Mao the Man and Mao the Icon

doi:10.1017/CBO9780511781476.011

9 - Mao the Man and Mao the Icon

Published online by Cambridge University Press: 05 August 2012

Daniel Leese

Edited by

Timothy Cheek

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Timothy Cheek: Affiliation:
University of British Columbia, Vancouver

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Summary

The politician and the artist each have defects. For the sake of successfully attacking the enemy, uniting with friendly armies and strengthening himself, the politician must be worldly wise, have an excellent command of cunning methods and be good at dealing with both enemies and friends. His defects come from just these merits. When these skills are used in revolutionary tasks, they become the most beautiful and glorious “arts of revolution.” But apart from the truly great politician, none can avoid some desire to use these skills for their own reputation, position, and profit and thus to harm the revolution.

Wang Shiwei, “Politicians, Artists” (1942)

The portrait of Mao Zedong prominently on display at the Gate of Heavenly Peace in Beijing ranges among the best-known icons of power around the globe. With the possible exception of Che Guevara, no other communist leader's image has served in similar fashion as a screen for revolutionary projections to both a domestic and international audience. During the late 1960s, Mao portraits and other items of the Chairman's bourgeoning cult, such as the Little Red Book and badges, were not only championed by Red Guards in China but became fashionable among Western students as well. Even communal living styles modeled on the canon of texts published under the name of Mao Zedong spread on U.S. and European campuses.

Type: Chapter
Information: A Critical Introduction to Mao , pp. 219 - 240

DOI: https://doi.org/10.1017/CBO9780511781476.011 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2010

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