中國 '文革'時期 毛澤東 表象 : <毛澤東去安源>을 중심으로

Abstract

During the Cultural Revolution in China, fine arts played the role of a political tool and were made to serve the people. Fine arts were used in the stark reality of a violent power struggle. The images of Mao Zedong produced in the early period of the Cultural Revolution were different from those made in the 1950s, as they represented different political intentions. A representative one was Mao Zedong Goes to Anyuan, which was made by Liu Chunhua. It has historical significance as a representative work created during the Cultural Revolution, in addition to portraying a generalized image of the Chinese leader and showing an artistic style of the period. To fully understand the fine arts of that era, it is necessary to reflect on what made Mao start the Cultural Revolution. The revolution of the proletarian classes was focused on the need to revolutionize the people’s thinking and culture. At that time, the country’s economy, including farms in rural areas and factories in urban areas, became wholly state-owned under a socialist system, meaning that the economy was no longer a target of class struggle. Thus, the people’s thoughts and creative cultures became the targets of their class struggle. After all, the attempt to revolutionize thought and culture caused all fine art works to become objects in the worship of Mao’s ideas. At present, those images of Mao remain as mementos of the Cultural Revolution. A study of the style and meaning contained in the mass-produced images of Mao during that period will have further significance in that they will enable one to grasp the dual meaning of the Mao icons made by the Chinese fine arts community of that time from the perspective of the current trends of the global fine arts community.