Throughout the collective period, millions of rural Chinese continued to wear handloom cloth, and rural women continued to spend much of their working hours spinning, weaving, and making cloth and clothing. In theory, manual spinning and weaving should have ended after 1949, since every Chinese citizen had access to factory cloth through the rationing system. In actual fact, rural rations fell short of replacement needs, and women worked double shifts to clothe their families. Women’s unrecognized domestic work enabled the state to undersupply the countryside and direct scarce resources to the cities.
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 impacting both daily life and economic well-being of the rural population, agricultural tools were a central concern to farmers since the imperial era. During both the Mao era and the Reform era their technological improvement stood high on the political agenda. Orienting themselves to foreign models and native innovations these tools were expected to contribute to economic growth by raising agricultural productivity. This biography introduces a number of agricultural tools used during the Mao era that were shaped by social and political forces on both the central and the local level.