This paper focuses on the rhetoric of new nianhua , images of the Maoist
propaganda produced since 1940 for a rural population who was familiar with
the aesthetic and the symbolic of nianhua (new year prints). Their rhetoric is
based in many cases on an “intericonic” relationship with local popular models.
Through a few examples of virtual pairs of images (mostly produced during two
reforms in the fifties, in Yangjiabu, Shandong), this paper analyzes the different
types of plastic and symbolic relationships between “old” and “new” nianhua ,
aiming at a better understanding of how those relationships were meant to reinforce