China in its quest to borrow communism also borrowed and adapted European style art and literature from 1949 onward. Communism, which seeks to make all things look alike in its quest for social equality has not been able to diminish the traditional literature in China. The concept of “Redness” held by the Chinese Communist Party in, which holds that no expertise or knowledge is needed to do anything, is a concept deeply contradicted by Chinese literature. Those that introduced the “red” concept into Chinese art due to the great pressure put on artisans by the Central Cultural Revolution Group did between 1966-1976. It was further compounded and reinforced by Mao Zedong’s fourth wife who placed expectations on the artisans to produce art that were “red, bright and shining”. Older artisans who were traditional in their trade became irrelevant, which resulted in their humiliation and dishonor. Some were prosecuted accordingly, as the people regarded them as traitors.
The dichotomy in thought in China is evident in the way the country portrays itself to the outside world. The Chinese Revolution is part of the history of China and, as with every historical event has differing and conflicting accounts of its impact on Chinese life. Those who sought to establish communist socialism sought to change the politics of China and its culture. Contrastingly, those who wanted to maintain the status quo were regarded as elitists concerned about themselves at the expense of the masses. Chinese art and literature done by artisans inside or outside the country was a reflection of the ruling political party’s manifesto. All literature and art had to portray the government in good light or else its creators were labeled as government dissidents liable to face prosecution. The Marxist- Leninism of Mao suppressed intellectual and artistic freedom by its conformist regulations. However, artisans who managed to defect from China