Shades of Mao: The Posthumous Cult of the Great Leader (25 page)

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Authors: Geremie Barme

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BOOK: Shades of Mao: The Posthumous Cult of the Great Leader
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157. Jiang Hui, "Wu Guanzhong zhuanggao Duoyunxuan," pp. 54-55; Wu Guanzhong, "Huangjin wanliang fu guansi," pp. 57-63; and Zhai Mowen, "Wu Guanzhong jiahua susongan zhuizong."
158. See article 7, item 2 of "Zhonghua renmin gongheguo guanggaofa (1994 nian 10 yue 27 ri dibajie quanguo renmin daibiao dahui changwu weiyuanhui dishici huiyi tongguo)." The law went into effect on 1 February 1995.
159. See Lu Ding,
Hongdong quanguode "weizao Mao zhuxi shici" yuanan
; and Chen Mingyuan,
Jiehou shicunChen Mingyuan shixuan.
160. Tang was also the patron of Johnson Chang, the curator of Hanart TZ, the Hong Kong-Taipei gallery that introduced much post-'89, in particular ironic Mao, art to overseas audiences.
161. "Zhezhong `jinianshi' yinggai quxiao," pp. 135-36.
162. In relation to this, see Anagnost's remarks in "The Nationscape," pp. 600-601.
163. "Duiwai jieshao yao zhuyi yige wenti," pp. 258-59.
164. See
Renmin ribao,
3 May 1981.
165. See "Mao's Birth Place" in "Signs of Disintegration," p. 5; and Su Ya and Jia Lusheng,
Buluode taiyang,
pp. 166-67.
166. Guo Weijian, "Jinri Shaoshan `ganhai' mang," p. 24.
167. Ibid.
168. For one of the earliest articles on the revival of Mao in Hunan in late 1989 and early 1990 see Andrew Higgins, "Maoists Emerge from the Closet."

 

Page 65
169. Guo Wenjian, "Jinri Shaoshan `ganhai' mang," p. 24.
170. For a picture of Tang and her husband holding up the photograph in front of Mao's birthplace, see William Lindesay,
Marching with Mao,
opposite p. 96.
171. Going one step farther, Hong Kong entrepreneurs invited a chef whose Changsha teacher had once made a meal for the Chairman in 1964 to create a "Chairman Mao banquet" for the territory's gourmands. See Cheng Lai, "Mao zhuxi taocan." In Nanchang, Jiangxi Province, one restaurant called its "red cooked meat" dish (
hongshaorou
), "Runzhi Brain-Enrichment Food" (
Runzhi bunaoshan
) in honor of Mao, whose
zi
was "Runzhi.'' See Li Yong, "Zouguo yige lunhui zhan zai weiren shenhou."
172. The Shanghai artist Yu Youhan's floral reinterpretation of this photograph is used as the cover image of Jochen Noth et al., eds.,
China Avant-Garde,
and is reproduced on p. 180 of the text.
173. Yu Xuejun, "Xiaoxiang xunji Mao Zedong," p. 4.
174. Guo Weijian, "Jinri Shaoshan `ganhai' mang," p. 24; and Jan Wong, "Around Mao's Centennial."
175. The dimensions of the main slab, on which the poem Mao wrote upon returning to Shaoshan in 1959 was carved, reflected significant dates in Mao's life. It was 12.26 meters tall, a measurement that denoted Mao's birthday on 26 December; 9.9 meters wide, marking Mao's demise on 9 September; and 0.83 meters thick, indicating the age at which Mao died. See Yi Jun, "Furongguolide `Mao Zedong re,'" p. 46. During the Cultural Revolution, the mathematics of Mao statues generally reflected a similarly esoteric code.
176. At the unveiling of this, Mao Xinyu had his happy encounter with Jiang Zemin.
177. Yi Jun, "Furongguolide `Mao Zedong re,'" pp. 45-46.
178. For more details on how the Party refurbished the corporate image of Mao, see "Shishi qiushide xuanchuan Mao Zedong tongzhi," pp. 92-95.
179. For illustrations, see Lin Jianhui and Dai Chixian, "Shaoshan jixing," pp. 22-27. See also Schell,
Mandate of Heaven,
p. 283.
180. Uli Schmetzer, "Cashing in on Mao's Name in Hunan Shaoshan."

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