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This dissertation centers on the formation of socialist lianhuanhua in China in the 1950s and 1960s. Lianhuanhua is a special genre of comics that was widely welcomed by urban readers in China from the early twentieth century to the mid-1980s. Aiming to reform readers into socialist subjects, the Chinese Communist Party (CCP) instrumentalized lianhuanhua for didacticism and propaganda. Following the Stalinist dictum of “socialist realism,” which mandated proletariat art to be “national in form and socialist in content,” lianhuanhua artists selected pictorial elements from European academic painting, folk art, and Chinese classical painting from different regions and periods in history to create an effective visual language that answered both the Party-State’s demand and urban readers’ taste. The dissertation first illustrates the CCP’s tactics for reforming the lianhuanhua industry in Shanghai in terms of production, circulation, and censorship. In the subsequent chapters, I examine three iconic lianhuanhua published by Shanghai People’s Art Press, including Zhao Hongben and Qian Xiaodai’s Sun Wukong Thrice Beats the White-Bone Demon, He Youzhi’s Great Changes in a Mountain Village, and Ding Binzeng and Han Heping’s Railroad Guerrillas, to inquire into the following questions: What innovations and conventions were adopted by artists in the making of lianhuanhua? How have lianhuanhua artists recycled, reinterpreted, and redeployed cultures through time? How do these various reuses reflect their particular political, social, and cultural contexts? By dissecting the visual components in the lianhuanhua, I explore how socialist realism, as an aesthetico-political project, evolved and adjusted to fit the conditions in China after its introduction from the Soviet Union. The research adds to recent studies of Chinese socialist culture that question the common perception of socialist realism as a method imposed by the state and therefore is rigid, monolithic, and monotonous. In this research, I demonstrate lianhuanhua making as a complex process that involves negotiations between high politics, cultural policies, the target readers’ preferences, and artists’ understanding of their task of creating new works for a new nation.

В статье представлен творческий и педагогический путь китайского художника-графика Ян Илинь, создавшего более десяти длинных и более двадцати коротких ляньхуаньхуа (книг в картинках), а также написавшего множество иллюстраций; осуществлен анализ ведущих произведений художника, таких как «Медная пуговица», «Песни о молодости», «Цыганы», «Капитанская дочка» и др., The paper describes the artistic and pedagogical path of Yang Ilin, the Chinese graphic artist who created over 10 long and over 20 short lianhuanhua (picture books) and also a lot of illustrations. The author of the paper analyses the main works of the artist, such as “Copper Button”, “Songs about Youth”, “The Gypsies”, “The Captain's Daughter”, etc., Университетский научный журнал, Выпуск 53 2020

В статье анализируется творчество двух современных китайских художников Ли Чэня и Ци Синя, создающих вначале XXI в. ляньхуаньхуа книги в картинках. Автор рассматривает вопросы реализации художниками концепции,разработанной Художественным комитетом ляньхуаньхуаСоюза художников Китая, создания станковых серийныхкартин, выполненных в технике станковой живописи., The article examines the work of two contemporary Chineseartists, Li Chen and Qi Xin, who created lianhuanhua picture books in the fi rst quarter of the 21st century. The authorconsiders how the artists implement the concept developedby the Lianhuanhua Art Committee of the Union of Artists of China to create easel serial paintings made in the techniqueof easel painting., Университетский научный журнал, Выпуск 48 2019

[EN] The following work presents the creation of an illustration book in Lianhuanhua format. It pretends to create an adaptation of a tale extractedfrom Washington Irving¿s compilation The Alhambra: A series of Tales ofthe Moors and Spaniards. The main objective is to present a project withall the peculiarities of this book format, but updated to today¿s aesthetics. To achieve this, it was necessary to follow a two-level methodology; a first stage of contextualization, in wich an analysis of the text was done to adapt the story to the format¿s characteristics, followed by an investigation period and documentation about the lianhuanhua, the historical context of the tale and of the era in which it was written. The second step was the production stage, in which the obtained information was apllied over the practical aspects of the project: script, character design and finally, the elaboration of the illustrations and the layout, obtaining a lianhuanhua picture book., [ES] El presente trabajo trata de la creación de un libro con un formato basado en el Lianhuanhua, con ilustraciones y texto. Se pretende crear una adaptación ilustrada de un cuento extraído del libro Cuentos de la Alhambra de Washington Irving. El objetivo era presentar un proyecto con todas las particularidades de este formato, pero actualizándolo a las sensibilidades estéticas actuales y teniendo en cuenta las limitaciones técnicas. Para ello fue necesario seguir una metodología, que constaba de dos niveles; el primero, de contextualización del proyecto: se hizo un análisis del cuento a ilustrar para poder adaptarlo a las características del formato, seguido de un período de investigación y documentación sobre los libros lianhuanhua, el contexto histórico del relato y también sobre la época en la que se escribió. El segundo nivel fue el de producción, en el que la información recopilada se aplicó en el aspecto práctico del trabajo: guión, diseño de personajes y por último, la elaboración de las ilustraciones y la maquetación obteniendo como resultado final un álbum ilustrado lianhuanhua.

Книги в картинках – это способ рассказа истории с помощью большого числа рисунков, изображающих события сюжета. Книги в картинках имеет долгую историю в Китае. После основания Китайской Народной Республики в 1949 году книги в картинках, изданные в Китае, имели большое значение для распространения и пропаганды советской литературы и искусства в Китае. Данная работа посвящена анализу и интерпретации книг в картинках китайского художника Чэнь Дуньсаня (???), в основе которых лежат произведения Антона Павловича Чехова.