Hosted by the Confucius Institute in Edinburgh between 6 June and 12 July, this exhibition showcased a unique collection of 133 posters from 1913-1997, on loan from the extensive collection of over 5,000 posters held by the Shanghai Propaganda Poster Art Centre. For a short review of the event by one of our members, and a report of a later visit to the Centre by a Scottish school group, see further down this page.

Take the road of co-operation (1956)

From the earliest poster of Shanghai "calendar girls" (1913) to the newest, showing Deng Xiaoping and Jiang Zemin (1997), this collection revealed the turbulent history of China over these decades as well as varying artistic influences on this art form.

The Propaganda Poster Art Centre is run by collector Yang Pei Ming, and is housed in the basement of an apartment block at 868 Huashan Road. Many examples of the posters and other background can be found on his website.

The exhibition

There is a short video description here, including interviews with Yang Pei Ming and Professor Gentz.  We understand that around 2,500 people visited the exhibition in its first two weeks.

Exhibition catalogue

A full colour paperback catalogue of the exhibition has been published, including images of all the posters on display and explanatory text by Yang Pei Ming and Institute Director Professor Natascha Gentz. This is priced at £15.00, and can only be obtained directly from the Confucius Institute at Abden House, who can be contacted by email or telephone on 0131-662 2180.

Scottish school group visits the Shanghai Propaganda Poster Art Centre

Mr Yang Pei Ming welcomed a party of 23 pupils and three staff members from Kinross High School and Perth High School to SPPAC on 26th November, as part of a 10 day school trip to Beijing, Xi’an and Shanghai arranged by SCA Chairman, Janice Dickson. He gave them an introduction to his impressive collection, put into historical context. Some of the pupils had visited the Exhibition when it was in Edinburgh, and many are studying Chinese through the Perth High Confucius Classroom. The pupils were fascinated to meet Mr Yang, and too many postcards, copies of the posters, catalogues and original books and badges home as souvenirs.

Janice had been inspired by seeing the posters in Edinburgh., and was especially pleased to have the privilege of meeting Mr Yang once again, who had started as a tour guide in the 1970’s and also collected stamps. He showed her many other posters not on display from his extensive collection. The Centre is now rated as the 6th best Museum in China by Trip Advisor.

A perspective on the Poster Art of Modern China

by Orchid Liu, SCA member and Scottish correspondent of 'UK Chinese Times'

Yang Pei Ming, Director of the Shanghai Propaganda Art Centre

This exhibition was a first in many respects. Firstly, it covered a broad spectrum of this art form throughout the 20th century. Secondly, it included high quality exhibits, many of which were being displayed for the first time. And thirdly, it was the biggest exhibition of its kind ever displayed in the UK.

Visitors had the opportunity not only to appreciate the aesthetic content of these posters, but also to improve their understanding of China's dramatic history over the last 100 years.

Poster art has a long history in modern China, serving different purposes. It has been used to enlighten, to entertain, to make money, and to serve moral and educational objectives. And of course, it has been used for expressing and spreading political views. This exhibition presented a variety of forms highlighting the artistic qualities of poster art production, as well as illustrating changes in society, policy and times.

From left to right, 1934 - promotional calendar of an ‘Aviatress’ produced and distributed by China Fuxin Tobacco Co. ; 1940 - 'The More We Fight the Stronger We Are. The More the Enemies Fight the Weaker they Get' ; 1955 – 'Barren mountains become orchards'

The exhibition was arranged chronologically. The first group of posters are from the early 20th century, mainly the Shanghai “calendar girls”, featuring the latest female fashion and combining both western elements and oriental style. The second group of posters are from the anti-Japanese war period of 1937-45, hoping for victory and peace. The third group includes the 1949-79 period, the peak period of creativity of Chinese propaganda posters.

This latter era can be further subdivided into three main periods and themes - the early years after the founding of the People’s Republic (1949-57) ; the Great Leap Forward (1958-61) and the Cold War ; and the Cultural Revolution and Red Guards Movement (1966-76). Many of these posters spread values and images for political purposes, and many also reflect the people’s effort and determination to build a better country.

The final series feature the period after the “Opening and Reform” policy introduced by Deng Xiaoping in 1978. The new government promoted positive values, and collected and recycled old posters that represented old and negative values such as class struggle. With the planned economy being replaced by a market economy, marketing and commercialised advertising has taken the place of propaganda posters.

From left to right, 1958 : 'With John on the Bull and Me on the Horse – How Could I Not Win the Race?' ;
1968 : 'Proletarians of the World Unite' ; 1997 – 'Hong Kong's return to the motherland :
one country, two systems'

Mr. Yang has been a collector since childhood, beginning with stamps, and then branching out into other areas. After majoring in English, he became one of the first generation of tour guides, hosting foreign delegations, both for business and for cultural or educational exchange. He has deep experience in communicating and sharing ideas with westerners, and was inspired by an American friend to focus on collecting China's cultural legacy.

Mr Yang started to collect and conserve posters in 1995, concerned about the potential loss of these social history artefacts. As he says, "posters provide a special perspective for people to understand social change”.

As his collection grew, he established Shanghai Propaganda Art Centre in 2002 in the south-west of the city, where many foreign consulates and businesses are located. This art centre has attracted many foreign visitors, and has even obtained recommendations from Lonely Planet and Trip Advisor.