eastredgallery is a specialist seller of authentic Chinese propaganda posters. Based in Cambridge, UK, we offer original poster artwork spanning the history of the People's Republic of China, from its birth in 1949 right up to the modernisation of the 1990s
XL posters are around twice the size of standard Chinese posters and make a much greater impact when displayed on a wall. They're also harder to get hold of for collectors as fewer remain in good condition. General dimensions are 764x1064mm (D0 specification), although we list the exact size of each poster individually. We will be adding many more soon.
Although eastredgallery specialises in Chinese posters, when we're sourcing our products we do occasionally come across some very rare examples of printed North Korean posters. These are genuine vintage propaganda posters, produced for domestic display within North Korea.
Hand-painted North Korean posters found more commonly for sale outside of the country are generally contemporary and created specifically for export as a valuable means of foreign revenue. The period printed posters are extremely rare, intended to directly influence North Korean citizens rather than to satisfy a foreign audience. We're happy to be able to offer several fascinating examples for sale in our store right now. If you're interested in owning something really unique keep an eye on this section of the website.
The exhibit, Modern Chinese Political Posters, is on view through April 24 at the East Asia Library. It features political posters from collections at the Hoover Institution Library & Archives and a privately owned museum in Shanghai.
About 50 posters, most of which date to the 1950s through the 1970s, depict colorful scenes of peasants, soldiers and working-class people with political messages that denounce capitalism and promote collective work.
Some of the posters on display come from the East Asia Library and the Hoover Institution Library. But most are copies from the Shanghai Propaganda Poster Art Centre, which Jidong Yang, the head of the East Asia Library, stumbled upon while on a trip in China a few years ago.
The Chinese Art Posters collection includes digital representations of posters originating in China during the 20th century. These posters range from those produced in 1920s Shanghai to propaganda posters from the Cultural Revolution (1966-1976). Together these materials give researchers a view into China's complex and intriguing past and offer a narrative of change, influence, and impressions from the 20th century.
Yang Peiming, owner and director of the Shanghai Propaganda Poster Art Centre in Shanghai, will be the keynote speaker. Yang's private museum contains what is thought to be the largest collection in existence of post-World War II propaganda art from the People's Republic of China. A selection of his posters is on exhibit at the Nelson Gallery on campus through May 18.
Other symposium speakers will include Ellen Johnston Laing, an associate of the Center for Chinese Studies at the University of Michigan, who will discuss the fate of 1930s commercial calendar artists under Mao, and Julia F. Andrews, a professor of art history at Ohio State University, who will focus on poster art of the Cultural Revolution. Several UC Davis faculty members will also discuss their research, including Chen Xiaomei, a professor of East Asian Languages and Cultures. Chen, who was among the millions of urban Chinese youths who were relocated to rural villages during the Cultural Revolution, will discuss the disappearance and reappearance of Chen Duxiu, a founding father of the Chinese Communist Party, in propaganda posters. Other UC Davis speakers will talk about portrayals of women and gender in Chinese propaganda art; African American champions of Chinese communism, including "Black Boy" author Richard Wright; and the continuing influence of Maoist propaganda art on modern Chinese art.
"Propaganda posters are not only graphically powerful and aesthetically mesmerizing, they also offer an important window into Chinese culture," says symposium organizer Katharine Burnett, an associate professor of Art History at UC Davis. "They represent the history of China from the Chinese government's perspective from 1949 on, and show us what the government wanted people to understand. The more we know about Chinese culture during this crucial period in history, the better we can understand what the Chinese people have been through and where they are today."
Recently, Marquand Art and Archaeology Library and the East Asian Library jointly acquired a collection of 32 Chinese COVID-19 posters. The posters cover a range of topics, from public health information to political propaganda, during the COVID-19 epidemic in China.
The posters are characterized by their public health messaging (mask wearing), their militaristic language (war of the epidemic and the fight with the virus), their comic and manga aesthetics, their depicted symbolic heroism of health care and other front line workers (heroes, epidemic soldiers), their rallying cries (plea for Wuhan to endure local hardship for the national good), their nationalistic propaganda (the Chinese nation as the only nation of 5,000 years unbroken history), their use of classical literary composition, and the intended tight control of public opinion (no spreading of rumors).
These posters will be of great interest to students and scholars doing research on contemporary China, especially in the area of public health policy, political communication, media and cultural studies, propaganda, and design.
Many Christian posters warned that if China and its people did not decide to change directions, disaster awaited. Their feet were already on the edge of the abyss. Other posters, however, portrayed the critical moment as already past. The people of China did not need to make a choice, but rather needed to be rescued. Buddhism, Daoism, and Confucianism had failed to preserve the people in safety. Thus, stuck in a pit, the people waited for a savior.
Christian propaganda posters provide a view of what Chinese Christians believed about their faith and how they tried to make it attractive to their compatriots. In hundreds of posters collected at ccposters.com, one can see how Chinese Christians vied for the soul of the nation. They believed Christ could transform China and depicted his marvelous acts of salvation in a variety of ways. From clocks and masks to roads and crosses, Christians deployed common propaganda symbols of the day to point people in a new direction: to national salvation through Jesus Christ.
The brightly coloured posters portray elements of Chinese political visual culture. They were heavily influenced by The New Year pictures (nianhua) which were the most common form of household decoration in China until the mid-20th century.
The display is a small selection from a recent acquisition of a large group of 40 Chinese posters. The collection comes from the estate of the late Ms Norma Moriceau, a costume designer and art director who travelled extensively. Norma died 22 August 2016 and the Museum purchased the collection from Theodore Bruce Auction on 26 November 2016.
Propaganda in China refers to the use of propaganda by the Chinese Communist Party (CCP) or, historically, the Kuomintang (KMT) to sway domestic and international opinion in favor of its policies. Domestically, this includes censorship of proscribed views and an active promotion of views that favor the government. Propaganda is considered central to the operation of the CCP and the Chinese government, with propaganda operations in the country being directed by the CCP's Central Propaganda Department.
Aspects of propaganda can be traced back to the earliest periods of Chinese history, but propaganda has been most effective in the twentieth and twenty-first centuries owing to mass media and an authoritarian government. The earliest Chinese propaganda tool also was an important tool in legitimizing the Kuomintang controlled Republic of China government that retreated from mainland China to Taiwan in 1949.
Since the CCP took power in China, propaganda during the Mao era is known for its constant use of mass campaigns to legitimize the party and the policies of leaders. It was the first time the CCP successfully made use of modern mass propaganda techniques, adapting them to the needs of a country which had a largely rural and illiterate population. Today, propaganda in China is usually depicted through cultivation of the economy and Chinese nationalism.[needs update]
Because the national government of this time was weak, it was difficult for any censorship or propagandistic measures to be carried out effectively. However, a bureau was set up to control the production and release of film in China. Also, newspapers unfavorable to the central government could be harassed at will. After the Northern Expedition, the power of the central government increased significantly, and propaganda campaigns became more effective. Propaganda during the Chinese Civil War was directed against the CCP and the Japanese.[page needed]
The origins of the CCP propaganda system can be traced to Yan'an Rectification Movement and the rectification movements carried out there. Following which it became a key mechanism in the Party's campaigns. Mao explicitly laid out the political role of culture in his 1942 "Talks at the Yan'an Forum on Art and Literature". The propaganda system, considered a central part of CCP's "control system", drew much from Soviet, Nazi and other totalitarian states' propaganda methods. It represented a quintessential Leninist "transmission belt" for indoctrination and mass mobilization. David Shambaugh observes that propaganda and indoctrination are considered to have been a hallmark of the Maoist China; the CCP employed a variety of "thought control" techniques, including incarceration for "thought reform," construction of role models to be emulated, mass mobilization campaigns, the creation of ideological monitors and propaganda teams for indoctrination purposes, enactment of articles to be memorized, control of the educational system and media, a nationwide system of loudspeakers, among other methods. While ostensibly aspiring to a "Communist utopia," often had a negative focus on constantly searching for enemies among the people. The means of persuasion was often extremely violent, "a literal acting out of class struggle." 781b155fdc