, cigarette holding beauties were replaced by political figures and\u00a0proletarian characters. In 1956, Li and Jin were requested by the publishing house to establish the Mubai Painting Studio to train young artists.<\/span><\/p>\n

\"Li<\/a><\/p>\n

‘Mao Meets Model Labourers’ by Li MuBai and Jin XueChen, 1964<\/strong><\/p>\n

\"li<\/a><\/p>\n

‘The News Came Suddenly that She had been a heroin’\u00a0by Li MuBai and Jin XueChen, 1978<\/strong><\/p>\n

Ha QiongWen is another name largely appears in the poster collection. Unlike the former\u00a0calendar poster masters Li and Jin, Ha represented another division of those\u00a0propaganda poster artists. He studied in the Fine Art Department\u00a0of Chong Qing Central University, joined the People’s Liberation Army after graduating in 1949, and worked for the Army’s Cultural Department in Beijing. Ha was later transferred to the Shanghai People’s Fine Art Publishing House in 19955, where he became one of\u00a0the most prolific poster designers at that time.<\/span><\/p>\n

\"Ha\"<\/a><\/p>\n

\u00a0 Ha QiongWen<\/strong><\/p>\n

Our collection holds one of\u00a0Ha QiongWen’s\u00a0most controversial poster\u00a0‘Long Live Chairman Mao’. In 1959, the publishing house assigned a task to Ha for creating a poster to celebrate the 10th anniversary of establishing Communist China. Ha didn’t follow the stereotypical style\u00a0of propaganda poster and painted political figure and a praised crowd, instead, he created an image of a mother\u00a0and\u00a0her daughter, immersed in\u00a0the ocean of pink flowers and gazing upon a Huabiao (a ceremonial column used in traditional Chinese architecture) in Tian’an Men Square afar. Ha’s metaphoric\u00a0portrayal in this poster ‘Long Live Chairman Mao’ caused him a lot of troubles during the socio-political movement – the Cultural Revolution in the 60s and 70s. He\u00a0was accused of depicting a woman wearing ‘bourgeois’ outfit, and not showing an image of Chairman\u00a0Mao explicitly. Ha was\u00a0 attacked as the “Top Celebrities of the Literature and Art Black Line”, and often dragged out as an object for public abuse during each “criticism session”. Despite the humiliated mistreatment and a suicide attempt during the period of\u00a0Cultural Revolution, Ha QiongWen remained active as a poster designer\u00a0 until his retirement in 1992.<\/span><\/p>\n

\"Ha<\/a><\/p>\n

‘Long Live Chaiman Mao’ by Ha QingWen, 1959<\/strong><\/p>\n

The era of propaganda poster is disappearing, along with these great artists created them. It is an absolute shame that the Chinese propaganda\u00a0posters are more\u00a0emphasised by\u00a0their political value, rather than its creativity in visual arts. I guess it’s the\u00a0inevitability\u00a0of history, but it’s worth remembering their names, no matter how easily to be neglected, when you are checking out the posters, those names\u00a0are printed at the bottom of each piece.<\/span><\/p>\n

\n

\u6d88\u5931\u7684\u827a\u672f\u5bb6<\/strong><\/p>\n

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\n

Cassie Lin is a doctoral student at the University of Westminster. She previously worked as an archive assistant at the University of Westminster’s Chinese Poster Collection, now renamed the China Visual Arts Project Archive.\u00a0<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Written by Cassie Lin I came across a lot of names when cataloguing the poster collection, names of the artists, printed at the bottom of each poster, some appear more often than the others. So I began to wonder –\u00a0who…<\/p>\n","protected":false},"author":248,"featured_media":254,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-411","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-china-visual-arts-project"],"_links":{"self":[{"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/posts\/411","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/users\/248"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/comments?post=411"}],"version-history":[{"count":0,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/posts\/411\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/media\/254"}],"wp:attachment":[{"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/media?parent=411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/categories?post=411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.westminster.ac.uk\/contemporarychina\/wp-json\/wp\/v2\/tags?post=411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}