Study On Propaganda Pictures Of War And Peace In Socialist Transitional Period

The period of socialist transition(1949-1956)was the incipient period when the new Chinese regime had just been established but had not yet entered the socialist system.During this period,all areas of new China gradually came under the rule of the Communist Party of China,and the experience of the liberated areas began to be popularized and spread throughout the country,and a new set of governance models gradually formed;this period was also the period when new China was moving from civil war to peace,but at the same time Against the backdrop of the Cold War,New China faced serious international security challenges in the northeast and southeast,such as the Korean War and the Taiwan Strait Crisis.On the one hand,the new regime adopted a tough confrontational stance externally,and on the other hand,it also launched a series of campaigns domestically,including,for example,the campaign to level the signature,the campaign to resist the U.S.and aid North Korea,and the campaign to liberate Taiwan,etc.It can be said that this was also a period of campaign At the same time,because of the "one-sided" policy,this period was also a special time for New China to study the Soviet model comprehensively and systematically.It was in this context that propaganda paintings,as one of the most effective tools of political propaganda,became the most produced and distributed genre of art creation in New China.Among the propaganda paintings of this period,the propaganda paintings on the theme of "War and Peace" reflected the problems of regime stability and the complex domestic and international tensions faced by the new regime during the socialist transition on the one hand;on the other hand,they also presented the political logic of the new regime at its lowest level in the most dramatic and prominent way,a revolutionary framework based on dichotomies and oppositions.A revolutionary framework based on a dichotomy of narratives that shaped almost every aspect of the new China,from politics and diplomacy to culture and art.In fact,we can view the"War and Peace" propaganda poster as a dualistic narrative structure,involving both the contradiction of "war and peace" and the contradiction of "politics and art.It involves both the contradiction of "war and peace" and the contradiction of "politics and art".Therefore by examining the propaganda paintings on the theme of "war and peace," we can get a glimpse of how this dichotomous narrative structure shaped the artistic landscape of the new China,and how such art,in turn,influenced politics.Based on these ideas,the first chapter of this paper explores how,under the guiding ideology of "literature and art in the service of politics," the new China established a systematic system for the creation,distribution,and dissemination of propaganda posters and how,through the "New Year Painting Movement," the nation’s Through the "New Year Painting Movement," art workers throughout the country were integrated into the creation of propaganda paintings.It was through such a system that propaganda paintings became the sounding board for political campaigns and once played an important mobilizing role.In the following chapters,the author will sort out the relationship between propaganda painting and various political movements under the theme of "war and peace" and the visual qualities of different types of propaganda.The "peace" theme is mainly centered on the movement to defend world peace,and the images are mainly festive and bright;the "war" theme propaganda posters actively cooperate with a series of campaigns launched in China during the period of resistance to the U.S.and aid of Korea,and highlight in an extreme form The theme of "War" is a positive match for the series of campaigns launched in China during the period of resistance to the U.S.and aid to the Korean War,highlighting in an extreme form the conflict between China and the U.S.while the theme of "Liberating Taiwan" is in an intermediate state of neither war nor peace,and is a visual reflection of the new Chinese policy on the Taiwan Strait.In general,although the propaganda posters on the theme of "war and peace"during the socialist transition period presented different pictorial faces and visual characteristics for different subjects and campaigns,from 1949 to 1955,the creation of these posters gradually showed increasingly rigid characteristics,and mainly manifested themselves in the conceptualization of the theme and the formulation of techniques.However,from 1949 to 1955,the creation of these propaganda posters became increasingly rigid,mainly in the form of conceptualization of themes and formulaic techniques.Therefore,in the last chapter,the author focuses on this syndrome and analyzes the internal logical contradictions of the propaganda paintings themselves.On the one hand,the nature of propaganda requires that it must be timely and in tune with political campaigns,but the large system of officially dominated propaganda is an institutional obstacle to its timeliness.In order to solve this problem,propaganda can only meet the timeliness through model production,but in this way,propaganda will inevitably go to rigid set production,and the strength of propaganda will naturally be greatly reduced,in fact,ultimately contrary to the original purpose of propaganda.On the other hand,under the dichotomy of "war and peace," only by constantly strengthening the relationship between the enemy and us can we continue to call on the masses and mobilize the people.However,such a dichotomous narrative logic will only become extreme and programmatic,and once this dichotomy exceeds the range of"reality" acceptable to the public,or even undergoes a dramatic reversal,the "reality"shaped by the government will be disconnected from the "reality" in the eyes of the public.The "truth" of the official shape will be a rupture with the "real" in the eyes of the public,or even completely invalid,the propagandist’s own credibility will also collapse.