On September 30, the China News Service published a compelling interview with Wang Zhaoguang, a prominent professor of humanities at Sichuan University and former director of the Institute of World History at the Chinese Academy of Social Sciences. The conversation focused on the significance of imagery in understanding the historical impact of the establishment of the People’s Republic of China.

The founding ceremony of the People’s Republic occurred on October 1, 1949, at Tiananmen Square in Beijing. News of the new nation quickly spread worldwide through radio broadcasts, printed media, and oral communication. This year is often regarded as a pivotal turning point in 20th-century Chinese history, marking a distinct divide between “old China” and “new China.”

In his recent compilation, “1949 China Visual Archive,” seasoned photo editor Li Jian has curated over 300 invaluable photographs from that year, along with narratives that bring to life the memories of a nation from 75 years ago.

Intrigued by the key events of 1949 and the role of images as historical evidence, the China News Service sat down with Wang Zhaoguang to delve into the insights surrounding this transformative year.

**China News Service:** When did the idea of using images as historical evidence emerge? What types of imagery play a significant role in the historical narratives of both Eastern and Western contexts?

**Wang Zhaoguang:** The concept of “using images to substantiate history” represents both a subjective quest for truth among historians and an objective evolution within the field of historiography. Ancient Chinese civilization offers a wealth of visual references, from the masterpieces of renowned artists to the depictions of lesser-known creators found on artifacts like Han dynasty bricks, which reflect crucial social dynamics of that era.

In Chinese historiography, the use of imagery as historical evidence has a rich tradition. Scholars historically acknowledged the importance of pictorial sources—including portraits of emperors and important figures—as well as maps, which are also regarded as critical historical artifacts. However, the limitations of printing technology at the time made illustrated historical texts rather uncommon.

The advent of photography in the modern era significantly increased the availability of historical imagery. Influential historians like Liang Qichao recognized the importance of visual documentation. Today, “visual evidence” encompasses a broad spectrum of media, including videos, audio recordings, photographs, and illustrations. These formats provide a visceral, impactful means of experiencing historical events, allowing individuals to connect with them even if they weren’t present.

Numerous visual records of modern China have emerged thanks to Western photographers and imported technology, capturing pivotal moments in history. For example, during the Sino-Japanese War, Chinese photographer Wang Xiaoting took a poignant photograph of a wounded child crying on the railway tracks after a bombing in Shanghai. This image later graced the cover of Life magazine and resonated with over 100 million viewers, showcasing the brutality of the Japanese invasion and the suffering of the Chinese populace.

**China News Service:** How does “1949 China Visual Archive” encapsulate China’s historical transformation? What notable events took place that year, and how are the true faces of the Chinese people represented?

**Wang Zhaoguang:** Understanding history hinges on the dimensions of time and space. This book employs photographs to illustrate China’s historical journey in 1949, highlighting key military campaigns such as the Pingjin and Yangtze River operations, the liberation of Nanjing and Shanghai, and the Communist Party’s unification efforts with various democratic factions to establish the new nation.

Geographically, it focuses on the lived experiences of people in cities like Shanghai, Nanjing, and Guangzhou, contrasting the societal conditions of old and new China. The materials also include reflections on Hong Kong, Macau, and liberated regions in Northeast China, enhancing the narrative with diversity and comparative insights.

The book features images that capture the hardships faced by the public amid widespread inflation, juxtaposed with scenes of the affluent enjoying leisure in green spaces—clearly illustrating why the old regime lost public favor. There are also evocative photos of soldiers camping on urban streets during the Shanghai campaign, alongside illustrations advocating for the citizens’ well-being under the new order, emphasizing the professionalism and discipline of the military, which instilled public confidence.

The most monumental event of 1949 was undoubtedly the founding of the People’s Republic of China. Images of Communist Party leaders and representatives from democratic parties at the Tiananmen Square ceremony highlight the broad political foundation of the new government. Additionally, photographs showcase young people celebrating the establishment of the new China, their faces glowing with hope for the future.

On that historic day, the five-star red flag was raised in locations such as the Liock Road Clubs in Hong Kong and Macau’s Ho Kai Middle School. Concurrently, an 11-year-old Panchen Lama sent telegrams to Chairman Mao and General Zhu De expressing his support for the new government and optimism for Tibet’s liberation.

**China News Service:** Who are some of the unforgettable faces of the Chinese people captured in 1949?

**Wang Zhaoguang:** “1949 China Visual Archive” provides a vivid portrayal of various individuals—from revolutionaries to cultural figures, students, and ordinary citizens—united in their spirit during such a transformative period.

On January 22, 1949, 55 prominent figures, including Li Jishen and Guo Moruo, issued a joint statement advocating for unity with the Communist Party. It marked a wave of patriotic democrats, overseas Chinese, and religious leaders who moved into liberated areas to help establish the new government alongside Communist leaders.

Later, in September, the first session of the Chinese People’s Political Consultative Conference convened, capturing significant moments such as speeches by overseas representatives like Chen Jiageng and the voting of delegates from Xinjiang.

Intellectuals and cultural figures were particularly attuned to societal shifts, many expressing hope for a new beginning. In 1949, Zhang Leiping, with support from Soong Ching-ling, hosted the inaugural exhibition of “Sanmao” artworks and envisioned a haven for street children, declaring in an interview, “The old society has died; the new society has been born. Sanmao is no longer lost.”

At this crucial moment in history, most intellectuals chose to remain and contribute to their homeland. Of the 81 scholars elected in 1948, 60 decided to stay in mainland China, demonstrating unwavering commitment to the nascent nation.

While not every part of China was liberated by October 1, 1949, images from that year document poignant moments, such as scholar Liang Shuming greeting the arrival of liberation forces in Chongqing in early December. Concurrently, an 8-year-old Huang Zhan-sen arrived in Hong Kong with his family after fleeing Guangzhou, eventually becoming a celebrated lyricist in the Chinese-speaking world.

**China News Service:** How do these images from 1949 help us understand what makes new China “new”?

**Wang Zhaoguang:** In both Eastern and Western narratives, certain pivotal years serve to encapsulate a nation’s history, akin to the French Revolution in 1789, the American Declaration of Independence in 1776, and the Russian October Revolution in 1917.

Each of these years, while offering self-contained historical analyses, gestures toward expansive historical contexts that enhance our understanding of subsequent developments and antecedent events. Such years embody profound significance—Huang Renyu’s “1587: A Year of No Significance,” for instance, not only references that specific year but also illustrates the complexity and diversity of history.

In modern Chinese history, “new China” has become a collective memory deeply embedded in the consciousness of the Chinese people post-1949. The mention of new China evokes a shared emotional response among those who have lived in the country or studied its history.

The visual documentation from 1949 allows us to appreciate the emergence of new China through both significant historical events and the everyday lives of ordinary citizens. The images capture the immense transformations occurring at that time, including the poignant scene of a girl navigating her small boat across the Yangtze River amidst gunfire to support liberation forces, and the heartrending image of Chiang Kai-shek gazing at his homeland in despair as he faced exile.

The essence of rebirth lies in the transformative process. The interplay of time and space in history, alongside the individuals who influenced it, is vividly captured in these images, reflecting the narrative of China’s past and its future trajectories. This encapsulates a story of renewed life in history and a renaissance for an ancient civilization.