| In the mainstream media reports, Zhou Lingzhao is a well-known Chinese artists, a famous designer, a participant and a witness to a series of new China’s national design projects. In the study of art history, Zhou Lingzhao also enters the official history of art. In the design study, "Zhou Lingzhao’s deco" has become a classic style. However, how does Zhou Lingzhao play his role equally outstanding in both design and art field has not being fully presented in art history, public opinoin and people’s understanding towards him, but only restore a some one-sided.In various media reports, Zhou Lingzhao is a hardworking and productive artist. In his daily life, Zhou Lingzhao is simple and optimistic. His only focus is painting. When there is a task from national government, complete it conscientiously. He hates empty politic talk, but always choose to follow the Communist Party of China closely at the crucial moment, and firmly believe in the ideal of progress. During the Anti-Japanese war, he is painting for the nation. After the founding of New China, he contribute to the new country. Everytime he adjusts his profession are based on the Communist Party of China guidance and call, as well as his self-cultivation and artistic pursuit.This paper tries to connect various fragmented and partially Zhou Lingzhao’s image in order to form a relatively completed idea. And then, use this idea as a foundation, sort out the relation between Zhou Lingzhao and his time, and the relation between the Communist Party and intectuals in art field. In the end, it attempts to discuss approaches and possibilities of integrated Zhou Lingzhao’s personal experience into his time and politic, as well as how could an artist’s personal idea fit in the need of his time.Main content of this paper is in the second, third and fourth chapter. The second chapter is about Zhou Lingzhao’s self development and creation during the Anti-Japanese War. When the nation’s fate fall in the deep crisis, he gives up his carefree life, devotes himself into Anti-Japanese Propaganda. This self-conscious guide him completed the transform of his identity from a commercial advertising designer to an artist for Anti-Japanese War Propaganda. When there is a intensive conflict being formed between commercial interest and the nation’s need, Zhou Lingzhao choose follow the nation’s need and his art pursuit. We could not find many of Zhou’s work from this period. So that, the emphasis in this chapter is the origin and development of his progressive thought, turning points and the function of members of the community party. The third chapter take New China’s visual image design from Zhou Lingzhao as the context, describes how traditional image he created turn into self-presentation of a modern country, i.e. presented Chinese tradition with new approach. Chinese traditional style, which can be seen in Zhou Lingzhao’s work, integrated the passion of artists’ creation into national needs. The choices of their form, is a proactive result of their own knowledge base and understanding of new China. The fourth chapter use Zhou Lingzhao’s other work from the founding of new China as the context, present how Zhou Lingzhao’s expectation to the new life projects to his creation by artistic expression approach. The new government provides stable life and creative environment for those artists. At this time, Zhou Lingzhou welcomes his high productive period, his art become more and more mature. Taking Zhou Lingzhao as an example, this paper intends to indicate that there is a subtle relationship between artists’ personal interest and their country’s needs.
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