Architecture often has a political meaning. Think of Buckingham Palace, the White House, the Kremlin, or the local government offices such as city hall or town councils. Public spaces in cities such as parks and squares also have political meanings. This biography examines the Great Hall of the People, one of the most important political buildings in China. It describes how the building was planned and constructed during the Great Leap Forward, discusses how the architectural style and the interior symbolized the power, ideology and policies of the Chinese Communist Party, and describes some of what goes on inside.
Many propaganda images were produced by cultural workers to be experienced on public walls, either as murals or blackboard paintings. In villages and communes, mural and wall images were key visual forms for conveying ideology, popular knowledge, and political campaigns, but peasants also participated in making propaganda as mass art. During the Great Leap Forward, peasants were mobilized through the mass mural campaign in order to demonstrate the creative revolution in the countryside. In order to understand how these images became so pervasive in message and style, this entry describes the production, themes, and major concepts behind wall art.
As objects of ideology, design, science, economic planning, consumption, and everyday use, chairs and stools can reveal much about politics, society, culture, and daily rhythms during the Mao period and later Reform Era. This biography examines the role of chairs and stools in the transition to socialism and industrial development after 1949. It illustrates how these furniture items were designed, how they became part of the CCP's planning process including the five-year plans, and how design and materiality were shaped by momentous events such as the Great Leap Forward.
Bricks were essential if obdurate components in the physical and figural construction of the People’s Republic of China (PRC)—a building material rooted in China’s civilizational origins yet new and vital to the country’s built environment under Mao. It was a familiar object for some but not all of China’s residents, and it required a certain but not necessarily highly skilled expertise to produce and assemble into architecture. In both its enduring and multivalent practicality and representational agency, the brick is a useful object through which the aspirations and challenges of realizing an everyday socialist modernity in the PRC may be better understood.