Black Painting incident
They were exhibited to the head of the central government as well as the revolutionary masses of workers, peasants, and soldiers so that the groups could criticize the paintings.
[2][3][8][9] In 1966, Mao Zedong and others launched the Cultural Revolution in mainland China [10][11] As early as 1964, Jiang Qing, Kang Sheng, and others criticised the late master of traditional Chinese painting Qi Baishi.
In the early stage of the Cultural Revolution, Qi Baishi was "down", and Huang Zhou became the first Black Painter to be publicly criticised [12][13][14] In the late Cultural Revolution, from 1971 to 1973, feeling that hanging overwhelmingly massive slogans of Mao's "supreme instructions" in places where foreign guests were received, as was done all over the country, was inappropriate, Zhou Enlai, then Premier of the State Council, instructed several times that the artworks arranged by major hotels should conform to the national style and contain the spirit of the times, they should also demonstrate the high level of artistic attainment in China.
A panoramic mural of the scenic Yangtze River was designed to encircle the central hall of the building, and would be completed by Yuan Yunfu, Wu Guanzhong, Zhu Danian, and Huang Yongyu.
[2][3][9][12][18] On the evening of November 23, 1973, Wang Mantian (Mao Zedong's niece), then deputy leader of the Cultural Group of the State Council, along with Gao Jinde, Shao Yu, the heads of the Art Department of the Cultural Group, and others raised the issue of "Black Paintings" for the first time at a meeting at the Beijing Friendship Hotel.
In addition to criticizing Huang Yongyu's "Owl", the article also attacked works by artists such as Zong Qixiang, Li Keran, and Wu Zuoren.
[2][18] On November 26, 1974, the People's Daily published an article signed by "Xiao Luan", mentioned the campaign in this manner: [2][25]The Lin Biao Anti-Party Clique used fine art to distort history, to erect monuments for themselves, and to create counter-revolutionary public opinion in politics.
After the Lin Biao Anti-Party Clique was smashed, a small number of people in the art world, with ulterior motives, continued to use painting to stir up trouble, distort and uglify the socialist reality, and vent their resentment and hatred for the Party and socialism.
Before the Great Proletarian Cultural Revolution, the creators of this black painting had concocted a series of reactionary fables with animals as the theme.
He viciously attacked the dictatorship of the proletariat in the superstructure field as a "spiders web", and slandered the Great Leap Forward as a "donkey turning the millstone" that could only go around in circles, and so on.
This is the man who has always been resentful of the criticism of him by the revolutionary masses during the Great Proletarian Cultural Revolution, and even engraved the words "lawless and undisciplined" on a seal, in a vain attempt to negate the law of the dictatorship of the proletariat and subvert the socialist regime.
The poisonous weed "Owl" is precisely the concentrated expression of this reactionary mentality of the creator.In the art catalogue "Chinese Painting", there is a picture titled "Greeting the Spring" by Chen Dayu, depicting a rooster crowing in front of winter jasmine blossoms.
The rooster's beak is tightly closed, its crest is raised high, its hackle feathers puffed out, its claws grip the ground, its eyes rolled back in anger, and its tail raised to the sky, completely exuding a fierce and aggressive air and posture as if it is ready to pounce on "spring" at any moment ...
They are unwilling to accept their defeat and are always ready to fight the proletariat to the death.On May 31, 1974, Shanghai's "Wenhui Bao" published an article signed by "Lin Chengfu" titled "Black Mountains and Evil Waters Harboring Malicious Intent", focused on criticizing Li Keran's works:[2] In front of us is a copy of "Chinese Painting".
At the foot of the mountain, a winding and twisted stream of filthy water flows, and a few listless sailboats are drawn crookedly.
