The ceramic artifact has long served as a quintessential cultural medium in Chinese history, capable of conveying both text and image. This Ceramic Tea Storage Jar from the Cultural Revolution era encapsulates political symbolism, artistic expression, and cultural identity. As ceramics are widely recognized as objects with distinct Chinese origins, this piece becomes a powerful representation of China as both a political and cultural entity.
The front of the jar prominently features a vivid depiction of Chairman Mao and Lin Biao in military attire, exuding an air of authority and unity. The accompanying inscription, “Chairman Mao and his close comrade-in-arms Lin Biao inspecting the Cultural Revolution army,” underscores the era’s emphasis on leader worship, political propaganda, and the centrality of military power in the making of a new society. The design highlights Mao’s position as the nation’s supreme leader while simultaneously reflecting Lin Biao’s considerable influence during that period.
On the reverse side, Mao Zedong’s iconic poem Xī Jiāng Yuè · Jǐnggāngshān (西江月·井冈山) is rendered in traditional calligraphy. Written in 1928, the poem celebrates the Red Army’s resilience and optimism during its battle against the Guomindang (Nationalist Party). It emphasizes the collective strength of revolutionary forces and the ideological imperative to destroy antecedent structures. By combining Mao’s classical-style poetry with traditional Chinese calligraphy, the artifact blends cultural heritage with revolutionary ideology, reinforcing its aesthetic value and political function.
This combination of revolutionary ideology and cultural heritage is, on the surface, ironic—yet it reveals a deeper strategic adaptation within Cultural Revolution-era propaganda. Despite the movement’s explicit goal of dismantling traditional culture (破四旧 pò sì jiù—“Destroy the Four Olds”), certain forms such as ceramics and calligraphy were preserved and repurposed for revolutionary ends. Mao’s poetry, though rooted in classical aesthetics, was reinterpreted as transformative, while traditional art forms were used to legitimize the new ideology. This strategic appropriation ensured that revolutionary content remained accessible and resonant with the masses, embedding new political ideals within familiar cultural formats.
On the lid of the jar, the red inscription “Serve the People” (为人民服务) embodies a core tenet of Maoist ideology. This widely recognized slogan—deeply woven into the political discourse of the era—communicates a commitment to revolutionary service and aligns with the larger ideological framework of the Cultural Revolution.
Crafted from fine white porcelain with a smooth, glazed surface and produced using high-temperature firing techniques, this artifact transcends its utilitarian function as a household item. It emerges instead as a symbolic work of revolutionary political art, capturing the unique social atmosphere and aesthetic style of the era. On the base is the inscription: “Respectfully wishing Chairman Mao a long life without boundaries” (敬祝毛主席万寿无疆 Jìng zhù Máo Zhǔxí wàn shòu wú jiāng), a ritualistic phrase emblematic of the time’s political devotion.
Lin Biao: From Hero to Traitor
Lin Biao was a central military and political figure in 20th-century China, widely recognized for his crucial contributions to the rise of the Chinese Communist Party (CCP) and the establishment of the People’s Republic of China (PRC). As a top commander in the People’s Liberation Army (PLA), Lin earned national prominence during the Long March (1934–1935) and the Anti-Japanese War (1937–1945), where his leadership helped solidify guerrilla tactics and strengthen Communist influence in rural China.
After Japan’s defeat, Lin played a decisive role in the resumed Civil War (1946–1949), commanding major offensives in Northeast China. His victories in the Liaoshen Campaign and other battles were instrumental in turning the tide against the Nationalists, paving the way for the CCP’s ultimate success in founding the PRC.
During the early years of the Cultural Revolution, Lin was venerated as Mao’s “close comrade-in-arms” and designated successor, a status confirmed by his title of “Vice Commander-in-Chief.” However, within two years of this jar’s manufacture, tensions arose between Lin and Mao. By 1970–1971, Mao suspected Lin of plotting to usurp power. This culminated in the “September 13th Incident” in 1971, when Lin died in a plane crash in Mongolia during a failed escape. He was subsequently denounced as a “traitor” and “counter-revolutionary.” This reversal casts retrospective irony over artifacts that feature Lin’s image alongside Mao.
The Poem and Its Revolutionary Geography
The title Xī Jiāng Yuè · Jǐnggāngshān (西江月·井冈山) translates as “West River Moon · Jinggangshan.” Here, Xī Jiāng Yuè (西江月) refers not to a geographical region, but to a classical Chinese cí (词) poetic form. The name “Xī Jiāng” means “West River,” but in this context, it designates a metrical and stylistic category rather than a place. Jǐnggāngshān (井冈山), by contrast, refers to a mountainous region in Jiangxi Province, historically significant as the first major base of the Chinese Communist movement established by Mao in 1927.
The poem is as follows:
《西江月·井冈山》
毛泽东 (Máo Zédōng)
山下旌旗在望，
Shān xià jīng qí zài wàng,
Banners can be seen from the foot of the hill,
山头鼓角相闻。
Shān tóu gǔ jiǎo xiāng wén.
On the mountain crest, bugles echo still.
敌军围困万千重，
Dí jūn wéi kùn wàn qiān zhòng,
Though enemy forces surround us in waves,
我自岿然不动。
Wǒ zì kuī rán bù dòng.
We stand firm and unwavering, solid as a mountain.
早已森严壁垒，
Zǎo yǐ sēn yán bì lěi,
Our fortifications are already strong,
更加众志成城。
Gèng jiā zhòng zhì chéng chéng.
And united, our will is like a mighty throng.
黄洋界上炮声隆，
Huáng yáng jiè shàng pào shēng lóng,
Cannons roar atop Huangyangjie,
报道敌军宵遁。
Bào dào dí jūn xiāo dùn.
News comes: the enemy fled before day.
Huangyangjie (黄洋界) is a strategically significant mountain pass in Jinggangshan. It was the site of a major 1928 battle where Mao’s Red Army repelled Nationalist attacks. Referencing this event through poetry, Mao cemented the mountain’s place in revolutionary memory and enshrined it as a symbol of collective resilience and tactical ingenuity.
Circulation and Function
Artifacts like this jar were widely distributed through state mechanisms. Some were given as gifts to officials, model workers, or military personnel. Others were available for purchase in state-run stores as expressions of loyalty. Many were awarded as tokens of revolutionary merit or handed out during commemorative events. In this way, Maoist ideology permeated public and private life, transforming material objects into vehicles of ideological expression.
Analysis: Cultural Tension and Symbolic Authority
Cultural Revolution artifacts can function as ideological fetishes and should be understood as sites of negotiation between tradition and revolution. This tea jar integrates simplified characters, classical-style poetry, traditional calligraphy, and the tea ritual—symbolizing the tension between Confucian and Marxist value systems. The revolutionary project sought to dismantle old hierarchies and institutions, but also needed to maintain legitimacy and social cohesion. Thus, while the revolution attacked the old, it also strategically borrowed from it.
Calligraphy and poetry, long associated with Confucian elites, were reappropriated to lend revolutionary messages symbolic authority. This paradox underscores a central challenge of radical transformation: how to destroy the past while building something new and credible. It shows that military power alone—“from the barrel of a gun”—was insufficient for lasting legitimacy.
The bold visuals and simplified messages of such artifacts reinforced collective identity and revolutionary unity. Yet beneath this surface lies the instability of political life in Maoist China. The jar reflects not only the official mythology of revolution but also the personal power struggles—like Lin Biao’s rise and fall—that shaped CCP history. To a knowledgeable observer, this object may serve as a tribute to revolutionary fervor or as a haunting reminder of political volatility. It captures both the dream and disillusionment of a revolutionary age.