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1. Cultural undertakings - The great accomplishments of three years People's Republic of China

Designer unknown (佚名)
1952, October
Cultural undertakings - The great accomplishments of three years People's Republic of China
Wenhua shiye - Zhonghua renmin gongheguo sannianlaide weida chengjiu (文化事业 - 中华人民共和国三年来的伟大成就)
Publisher: Huadong renmin meishu chubanshe, Shanghai (华东人民美术出版社), 2nd edition, print no. 18, circulation 30,000
Call number: BG D25/45 (Landsberger collection)

The text reads: 
News publication: In 1951, 69,600,000 volumes of new and reprinted books were published, an increase of 147% compared with 1950. In 1952, more than 88 million volumes will be realized. Nationwide, 776 types of newspapers are published, with an average print run of 8 million sheets. Nationwide, there are 3500 radio broadcasting relay stations, and 2000 cable relay stations. 
Movies: In 1951, more than 259 million people in the whole country went to the movies, and in the first half of this year, the number has already reached more than 213 million people (including cinema goers and those serviced by movie projection teams), an increase of 181% compared with the same period last year. The number of libraries, clubs and cultural centres also has greatly increased.

2. Helping mama study culture

Designer: Yu Yunjie (俞云阶)
1956, April
Helping mama study culture
Bangzhu mama xue wenhua (帮助妈妈学文化)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社), print no. R8081.0934, circulation 68,000
Call number: BG E15/382 (Landsberger collection)

The poster, designed in the Soviet-inspired Socialist Realist style, shows a young peasant girl helping her mother with learning how to read and write (and thereby acquire culture).

3. Daddy, this is how you write this character

Designer: Zhu Peilin (朱沛霖)
1954, November
Daddy, this is how you write this character
Baba, zheige zi shi zheiyang xiede (爸爸, 这个字是这样写的)
Xin meishu chubanshe, Shanghai (新美术出版社), 2nd edition, print no. 5431
Call number: BG E13/710 (Landsberger collection)

This image is designed in a style reminiscent of the calendar posters that were so popular in the urban and rural areas from the 1920s onward. The poster contains many layers of meaning: the material wellbeing of the peasantry, the abundance of life in the countryside, the (successful) struggle against illiteracy, etc. Note how learning how to read and write is clearly linked to familiarizing the people with new policies, in this case the policy of mutual cooperation that was spread in the rural areas. 'Mutual cooperation' (huzhu hezuo) are the characters the father is writing in the soil.

4. The more we study, the brighter our hearts will become

Designer: Lin Longhua (林龙华)
1964, November
The more we study, the brighter our hearts will become
Yue xue xinli yue liang tang (越学心里越亮堂)
Publisher: Liaoning meishu chubanshe (辽宁美术出版社), print no. T8117.891
Call number: BG E13/846 (Landsberger collection)

A familiar theme in propaganda posters: communal study. The style of the design is a good example of the revolutionary realism and revolutionary romanticism that was advocated in the second half of the 1950s. This scene is situated in the countryside of North-China (indicated by the kang, the raised heated platform). Representatives of all generations of a model unit (indicated by the red banners on the wall) are gathered to read political treatises and newspapers. The portrait of Mao hanging on the wall indicates that we are in the middle of the Socialist Education Movement, which was organized by Mao to inoculate the peasantry against the sugar-coated bullets of capitalism to which they fell victim under the more pragmatic economic policies under Liu Shaoqi after the famines that followed the Great Leap Forward. We see the trappings of the good life under socialism: electric lightning, a telephone, a radio, etc. But there's also room to play (a football) and opportunities for culture (the erhu hanging on the wall).

5. The production brigade's reading room

Designer: Zhao Kunhan (赵坤汉)
1974, September
The production brigade's reading room
Dadui tushushi (大队图书室)
Publisher: Shaanxi renmin chubanshe (陕西人民出版社), print no. 8094.328
Call number: BG E15/268 (Landsberger collection)

6. The production brigade's reading room

Designer: Zhao Kunhan (赵坤汉)
1975, January
The production brigade's reading room (Selected from the Huxian peasant painting exhibition)
Dadui tushushi (Xuan zi Huxian nongmin huazhan) (大队图书室 (选自户县农民画展))
Publisher: Shanghai renmin chubanshe (上海人民出版社), 3rd edition, print no. 8171.829
Call number: BG E12/124 (IISH collection)

These two posters embroider on the same theme as the previous one, but times have clearly changed. It is the Cultural Revolution, and propaganda does its utmost to portray China as an agrarian Utopia, although the images clearly show that progress has arrived in the rural areas, as can be seen from, a.o., the radio receiver on the wall. The works of amateur artists among workers and peasants were given nation-wide attention and support. These amateurs were promoted as representatives of the innate creative genius of the masses, as living proof that everyone could and should practice art. Among the best known were the peasant painters from Huxian, Shaanxi Province. Although touted as amateurs, it was later admitted that the peasant painters had received extensive professional help and assistance, often provided by the same professional artists who were no longer allowed to work themselves. The Huxian painters' highly political paintings provided idyllic slices of the good life in the rural areas, and were peopled with happy and enthusiastic peasants engaged in agriculture, political meetings and study sessions.

But these two posters show something else as well: How an image can be changed and/or altered to suit changing political demands, or changes in the message that needs to be propagated. Comparing these two posters is almost like a game of 'spot-the-ten-differences'!

7. Take over the brush of polemics, struggle to the end

Designers: Xiao Zhenya (肖振亚); Liu Enbin (刘恩斌)
1975, June
Take over the brush of polemics, struggle to the end
Jieguo zhanbi zhandou daodi (接过战笔战斗到底)
Publisher: Renmin meishu chubanshe (人民美术出版社), print no. 8027.6075
Call number: BG E3/753 (IISH collection)

No matter how many books had been destroyed during the Cultural Revolution, no matter how much learning had been derided and how many intellectuals had been prosecuted, the Communist Party remained convinced of the mobilizational effects and effectiveness of literacy. Some intellectuals, in particular Lu Xun (hovering in the background in a characteristic pose), continued to be held up as an inspiration for young people.

The Chinese text in the background is a famous couplet from a poem by Lu Xun ("Self-Mockery", 1932), in his calligraphy. It reads "Coolly I face a thousand pointing fingers, Then bow to be an infant's willing ox" (Translation Bill Jenner, 1982). In his Closing Remarks at the 1942 Yan'an Forum on Literature and Arts, where guidelines for artistic production where set that basically are still in force, Mao said that Lu's couplet should become the motto of the CCP. In his analysis, the 'thousand men' were the enemy, and the 'infant' stood for the proletariat and the masses of the people, for which the CCP should wear itself out in its service with no release until death.

Lu Xun (pen name of Zhou Shuren, 1881-1936) played a seminal role in the world of Chinese literature and arts in the first decades of the 20th century. He was trained in the Jiangnan Naval Academy and the Sendai Medical School (Japan). Upon his return to China in 1909, he taught science in school, and later served as an official in the Ministry of Education. In 1918, he joined the May Fourth (New Culture) Movement by having his "Diary of a Madman" (Kuangren riji) published in New Youth Magazine (Xin qingnian). Both the style and the contents of this story had great influence on other May Fourth writers. Lu continued to publish short stories ("The True Story of Ah Q", the impressive "Medicine", and " Kong Yiji"), prose poetry and zawen (miscellaneous essays). These earned him the reputation of being a shrewd and incisive observer and commentator of the times. Lu did not limit himself to creating literature that reflected his increasingly radical ideas about Chinese society. Inspired by European woodcut artists like Käthe Kollwitz, he introduced techniques and socially relevant subject matter to likeminded young artists in China. This in turn would have an important influence on the propaganda posters produced later under the CCP. In short, Lu Xun became a radical, while maintaining his independence from both the Nationalists and the Communist Parties. Nonetheless, Mao Zedong canonized Lu Xun as the intellectual forefather of the Revolution, as a trailblazer in the early struggles of the CCP. Although not a Party member, he has been considered a true Marxist-Leninist. Since 1949, Lu's name and his writings have been frequently used in the various struggles against enemies of various colors.

8. Turn philosophy into a sharp weapon in the hands of the masses

Designer: Revolutionary Committee of Tianjin Industrial Exhibition Hall (天津市工业展览馆革命委员会)
1971, February
Turn philosophy into a sharp weapon in the hands of the masses
Rang zhexue bian wei qunzhong shoulide jianrui wuqi (让哲学变为群众手里的尖锐武器)
Tianjin renmin meishu chubanshe (天津人民美术出版社), print no. 8073.10101
Call number: BG E13/857 (Landsberger collection)

The power of the word, and in particular Mao Zedong's words, is clearly illustrated in this impressive design. The nuclear mushroom cloud can indicate two things: Mao Zedong Thought is like a spiritual atom bomb, as the slogan went, or, thanks to Mao Zedong Thought, China has been able to develop its own nuclear device. It's not all destruction: in the left background we can see the famous Yangzi bridge at Nanjing, touted as one of the great accomplishments of the Cultural Revolution.

9. Hold high the great red banner of Mao Zedong Thought...

Designer unknown (佚名)
1967, April
Hold high the great red banner of Mao Zedong Thought - thoroughly smash the rotting counterrevolutionary revisionist line in literature and the arts
Gaoju Mao Zedong sixiang weida hongqi - chedi za lan fangeming xiuzheng zhuyi wenyi luxian (高举高举毛泽东思想伟大红旗 - 彻底砸烂反革命修正主义文艺路线)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社), print no. T8081.9989
Call number: BG E13/719 (Landsberger collection)

'Monsters and Demons' (niugui sheshen) was the term used to vilify specialists, scholars and authority figures during the Cultural Revolution. After the publication of the editorial "Sweep Away All Monsters and Demons" in People's Daily on 1 June 1966, and after it was rebroadcast and reprinted, Red Guards started a huge purge that swept the country, 'dragging out' and prosecuting all those ostensibly fitting the description. Niugui sheshen (cow monsters and snake demons) was the most recurrent supernatural metaphor used during the Cultural Revolution. It was rooted in Buddhist demonology, and an especially potent weapon to demonize one's opponents. All 'evil spirits' could be identified and combated with the 'demon-exposing mirror' (zhaoyao jing) of Mao Zedong Thought, which in this poster is conveniently held up.

Not only people were identified as monsters, all publications that were seen as old and feudal and therefore opposing Mao or his policies were classified as poisonous weeds and destroyed.

That left China with one author: Mao.

10. Growing up in the midst of struggle

Designer unknown (佚名)
early 1970s
Growing up in the midst of struggle
Zai douzheng zhong chengzhang (在斗争中成长)
Publisher unknown, print no. unknown (imprint removed!)
Call number: BG E15/151 (Landsberger collection)

The destruction of undesirable thought and publication was taught to one and all. The poster shows the determination and fanaticism with which children re-enact an event in which somebody is called to account for spreading counterrevolutionary publications, scattered on the floor. Judging by the looks of the two grown-ups, this is clearly no laughing matter. The slogan on the wall reads "Struggle to strengthen the dictatorship of the proletariat!"

11.  The red flower of Dazhai blossoms everywhere

Designer: Literacy Office of the Political Work Group of the Revolutionary Committee of Shanxi Province collective work (山西省革命委员会政工组文教办公室供稿)
early 1970s
The red flower of Dazhai blossoms everywhere
Dazhai honghua biandi kai (大寨红花遍地开)
Publisher: Shanxi renmin chubanshe (山西人民出版社), print no. 8088.564
Call number: BG E15/497 (Landsberger collection)

As the Cultural Revolution unfurled, only one person and one type of publications became acceptable: Mao and his writings. Their influence went beyond nuclear arms and Yangzi bridges: rural model communes such as Dazhai (in Shanxi) and industrial models like Daqing (in Heilongjiang) could only exist because they were inspired by Mao Thought and Mao actively supported them.

12. Educated youth must go to the countryside to receive re-education ...

Designer: Revolutionary Committee of the Sichuan Art Academy (四川美术学院革命委员会供稿)
1969, April
Educated youth must go to the countryside to receive re-education from the Poor and Lower-Middle peasants!
Zhishi qingnian dao nongcun qu, jieshou pinxiazhong nongde zaijiaoyu! (知识青年到农村去, 接受贫下中农的再教育!)
Publisher: Sichuan renmin chubanshe (四川人民出版社), print no. 69032
Call number: BG E15/35 (Landsberger collection)

From December 1968 onward, millions of urban youth (secondary school graduates and students) were sent "up to the mountains and down to the villages" (shangshan xiaxiang), i.e. to rural villages and to frontier settlements. There, they had to strike root, in order to be reeducated by the Poor and Lower-Middle peasants, the lowest classes in China. The main reason behind this relocation program was to bring the Red Guards under control and to halt the intense factional struggle and civil strife. With the schools still closed, the government did not know what to do with the millions of urban young.

One way to solve the problem was to send the students away to the rural areas. Judging from the many posters that were dedicated to shangshan xiaxiang, the youngsters all enjoyed the wholesome life in the countryside, and thrived under the stern but correct ideological guidance provided by the peasants. All this should transform them into "new-style, cultured peasants". The young intellectuals were also seen as conveyor belts for technology transfer, as bringers of new knowledge to the rural areas. The slogan in the background reads "Always follow the course of cooperation with workers-soldiers-peasants".

13. Bringing books to the mountain areas

Designer: Liu Aimin (刘爱民)
1974, September
Bringing books to the mountain areas
Song shu dao shanqu (送书到山区)
Publisher: Shaanxi renmin chubanshe (陕西人民出版社), print no. 8094.315
Call number: BG E15/71 (Landsberger collection)

The idea that the Poor and Lower-Middle peasants were the fount of revolutionary knowledge and theory, the true and only teachers of urban educated youth, was amply illustrated by endless amounts of posters of them welcoming the arrival of new political publications. They did not hesitate to spend their hard-earned income on these booklets.

14. Herdspeople love to read books by Marx and Lenin

Designer: Shao Hua (邵华); Shao Qinglin (绍青林)
1976, June
Herdspeople love to read books by Marx and Lenin
Mumin aidu Ma Lie shu (牧民爱读马列书)
Publisher: Renmin meishu chubanshe (人民美术出版社), print no. 8027.6304
Call number: BG E15/199 (Landsberger collection)

Obviously, the successive campaigns to combat illiteracy that we've seen earlier had been a success, to the extent that even the members of the proletariat had become skilful Marxist-Leninist theoreticians. The slogan in the bookstore - in Chinese and Mongolian - reads "Read and study conscientiously and get a good grasp of Marxism".

15. Old party secretary

Designer: Liu Zhide (刘志德)
1975, January
Old party secretary (Selected from the Huxian peasant painting exhibition)
Lao shuji (Xuan zi Huxian nongmin huazhan) (老书记 (选自户县农民画展)
Publisher: Shanghai renmin chubanshe (上海人民出版社), 4th edition, print no. 8171.890, circulation 1,340,000
Call number: BG E27/321 (IISH collection)

16. Set the record of history straight

Designer unknown (佚名)
1975, July
Set the record of history straight
Ba diandaode lishi zai diandao guolai (把颠倒的历史再颠倒过来)
Publisher: Tianjin renmin meishu chubanshe (天津人民美术出版社), print no. 8073.10165
Call number: BG E13/951 (Landsberger collection)

'Safe' books devoted to Mao Zedong Thought and subjects related to the Maoist interpretation of reality not only served as 'guides' for the great masses of the people, but also were essential reading material for leaders at every level. Ranging from party secretaries in the rural areas to factory foremen heading the Pi Lin pi Kong campaign (Criticize Lin [Biao], criticize Confucius), the official version of events as it was handed down had to be scrutinized, studied and applied in practice.

17. Awake in the middle of the night

Designer: Liu Zhigui (刘知贵)
1974, December
Awake in the middle of the night
Shenye bu mian (深夜不眠)
Publisher: Shanghai renmin chubanshe (上海人民人民出版社), print no. 8171.1138
Call number: BG E13/814 (Landsberger collection)

18. Lead people to victory
Designer: Geng Yuemin (耿跃民)
1975, June
Lead people to victory
Yin ren ru sheng (引人入胜)
Publisher: Jilin renmin chubanshe (吉林人民出版社), 2nd edition, print no. 8091.658
Call number: BG E13/341 (Landsberger collection)

19. Let's do another test
Designer: Wang Baogui (王宝贵)
1978, September
Let's do another test (Yangliuqing New Year print)
Zai kao yici (Yangliuqing nianhua) (再考一次)
Publisher: Tianjin Yangliuqing huadian (天津杨柳青画店), print no. 8174.102
Call number: BG E13/321 (Landsberger collection)

20. Study hard, make progress every day

Designer: Qian Yunxuan (钱运选)
1978, September 
Study hard, make progress every day
Haohao xuexi, tiantian xiangshang (好好学习天天向上)
Publisher: Tianjin renmin meishu chubanshe (天津人民美术出版社), 2nd edition, print no. 8073.20354
Call number: BG E13/320 (Landsberger collection)

As the 1970s progressed, books increasingly were used to acquire differing types of information, although the orthodoxy of the written word remained. Political study during the night used to be popular and gave people the opportunity to earn praise and certificates, as in No. 17. This gave way to children reading cartoons and illustrated booklets about martyrs for the Communist cause. This in turn gave way to books that merely contained depoliticisized or book knowledge.

21. The shared wish of one billion people

Designer: Mao Wenbiao (毛文彪)
1977, March
The shared wish of one billion people - Warmly welcome the publication of the fifth volume of Selected Works of Mao Zedong
Yiwan renminde gongtong xinyuan - Relie huanhu 'Mao Zedong xuanji' diwu juan chuban (亿万人民的共同心愿 - 热烈欢呼《毛泽东选集》第五卷出版)
Publisher: Renmin meishu chubanshe (人民美术出版社), print no. 8027.6557
Call number: BG G2/11 (Landsberger collection)

22. What I longed for has arrived

Designers: Wu Zhefu (吴哲夫); Li Mubai (李慕白)
1978, April
What I longed for has arrived
Pandaole (盼到了)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社), print no. 8081.11137
Call number: BG E15/398 (Landsberger collection)

In this atmosphere of apparent relaxation, China's star author would make one last come-back. And the cruel thing was: Mao did not even write his latest and last blockbuster! Within a month after his death, the Central Committee of the CCP decided that work was to start in preparation of the publication of new, additional volumes of the Selected Works of Mao Zedong. Although Mao already had ordered preparations for the publication of the fifth and even sixth volumes of selections from his Thought in the late 1960s, this activity had been brought to a stand-still as a result of the fierce and destructive factional struggles in the Cultural Revolution. Nonetheless, the work as published basically followed the structure laid out in the late 1960s. The Volume V that was published in April 1977 showed that Mao's writings would continue to serve as useful ideological precepts and that Mao as the founding father of the Chinese Revolution could not be assailed. His more pragmatic decisions and writings were highlighted, whereas his radical ideas that had proven disastrous (Great Leap Forward, Cultural Revolution) were downplayed as much as possible. The 500-page Volume V, heralded as China's major literary event of 1977, brought the date of Mao's writings closer to the present: it contained a selection of essays written in the period 1949-1957, i.e., from the founding of the PRC to the end of the Hundred Flowers Movement. The new writings rehabilitated many of the functionaries who had fallen victim of the Cultural Revolution and the preface, moreover, singled out the radicals around Jiang Qing for persecution by presenting them as 'ultra-leftists', who in reality were 'right-wing' revisionists. The publication was a resounding success. According to incomplete statistics, more than 28 million copies had been distributed by the end of April 1977.

23. With you in charge, I'm at ease

Designers: Chen Beixin (谌北心); Huang Naiyuan (黄乃源); Qin Dajian (秦大健); Liu Wenxi (刘文西)
1977, April
With you in charge, I'm at ease
Ni ban shi, wo fang xin (你办事我放心)
Publisher: Shanghai renmin chubanshe (上海人民出版社), print no. 7171.965
Call number: BG E15/121 (Landsberger collection)

All this only had been possible because power had shifted. Mao was dead and no longer in command, and neither were his policies. Instead, a relatively young and inexperienced leader took over: Hua Guofeng. Hua was able to produce something of a 'testament' in Mao's handwriting. This testament consisted of three notes that Mao had written in late April 1976, the most famous one being, "With you in charge, I'm at ease" (Ni ban shi, wo fang xin). Once Mao died, a struggle broke out between Hua and Mao's widow, Jiang Qing, over the contents of Mao's 'Last Will'. Jiang forged another Mao note and with this forgery in hand, she announced publicly that she and her followers were Mao's true successors. Jiang's hopes were dashed when various old Party cadres and Army men assisted Hua in arresting her and the Gang of Four. Given the heat with which Mao's succession was contested, it should be no surprise that the official version, the scene in which Mao handed over his testament to Hua, situated in Mao's office-cum-library, was replayed endlessly - but with minor variations - in propaganda posters. This official view of events moreover gave the people the opportunity to see that Mao's reading matter had not been limited to the narrow scope of publications that the masses had to make do with.

24. Create a new type of worker capable both in culture and struggle

Designer: Zhou Ruizhuang (周瑞庄)
1965, February
Create a new type of worker capable both in culture and struggle - Intellectualize the working people
Zuo yige nengwen nengwude xinxing laodongzhe - laodong renmin zhishihua (做一个能文能武的新型劳动者-劳动人民知识化)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社), 2nd edition, print no. T8081.9256
Call number: BG E13/887 (Landsberger collection)

25. Regulations for staff and workers

Zhou Yizhu (周义柱)
1983, January
Regulations for staff and workers - Four: Exert oneself in study; raise the level of politics, culture, science and technology, and professional work
Zhigong shouze - Si, nuli xuexi, tigao zhengzhi, wenhua, keji, yewu shuiping (职工守则 - 努力学习, 提高政治, 文化, 科技, 业务水平)
Publisher: Renmin meishu chubanshe (人民美术出版社), print no. 8027.8503
Call number: BG E13/277 (Landsberger collection)

The change in intellectual atmosphere that occurred after Mao's death created a desire to become more professional. This change probably is best illustrated by a comparison of the two posters above. To name but one element, the trope of struggle still very much present in the 1965 poster was traded in for the officially supported endeavour to professionalize in 1983. Study no longer was seen as something to be done between shifts, but as an activity all by itself.

26. To love the country one must first know its history

Designers: Sha De'an (啥德安); Li Yang (李阳)
1984, January
To love the country one must first know its history - the deeper the knowledge, the more eager the love
Aiguo shouxian yao zhiguo - zhi zhi yu shen, ai zhi yu qie (爱国首先要知国 - 知之愈深, 爱之愈切)
Publisher: Zhejiang renmin meishu chubanshe (浙江人民美术出版社), print no. 8156.456
Call number: BG E13/489 (Landsberger collection)

This changed atmosphere also saw a downplaying of the eminence of politics. In an attempt to provide the people with an alternative for the stale slogans that had dominated popular discourse, in an attempt to provide the people with an alternative for the somewhat discredited Marxism-Leninism-Mao Zedong Thought of the past, nationalism - or patriotism - was now very much stressed. The title of the book that rises out of a background of images of past revolutionary struggle reads Modern and Contemporary History of China.

27. Good character and scholarship

Designer: Peng Zhaomin (彭召民)
1984, June
Good character and scholarship
Pinxue jianyou (品学兼优)
Publisher: Chongqing chubanshe (重庆出版社), print no. 8114.209
Call number: BG E13/249 (Landsberger collection)

28. Books are a window on knowledge

Designer: Zhang Anpu - 张安朴
1984, March
Books are a window on knowledge - Young friends, enthusiastically love books
Shuji shi zhishide chuanghu - Qingnian pengyoumen, re'ai shuji ba (书籍是知识的窗户 - 青年朋友们, 热爱书籍吧)
Publisher: Shanghai renmin meishu chubanshe (上海人民美术出版社), print no. 8081.13950
Call number: BG E13/254 (Landsberger collection)

Under these conditions, learning, scholarship and books were rehabilitated. As we can see in No. 27, books again were given as rewards, for example for studying the model behaviour of Lei Feng, for being a good member of the Communist Youth League, for helping the elderly. But the covers of the books testify to contents that are no longer politically correct, but aimed at improving one's self. In short, the printed word is no longer seen as potentially suspect, fraught with political heresy, but a true window on knowledge.

29. Love society with all your heart

Designer: Huang Hong'en (黄鸿恩)
1996, October
Love society with all your heart
Aixin xiangei shehui (爱心献给社会)
Publisher: Kexue chubanshe (科学出版社), ISBN 7-03-001305-0/G.83
Call number: BG E13/767 (Landsberger collection)

In the 1990s, books were completely rehabilitated. In fact, in this poster book knowledge is equated explicitly with the contribution of youngsters to society.

30. Love the teacher

Designer unknown (佚名)
ca. 1994
Love the teacher
Re'ai laoshi (热爱老师)
Publisher unknown, print nknown
Call number: BG E13/539 (Landsberger collection)

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