Cultural Revolution - Great Link-up and Destruction of Four Olds    (0/21)

 

大串联 - the right to 'link up', meaning for students to cut class and travel across the country to meet other young activists and propagate Mao Zedong Thought. 大串联 ('dà chuànlián') was a movement from late 1966 to early 1967....More

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Beijing Union Hospital was renamed to Anti-imperialism Hospital.
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By Bernd Chang

大串联 - the right to "link up," meaning for students to cut class and travel across the country to meet other young activists and propagate Mao Zedong Thought. 大串联 (“dà chuànlián”), or 全国大串联 (Quánguó dà chuànlián) was a movement from late 1966 to early 1967. After Mao personally greeted millions of red guards who came from other provinces, young people from all over the nation flooded to Beijing hoping to see Mao.

The Four Olds or the Four Old Things (simplified Chinese: 四旧; traditional Chinese: 四舊; pinyin: sì jiù) were Old Customs, Old Culture, Old Habits, and Old Ideas. One of the stated goals of the Cultural Revolution in the People's Republic of China was to bring an end to the Four Olds.[1] The campaign to destroy the Four Olds began in Beijing on August 20, 1966, shortly after the launch of the Cultural Revolution.

Destruction of Chinese cultures and traditional values

Mao Zedong called for the Four Olds to be swept away at the very early stages of the Cultural Revolution in 1966, and Red Guards took up the task with alacrity. As a result, examples of Chinese architecture were destroyed, classical literature and Chinese paintings were torn apart, and cultural and religious customs were vilified as manifestations of feudalism. Many families' long kept genealogy books were burned to ashes. During that time, many ancient Chinese cultural artifacts were destroyed forever. People in possession of these goods were punished.

Starting in the 1990s and continuing into the 21st century, there has been a massive rebuilding effort underway to restore and rebuild cultural sites that were destroyed or damaged during the Cultural Revolution. This has coincided with a resurgence in interest in, and demand for, Chinese cultural artifacts. Some have exploited this increased demand, producing counterfeit artifacts.

 

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