【11.06.30 外交政策】〔图片〕毛主席的五彩梦想世界
【中文标题】毛主席的五彩梦想世界【原文标题】Chairman Mao's Technicolor Dream World
【登载媒体】外交政策
【原文作者】EDMUND DOWNIE
【原文链接】http://www.foreignpolicy.com/articles/2011/06/30/chairman_maos_technicolor_dream_world?page=0,0
自从中国共产党在70年前掌权之后，其强大的宣传机器动用了各种媒介来寻求公众的支持，包括报纸、电视、怀旧盛装行走和互联网论坛。然而，随着科技的进步，曾经的极权主义宣传工具已经逐渐失宠，那就是海报。在几十年来的宣传海报中，共产主义中国无一例外地是一个欢乐、自信的国家——尽管在那些微笑、苹果般的脸庞和农村的田园景象背后隐藏着在毛统治下的痛苦真实生活。
上图的海报名为“在大风大浪中锻炼一颗红心”，由中国顶级的艺术教育机构浙江美术学院（现名中国美术学院）的4名毕业生——董小明、宗文龙、高而颐和梁平波——在1972年绘制完成。画面中央昂首站立的男孩看起来是红小兵的成员，这是在文化大革命期间建立起来的青年组织。
这幅海报出现在1971年，纪念巴黎公社100周年。在这次运动中，工人阶级在巴黎夺取了两周政权，并试图建立社会主义制度。宣传海报通常会把中国工人，如图中高举毛的“红宝书”的那一位，与士兵放在一起——这会令人讽刺地联想到，在毛执政期间，中国农民在军队手中遭遇到的残酷待遇。右边的文字是列宁在全俄工会第二次代表大会上的讲话，大意：巴黎公社表明，工人阶级只有经过专政，用暴力镇压剥削者，才能达到社会主义。这是巴黎公社表明的最重要的一点。
左：“延安新春”。这幅1937年的作品或许是在程式化地描绘共产党历史上的传奇时刻：毛著名的1934年到1935年长征的结束。长征让中国红军在中国中部走过了6000英里，最终在1936年到达延安。用毛的话说，长征既是一次战略转移，又是一个“宣传队”，让毛终于有机会展示他的革命承诺。今天，延安是庆祝中国革命历史的“红色旅游”集散地。
右：“采药”，作者刘持和。当2000万人在大跃进期间忍饥挨饿的时候，毛发起了“赤脚医生”运动：由经过社区培训的医生组成的健康医疗网络，他们在农村地区帮助农民（和上山下乡的城市居民）接生、治疗传染性疾病，结合中国传统医药和西方的治疗方式。相对来看，这是一个成功的举措，尽管如此，共产党农村医疗政策的现实效果与海报上愉快的采药情景相去甚远。
上图名为“放鸭”，是一名中国北方凤县的农民在1973年创作的。70年代初，农民画运动流行一时，目的是展示中国工人阶级值得夸耀的艺术天分。后来发现，其实很多“农民”绘画作品都是出自那些被毛从城市中赶到农村去的艺术家之手。
上图名为“工农一家喜迎春”，展现了中国工人喜气洋洋地结对而出，或许是毫无保留地去迎接客人。我们可以想象在共产主义中国，外国人是多么少见。直到毛去世两年后的1978年，中国才向外国游客开放。
“铜墙铁壁：军民联合筑防线”是1974年的作品，画面上的平民和军队领袖并肩包围中国的边境。敌人是谁？我们不知道，中国在二战之后就没有面临过重大的入侵威胁。这幅画的目的，还是为了强调士兵和工人的团结。
香港历史学家Frank Dikötter估计大跃进在4年时间里导致了全中国4500万人死亡，其核心理念是把集中化耕种作为一系列措施之一，来加快中国的工业化进程。在60年代农业集体化海报中的农民，丰衣足食、面带微笑，互相传递着闪闪发光的劳动工具，他们似乎不是那群不幸的人。
这些农民也一样，他们在讨论海藻试验田的经验，似乎完全躲过了那场劫难。
“果香的早晨”描绘的是一群人骑自行车路过一片果林。在60年代和70年代，自行车是每个中国人都梦想拥有的“三大件”之一。
1977年的海报“早已森严壁垒”描绘的是，一名生活在国家偏远地区草原上的少数民族牧羊人给共产主义当局一个善意的提醒。事后看来，这个提醒似乎是一个凶兆。北京人姜戎在他的一部畅销小说《狼图腾》中，讲述了共产党官员与中国北部蒙古人之间的紧张关系。这是一本小说式的回忆录，内容是作者60年代和70年代在蒙古的经历，他目睹了共产党试图结束传统蒙古牧民生活方式的过程。党1982年的官方数据显示，在1967年到1969年间最暴力的时期，2万蒙古人死亡，30万人受伤。
原文：
Since the Chinese Communist Party took power 70 years ago, its vast propaganda machine has used every available medium to shore up public support, from newspaper and TV to nostalgic theater pageants and Internet discussion forums. As technologies have changed, however, a former totalitarian standby has fallen out of favor: the propaganda poster. Communist China viewed through decades of propaganda posters was a uniformly cheerful and confident nation -- though the smiling, apple-cheeked faces and bucolic peasant scenes hide the bitter realities of life under Mao's regime.
The above poster, titled "Tempering Red Hearts in Stormy Waves," was produced in 1972 by four graduates from one of China's top art academies, the Zhejiang Art Academy (now the China Academy of Art): Dong Xiaoming, Zong Wenlong, Gao Eryi, and Liang Pingbo. The boy standing proudly in the center of the photo looks to be a member of the Little Red Guards, a youth group established during the Cultural Revolution.
This poster, from 1971, commemorates the 100th anniversary of the Paris Commune, during which a worker's movement took power in Paris for two months and attempted to institute socialism. Propaganda posters often juxtapose Chinese workers, such as the one brandishing a copy of Mao's "Little Red Book" at the top of the image, and soldiers -- an ironic connection given how brutally Chinese peasants were treated at the hands of the military during Mao's reign. The quote to the right of the image is from Lenin's The State and Experience on Marx's analysis of the Commune, saying, in sum, "The Paris Commune showed that only the working class has experience for ruling. Force should be used to overthrow the oppressors."
Left: "New Year in Yenan," the 1973 poster above, is probably a stylized depiction of a legendary moment in Communist history: the end of Mao's famed 1934-1935 Long March, which carried his Red Army 6,000 miles across central China, depositing him finally at what's now called Yan'an in 1936. The Long March was itself a "propaganda force," as Mao wrote, as well as a military maneuver, offering Mao a chance to demonstrate his commitment to revolution. Today, Yan'an is a hub for "red tourism" celebrating China's revolutionary past.
Right: "Picking Herbs," by Liu Chi-Ho. With 20 million people starving in the fields during the Great Leap Forward, Mao instituted the "barefoot doctor" program: a rural health network of community-trained physicians who delivered children, helped fight epidemics in the country-side, and integrated Chinese traditional medicines with Western-style remedies to tend to farmers (and re-located city-dwellers). It was a relatively successful system, but nonetheless the reality of Communist rural health care bore little resemblance to the cheerful depiction of medicinal herb-gathering in this print.
The painting above, titled "The Brigade Ducks," was done in 1973 by a peasant from Huxian, a county in China's northern interior. Peasant painting was a popular movement in China during the early 1970s, meant as a way to showcase the much-vaunted talents of the Chinese worker. It was later discovered that many "peasant" paintings were actually done by the artists Mao rounded up in cities and forced into the countryside.
The above poster, "Peasants and Workers Greeting the New Yorker," showing Chinese workers jubilantly heading out in force to meet a perhaps unsuspecting visitor, underscores just how unusual foreigners were in communist China. China did not open up to commercial tourism until 1978, two years after Mao's death.
"Iron Bastion: Joint Defense by the Army and the People," from 1974, shows a civilian alongside an army leader defending the Chinese border -- from what, it's unclear, as China has faced no major invasions since World War II. The point, again, is to drive home the solidarity between soldier and worker.
Hong-Kong based historian Frank Dikötter estimates that the Great Leap Forward, which included the collectivization of farming as part of an array of measures intended to fast-track China's industrialization, resulted in the deaths of 45 million people over four years. These collective farmers from a 1960s poster, well-fed and smiling, tossing around their gleaming tools, appear not to have been among that unlucky group.
These farmers, too, plying their trade at an experimental seaweed farm, seem to have escaped the worst of the calamities.
"Fruitful Morning," shown above, depicts cyclists passing by a fruit grove. In the 1960s and 1970s, the bicycle counted as one of the san da jian, or "three big items," which every Chinese household dreamed of having.
This 1977 poster, titled "Storm Warning: Prepare for Shelter," shows an ethnic minority shepherd on China's grassland fringes offering Communist authorities a friendly warning that perhaps, with some hindsight, should be interpreted far more ominously. Beijinger Jiang Rong recounts the tensions between CCP officials and the Mongols of northern China in his bestselling novel Wolf Totem, a fictionalized memoir of the author's experience in Mongolia during the 1960s and 1970s, when he watched the CCP attempt to end the traditional nomadic Mongol lifestyle. Official Party figures released in 1982 report that 20,000 Mongols were killed and more than 300,000 injured from 1967 to 1969, the worst period of violence. 有几张图片怎么一片漆黑？ 捣鼓半天，似乎400K以上的图片传不上去啊。
测试1.28M图片 那个时候人民的幸福感是最强的，现在反而是最低的 我父亲回忆：“当年他老家的湖水清澈见底，自然环境非常优美” 它们说这些画面的内容和表情都是被强制装出来滴！ 有些解读太搞了 比如那个和藏民的解读为和工人团结 顶了个基调 怎么解读都是围绕图不错 内容太烂 阴阳怪气的解读 一张图，我们看出美与朝气，而他们却看出来死了多少人。。。多大的差距呀！ 这作者的审美观点有问题，只能说明作者的思想太阴暗，只能看到阴暗却无法接受光明的那一面 怪里怪气！
充满偏见与敌意！ 那几张黑板为什么不写字啊 图很好，文字视而不见吧 顶楼主~~ 文字直接无视，说三道四，指手画脚的这种偏见的解读谁理会？ 圖不錯看…… 很漂亮、很令人振奋的红色图片。
多谢提供。 在毛执政期间，中国农民在军队手中遭遇到的残酷待遇。
Q4) 图很好
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