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 ( ); lofty, big and perfect (
)
Proscribed use of certain colours

Aspects of Mao
Mao
Mao
Mao
Mao
Mao

as father and teacher

as red sun, or as god-like figure
as young revolutionary
in profile, e.g. among leaders
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, contd.

Proper handling and placement
Height
Framing
Extended even to newspapers bearing Maos image

Symbols of Mao
The red sun
Sunflowers
Mangoes
The character (loyalty)
Maos 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