Anqi Wu z3325285 Post1

Recently, these artistic productions about personal Chairman Mao has achieved substantial market success overseas, however these works are still banned from public exhibition in china. Author gives various examples from different periods to reflect how the Chairman Mao’s icons change its indications. The renewed popular currency of the figure of Mao within a social framework has abandoned the ideological assumptions symbolized by the icon at the time of its original emergence. It will become apparent how the very significance of the icon of Mao can instead be considered as different.

In the contemporary cultural production of the People’s Republic, this cyclical shift from popular taste to official marketing strategy is the essential reason for this new icon, the nearest form to personality cult known in 1990s China.

Mao’s indication is changing from the experience of the Cultural Revolution and the phenomenon of self-identification with the figure of the political leader to the “new” Mao with an undefinable quality that becomes a significant form of expression for a country traversing a period of moral and material changes.

During a period when ethical and moral values are being continuously rediscussed under the pace of reform, the image of Mao has been paradoxically transformed into a stable sign and a most unlikely space of expression for that very entity Mao-the-man had attempted to erase, his subjects’ individual selves. This article quotes different artist productions and views about Mao’s icon to focuses on the transformation of Personal Mao icon in the art of twentieth-century China.

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