SubscribeLog in
Connect with us

Backgrounder

An Introduction to Sina Weibo: Background and Status Quo

Sina Weibo, often referred to as ‘Weibo’, is one of the biggest social media platforms of China. A short introduction to China’s most popular micro-blogging service.

Manya Koetse

Published

on

This is What’s on Weibo’s short introduction to Sina Weibo, China’s biggest social media network that was launched in 2009. Over the past eight years, Weibo has transformed from a Chinese equivalent of Twitter to a comprehensive platform that incorporates the major features of social media channels like Twitter, YouTube, and Instagram [last updated April 2017].

Sina Weibo is China’s most popular social media platform. This is What’s on Weibo’s Sina Weibo File: an introduction to Sina Weibo, with regularly updated facts and stats.

 
What’s on Weibo’s Weibo File:
1. What is Sina Weibo? A Short Intro
2. Weibo Dead? Au Contraire!
3. Sina Weibo in Numbers
4. Weibo’s Biggest Stars

 

1.What is Sina Weibo?
A Short Intro

 

Sina Weibo (新浪微博), often simply called ‘Weibo’ (pronounce as way-bo), is one of the biggest social media platforms of China. ‘Weibo’ literally means ‘micro-blog.’

Weibo is often explained as the Chinese equivalent of Twitter or Facebook, two services that are blocked in mainland China. The year that Sina Weibo was launched (2009) was a pivotal year for China in terms of micro-blogging. Besides Twitter, domestic social media sites such as Zuosa, Fanfou and Taotao were rapidly gaining popularity. Following the Urumqi riots in 2009, Chinese authorities blamed the free flow of information for the surge of social unrest and put a stop to Twitter, Facebook and many local microblogs (Sullivan 2012, 775). Sina Weibo was introduced as a new social media platform that would keep the stream of incoming posts under control by tracking and blocking ‘sensitive’ content (ibid. 2012, 775-776).

There are multiple sites in China that offer micro-blogging services, but Sina Weibo is still the most popular one around the Chinese web. Three years after its launch, it already had 503 million registered users (Chen et al 2012, 1; Zhao et al 2014, 613); a significant majority of the 640 million Internet users that China holds.

Sina Weibo is often called the “Chinese Twitter”, but actually it is more versatile. The platform functions as what could be said to be a combination of Facebook and Twitter, but ultimately is unique.

Weibo has a 140 character limit to each post and users are part of a “follower-followee network” (Gao et al 2012, 88). The relationship between followers and followees is unidirectional; one can ‘follow’ an individual and read their ‘weibos’ (posts), like and share them, without being followed back. It is possible for users to upload videos, images, and gifs.

Research shows that there are quite some differences between how Weibo is used in China and Twitter is used in other countries. Not only do users of Sina Weibo publish more posts than those on Twitter, they also tend to disclose more personal information about themselves. They are more active in reacting on other people and sharing their views (Gao et al 2012, 93; Sullivan 2012, 774). While topics discussed on Twitter are often linked to institutions and companies, users of Sina avoid talking about (political) organizations or other institutions (Gao et al 2012, 96). The idea that Weibo is used in a more ‘personal’ way is supported by the fact that Sina Weibo users publish 19% more posts during the weekends. This in contrast to Twitter, where people post 11% less tweets on weekends than they do on weekdays (ibid. 2012, 98).

China is in the midst of a “microblogging revolution” (Sullivan 2012, 773). Online government regulations and censorship have not turned Chinese Internet or Weibo into a social media prison. On the contrary, the Chinese Internet could be called “one of the most vibrant economic and social cyberspaces in the world” (Yeo&Li 2012, 7). The intense online discussions on corrupt officials or multiple food scandals have demonstrated that the relationship between the censors and the world of Weibo is not black and white. Although there are many limits to what can be posted, and control is strict, Weibo does offer a national platform to ordinary Chinese netizens where they can enjoy a relatively free online environment (Sullivan 2012, 774; Magistad 2012). Weibo is a place of continuous negotiation between citizens and government on what the boundaries are, and to what extent they can be stretched. In this way Weibo is a highly politicized space. It is clear that Weibo is a significant phenomenon to present Chinese society that will keep buzzing on the net for a long time to come.

 

2.Weibo Dead?
Au Contraire! 

 

Recently, many different media have stated that Weibo is dying as a consequence to 2015 rules that required users to register with their real names. More people allegedly switched from the more public Weibo to the more private messaging app Weixin, media argued, and Weibo would soon be on the way out as online free speech becomes more and more limited.

Weibo, the Chinese microblogging site

Although Weibo is not the more ‘private’ platform it used to be, it is still very much alive. Its daily active users are still on the increase, with 34% more in 2015 than in 2014. Its mobile monthly active users grew 57% in 2015.The private dimension of Weibo (talking amongst friends) has made room for Weixin, where P2P is the most important form of interaction. In December 2016, Weibo had 313 million monthly active users.

Sina Weibo is now a public social media platform and China’s most dominant source of news content, where netizens come for information acquisition, sharing and commenting. They also have added additional features to the platform (such as ‘Radar‘) to keep Weibo users coming back.

Weibo still has over 500 million registered users; and with over 212 million of them actively using the platform in 2015, and monthly active users reaching 390 million in September of 2016, Weibo is more alive than ever. Those who said Weibo was dead, were too soon to judge: WeChat has not killed Weibo and users are not leaving (yet). A number one trending topic still has up to 800 million page views and 4.9 million comments.

 

3.Sina Weibo
in Numbers

 

*Sina Weibo has more than 500 million registered users.

*There are 313 million monthly active users.

*85% of them use Weibo on their mobile.

*There are over 100 million messages posted by users each day.

*70% of Weibo’s active users are at university level.

*50.10% of Weibo users are male, 49.90% are female.

*With 90 million followers, actress Xie Na is the number 1 Weibo celebrity.

 

4.Weibo’s
Biggest Stars

 

Some of Weibo’s top celebrities have more ‘followers’ than any other star in the world. The top 10 celebrities from mainland China with the biggest fan base changes every now and then but the top five has been pretty stable for the past year.

What is noteworthy about this list is that it does not contain any ‘internet celebrities’ (网红 wanghong), meaning people who have become self-made online influencers through the internet, for which Weibo has become known over the past 1-2 years. One example is comedian Papi Jiang, who became famous by posting funny videos of herself. Nevertheless, the biggest Weibo stars are still the ‘traditional celebrities’ in the sense that they have made their big breakthrough through TV or cinema.

Many of them simply have become so big on Weibo because they were among the first celebrities to join the platform since its beginning in 2009. Big names in this list, including Yao Chen, Chen Kun, and Guo Degang, already had over 54 million followers on the platform in 2013.

Here we go with our updated list of Weibo’s biggest stars of 2017:

 

1. Xie Na 谢娜

90.485.623 followers.

The absolute number one this list is the ‘Queen of Weibo’ Xie Na (1981), also nicknamed ‘Nana’ – an extremely popular Chinese singer, actress and designer. One of the reasons she has become so famous in mainland China is that she is the co-host of Happy Camp (快乐大本管), which is one of China’s most popular variety TV shows. She presents the show together with, amongst others, colleague He Jiong, who is the number two in this list.

Xie Na stars in many popular Chinese films and television series. She has also released several albums, founded a personal clothing line, and published two books.

Before getting married to Chinese singer Zhang Jie, Xie Na was in a 6-year relationship with her Happy Camp colleague Liu Ye.

Xiena made headlines in March 2017, becoming #1 trending topic on Weibo, when she announced she would go to Italy as an overseas student to study design.

 

2. He Jiong 何炅

83.883.937 followers

He Jiong (1974) has been the host of China’s popular Happy Camp TV show for over ten years. He is also a singer, actor, and used to be an Arabic teacher at Beijing’s Foreign Studies University. Chinese media have called He Jiong “a key figure in China’s entertainment industry.”

‘Happy Camp’ (快乐大本馆) is a prime time variety show aired by Hunan TV. It is one of China’s most popular TV shows in China. With a viewership of tens of millions, it often holds first place in China’s total viewing ratings.

 

3. Chen Kun 陈坤

81.067.976 followers.

Chinese top actor and singer Chen Kun (1979, Chongqing) is known for his roles in, amongst others, Painted Skin and Balzac and the Little Chinese Seamstress.

Chen Kun, sometimes also known as Aloys Chen, is not only popular because of his acting work, but also for his looks – he is known to have a large gay fanbase. He is not shy about his looks, and likes to post a lot of photos of himself on his Weibo page.

 

4. AngelaBaby 杨颖

80.660.742 followers.

‘Angelababy’ (nickname for Yang Ying, 1989) has practically become a household name in China over the past few years. The actress and model started her acting career in 2007 and has taken on many roles in different movies and TV dramas.

Angelababy especially made headlines when she married Chinese famous actor Huang Xiaoming in 2015 and took extravagant pre-wedding photos in Paris. In the same year, she also set off a firestorm of debate when she underwent a medical examination to prove that she did not have facial plastic surgery to defend herself in a court case against a beauty clinic.

Angelababy is one of China’s “New Four Dan Actresses” according to the 2013 Southern Metropolis Daily, meaning she is generally perceived as one of China’s most bankable actresses.

 

5. Yao Chen 姚晨

80.570.259 followers.

In our 2015 list of Weibo’s biggest celebrities, Yao Chen was ranking first with 78 million followers. Although she has gained two million fans since then, she has dropped a few places in this list.

Fujian-born Yao Chen (1979) is a Chinese actress and Weibo celebrity, who was mentioned as the 83rd most powerful woman in the world by Forbes magazine in 2014. Being the first-ever Chinese UNHCR Goodwill Ambassador, she is also called ‘China’s answer to Angelina Jolie’ (Telegraph).

Yao Chen was featured on the 2016 Pirelli Calendar.

Yao Chen is not necessarily China’s number one actress, but she was one of the first celebrities to share her personal life on Weibo since 2009, and interact with her fans. On Weibo, she talks about her everyday life, family, news-related issues, work, and fashion. She posts personal pictures every day.

The combination of her popularity due to acting work, combined with her frequent Weibo updates and closeness to her fans, have made Yao Chen a huge Weibo celebrity.

For the full list check out our 2017 top 10 of Weibo celebrities.

By Manya Koetse

References

Chen Zhaoqun, Pengfei Liu, Xiaohan Wang and Yuantao Gu. 2012. “Follow Whom? Chinese Users Have Different Choice.” Paper, Department of Electronic Engineering, Tsinghua University. Available online at http://arxiv.org/abs/1212.0167 (Accessed February 28, 2013).

Gao, Qi, Fabian Abel, Geert-Jan Houben and Yong Yu. 2012. “A Comparative Study of Users’ Microblogging Behavior on Sina Weibo and Twitter.” In: Masthoff, J.; Mobasher, B.; Desmarais, M.; Nkambou, R. (Eds.), User Modeling, Adaptation, and Personalization: 20th International Conference, UMAP 2012, Montreal, Canada, July 16-20, 2012 Proceedings, 88-101. Heidelberg: Springer Berlin Heidelberg.

Lunden, Ingrid. 2012. “Analyst: Twitter Passed 500M Users In June 2012.” Techcrunch.com (July 30). Available online at http://tcrn.ch/OdtB41 (Accessed February 28, 2013).

Magistad, Mary Kay. 2012. “How Weibo is Changing China.” Yale Global (Aug 9). Available online at http://yaleglobal.yale.edu/content/how-weibo-changing-china (Accessed February 28, 2013).

Millward, Steven. 2015. “Weibo hits 212M monthly active users, most now on mobile.” Tech in Asia, Aug 19 https://www.techinasia.com/weibo-212-million-active-users/ [8.9.15].

Sullivan, Jonathan. 2012. “A Tale of Two Microblogs in China.” Media Culture Society (34): 773-783.

Yeo, George and Eric X. Li. 2012. “Yin and Yang: Sina Weibo and the Chinese State.” New Perspectives Quarterly 29(2): 7-9.

Zhao, J., Wu, W., Zhang, X., Qiang, Y., Liu, T., & Wu, L. 2014. “A Short-Term Trend Prediction Model of Topic over Sina Weibo Dataset.” Journal of Combinatorial Optimization (28):613-625.

(Image: http://charliewang.me/a-close-look-at-the-sina-weibo-phenomenon)

Article by Manya Koetse for What’s on Weibo. 2013-2015.

©2015 Whatsonweibo. All rights reserved. Do not reproduce without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the founder and editor-in-chief of whatsonweibo.com. She is a writer, public speaker, and researcher (Sinologist, MPhil) on social trends, digital developments, and new media in an ever-changing China, with a focus on Chinese society, pop culture, and gender issues. She shares her love for hotpot on hotpotambassador.com. Contact at manya@whatsonweibo.com, or follow on Twitter.

Continue Reading
5 Comments

5 Comments

  1. Avatar

    Harald Gottschling

    October 12, 2016 at 11:05 pm

    I´m looking for shouse-brand “chou sen” , thank you
    Harald Gottschling

  2. Avatar

    Mandy

    October 6, 2017 at 10:05 pm

    Good article. Thanks for sharing.

  3. Avatar

    Japan

    April 13, 2018 at 7:22 pm

    Pretty! This has been a really wonderful post. Thank you for
    providing this information.

  4. Avatar

    Borhan Brihan

    October 7, 2018 at 8:59 am

    The followers of top ten celebrities are insane! A perfect article with handy statistics.

  5. Avatar

    longUrl

    May 20, 2019 at 8:52 pm

    Why people still use to read news papers when in this technological globe everything is available on net?

Leave a Reply

Your email address will not be published. Required fields are marked *

Backgrounder

“Oppenheimer” in China: Highlighting the Story of Qian Xuesen

Qian Xuesen is a renowned Chinese scientist whose life shares remarkable parallels with Oppenheimer’s.

Zilan Qian

Published

on

They shared the same campus, lived in the same era, and both played pivotal roles in shaping modern history while navigating the intricate interplay between science and politics. With the release of the “Oppenheimer” movie in China, the renowned Chinese scientist Qian Xuesen is being compared to the American J. Robert Oppenheimer.

In late August, the highly anticipated U.S. movie Oppenheimer finally premiered in China, shedding light on the life of the famous American theoretical physicist J. Robert Oppenheimer (1904-1967).

Besides igniting discussions about the life of this prominent scientist, the film has also reignited domestic media and public interest in Chinese scientists connected to Oppenheimer and nuclear physics.

There is one Chinese scientist whose life shares remarkable parallels with Oppenheimer’s. This is aerospace engineer and cyberneticist Qian Xuesen (钱学森, 1911-2009). Like Oppenheimer, he pursued his postgraduate studies overseas, taught at Caltech, and played a pivotal role during World War II for the US.

Qian Xuesen is so widely recognized in China that whenever I introduce myself there, I often clarify my last name by saying, “it’s the same Qian as Qian Xuesen’s,” to ensure that people get my name.

Some Chinese blogs recently compared the academic paths and scholarly contributions of the two scientists, while others highlighted the similarities in their political challenges, including the revocation of their security clearances.

The era of McCarthyism in the United States cast a shadow over Qian’s career, and, similar to Oppenheimer, he was branded as a “communist suspect.” Eventually, these political pressures forced him to return to China.

Although Qian’s return to China made his later life different from Oppenheimer’s, both scientists lived their lives navigating the complex dynamics between science and politics. Here, we provide a brief overview of the life and accomplishments of Qian Xuesen.

 

Departing: Going to America

 

Qian Xuesen (钱学森, also written as Hsue-Shen Tsien), often referred to as the “father of China’s missile and space program,” was born in Shanghai in 1911,1 a pivotal year marked by a historic revolution that brought an end to the imperial dynasty and gave rise to the Republic of China.

Much like Oppenheimer, who pursued further studies at Cambridge after completing his undergraduate education, Qian embarked on a journey to the United States following his bachelor’s studies at National Chiao Tung University (now Shanghai Jiao Tong University). He spent a year at Tsinghua University in preparation for his departure.

The year was 1935, during the eighth year of the Chinese Civil War and the fourth year of Japan’s invasion of China, setting the backdrop for his academic pursuits in a turbulent era.

Qian in his office at Caltech (image source).

One year after arriving in the U.S., Qian earned his master’s degree in aeronautical engineering from the Massachusetts Institute of Technology (MIT). Three years later, in 1939, the 27-year-old Qian Xuesen completed his PhD at the California Institute of Technology (Caltech), the very institution where Oppenheimer had been welcomed in 1927. In 1943, Qian solidified his position in academia as an associate professor at Caltech. While at Caltech, Qian helped found NASA’s Jet Propulsion Laboratory.

When World War II began, while Oppenheimer was overseeing the Manhattan Project’s efforts to assist the U.S. in developing the atomic bomb, Qian actively supported the U.S. government. He served on the U.S. government’s Scientific Advisory Board and attained the rank of lieutenant colonel.

The first meeting of the US Department of the Air Force Scientific Advisory Board in 1946. The predecessor, the Scientific Advisory Group, was founded in 1944 to evaluate the aeronautical programs and facilities of the Axis powers of World War II. Qian can be seen standing in the back, the second on the left (image source).

After the war, Qian went to teach at MIT and returned to Caltech as a full-time professor in 1949. During that same year, Mao Zedong proclaimed the establishment of the People’s Republic of China (PRC). Just one year later, the newly-formed nation became involved in the Korean War, and China fought a bloody battle against the United States.

 

Red Scare: Being Labeled as a Communist

 

Robert Oppenheimer and Qian Xuesen both had an interest in Communism even prior to World War II, attending communist gatherings and showing sympathy towards the Communist cause.

Qian and Oppenheimer may have briefly met each other through their shared involvement in communist activities. During his time at Caltech, Qian secretly attended meetings with Frank Oppenheimer, the brother of J. Robert Oppenheimer (Monk 2013).

However, it was only after the war that their political leanings became a focal point for the FBI.

Just as the FBI accused Oppenheimer of being an agent of the Soviet Union, they quickly labeled Qian as a subversive communist, largely due to his Chinese heritage. While the government did not succeed in proving that Qian had communist ties with China during that period, they did ultimately succeed in portraying Qian as a communist affiliated with China a decade later.

During the transition from the 1940s to the 1950s, the Cold War was underway, and the anti-communist witch-hunts associated with the McCarthy era started to intensify (BBC 2020).

In 1950, the Korean War erupted, with the People’s Republic of China (PRC) joining North Korea in the conflict against South Korea, which received support from the United States. It was during this tumultuous period that the FBI officially accused Qian of communist sympathies in 1950, leading to the revocation of his security clearance despite objections from Qian’s colleagues. Four years later, in 1954, Robert Oppenheimer went through a similar process.

The 1950’s security hearing of Qian (second left). (Image source).

After losing his security clearance, Qian began to pack up, saying he wanted to visit his aging parents back home. Federal agents seized his luggage, which they claimed contained classified materials, and arrested him on suspicion of subversive activity. Although Qian denied any Communist leanings and rejected the accusation, he was detained by the government in California and spent the next five years under house arrest.

Five years later, in 1955, two years after the end of the Korean War, Qian was sent home to China as part of an apparent exchange for 11 American airmen who had been captured during the war. He told waiting reporters he “would never step foot in America again,” and he kept his promise (BBC 2020).

A letter from the US Immigration and Naturalization Service to Qian Xuesen, dated August 4, 1955, in which he was notified he was allowed to leave the US. The original copy is owned by Qian Xuesen Library of Shanghai Jiao Tong University, where the photo was taken. (Caption and image via wiki).

Dan Kimball, who was the Secretary of the US Navy at the time, expressed his regret about Qian’s departure, reportedly stating, “I’d rather shoot him dead than let him leave America. Wherever he goes, he equals five divisions.” He also stated: “It was the stupidest thing this country ever did. He was no more a communist than I was, and we forced him to go” (Perrett & Bradley, 2008).

Kimball may have foreseen the unfolding events accurately. After his return to China, Qian did indeed assume a pivotal role in enhancing China’s military capabilities, possibly surpassing the potency of five divisions. The missile programme that Qian helped develop in China resulted in weapons which were then fired back on America, including during the 1991 Gulf War (BBC 2020).

 

Returning: Becoming a National Hero

 

The China that Qian Xuesen had left behind was an entirely different China than the one he returned to. China, although having relatively few experts in the field, was embracing new possibilities and technologies related to rocketry and space exploration.

Within less than a month of his arrival, Qian was welcomed by the then Vice Prime Minister Chen Yi, and just four months later, he had the honor of meeting Chairman Mao himself.

Qian and Mao (image source).

In China, Qian began a remarkably successful career in rocket science, with great support from the state. He not only assumed leadership but also earned the distinguished title of the “father” of the Chinese missile program, instrumental in equipping China with Dongfeng ballistic missiles, Silkworm anti-ship missiles, and Long March space rockets.

Additionally, his efforts laid the foundation for China’s contemporary surveillance system.

By now, Qian has become somewhat of a folk hero. His tale of returning to China despite being thwarted by the U.S. government has become like a legendary narrative in China: driven by unwavering patriotism, he willingly abandoned his overseas success, surmounted formidable challenges, and dedicated himself to his motherland.

Throughout his lifetime, Qian received numerous state medals in recognition of his work, establishing him as a nationally celebrated intellectual. From 1989 to 2001, the state-launched public movement “Learn from Qian Xuesen” was promoted throughout the country, and by 2001, when Qian turned 90, the national praise for him was on a similar level as that for Deng Xiaoping in the decade prior (Wang 2011).

Qian Xuesen remains a celebrated figure. On September 3rd of this year, a new “Qian Xuesen School” was established in Wenzhou, Zhejiang Province, becoming the sixth high school bearing the scientist’s name since the founding of the first one only a year ago.

In 2017, the play “Qian Xuesen” was performed at Qian’s alma mater, Shanghai Jiaotong University. (Image source.)

Qian Xuesen’s legacy extends well beyond educational institutions. His name frequently appears in the media, including online articles, books, and other publications. There is the Qian Xuesen Library and a museum in Shanghai, containing over 70,000 artefacts related to him. Qian’s life story has also been the inspiration for a theater production and a 2012 movie titled Hsue-Shen Tsien (钱学森).2

 

Unanswered Questions

 

As is often the case when people are turned into heroes, some part of the stories are left behind while others are highlighted. This holds true for both Robert Oppenheimer and Qian Xuesen.

The Communist Party of China hailed Qian as a folk hero, aligning with their vision of a strong, patriotic nation. Many Chinese narratives avoid the debate over whether Qian’s return was linked to problems and accusations in the U.S., rather than genuine loyalty to his homeland.

In contrast, some international media have depicted Qian as a “political opportunist” who returned to China due to disillusionment with the U.S., also highlighting his criticism of “revisionist” colleagues during the Cultural Revolution and his denunciation of the 1989 student demonstrations.

Unlike the image of a resolute loyalist favored by the Chinese public, Qian’s political ideology was, in fact, not consistently aligned, and there were instances where he may have prioritized opportunity over loyalty at different stages of his life.

Qian also did not necessarily aspire to be a “flawless hero.” Upon returning to China, he declined all offers to have his biography written for him and refrained from sharing personal information with the media. Consequently, very little is known about his personal life, leaving many questions about the motivations driving him, and his true political inclinations.

The marriage photo of Qian and Jiang. (Image source).

We do know that Qian’s wife, Jiang Ying (蒋英), had a remarkable background. She was of Chinese-Japanese mixed race and was the daughter of a prominent military strategist associated with Chiang Kai-shek. Jiang Ying was also an accomplished opera singer and later became a professor of music and opera at the Central Conservatory of Music in Beijing.

Just as with Qian, there remain numerous unanswered questions surrounding Oppenheimer, including the extent of his communist sympathies and whether these sympathies indirectly assisted the Soviet Union during the Cold War.

Perhaps both scientists never imagined they would face these questions when they first decided to study physics. After all, they were scientists, not the heroes that some narratives portray them to be.

Also read:
■ Farewell to a Self-Taught Master: Remembering China’s Colorful, Bold, and Iconic Artist Huang Yongyu
■ “His Name Was Mao Anying”: Renewed Remembrance of Mao Zedong’s Son on Chinese Social Media

By Zilan Qian

1 Some sources claim that Qian was born in Hangzhou, while others say he was born in Shanghai with ancestral roots in Hangzhou.
2The Chinese character 钱 is typically romanized as “Qian” in Pinyin. However, “Tsien” is a romanization in Wu Chinese, which corresponds to the dialect spoken in the region where Qian Xuesen and his family have ancestral roots.

This article has been edited for clarity by Manya Koetse

References (other sources hyperlinked in text)

BBC. 2020. “Qian Xuesen: The man the US deported – who then helped China into space.” BBC.com, 27 October https://www.bbc.com/news/stories-54695598 [9.16.23].

Monk, Ray. 2013. Robert Oppenheimer: A Life inside the Center, First American Edition. New York: Doubleday.

Perrett, Bradley, and James R. Asker. 2008. “Person of the Year: Qian Xuesen.” Aviation Week and Space Technology 168 (1): 57-61.

Wang, Ning. 2011. “The Making of an Intellectual Hero: Chinese Narratives of Qian Xuesen.” The China Quarterly, 206, 352-371. doi:10.1017/S0305741011000300

 

Get the story behind the hashtag. Subscribe to What’s on Weibo here to receive our newsletter and get access to our latest articles:

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2023 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Continue Reading

Backgrounder

Farewell to a Self-Taught Master: Remembering China’s Colorful, Bold, and Iconic Artist Huang Yongyu

Renowned Chinese artist and the creator of the ‘Blue Rabbit’ zodiac stamp Huang Yongyu has passed away at the age of 98. “I’m not afraid to die. If I’m dead, you may tickle me and see if I smile.”

Manya Koetse

Published

on

The famous Chinese painter, satirical poet, and cartoonist Huang Yongyu has passed away. Born in 1924, Huang endured war and hardship, yet never lost his zest for life. When his creativity was hindered and his work was suppressed during politically tumultuous times, he remained resilient and increased “the fun of living” by making his world more colorful.

He was a youthful optimist at old age, and will now be remembered as an immortal legend. The renowned Chinese painter and stamp designer Huang Yongyu (黄永玉) passed away on June 13 at the age of 98. His departure garnered significant attention on Chinese social media platforms this week.

On Weibo, the hashtag “Huang Yongyu Passed Away” (#黄永玉逝世#) received over 160 million views by Wednesday evening.

Huang was a member of the China National Academy of Painting (中国国家画院) as well as a Professor at the Central Academy of Fine Arts (中央美术学院).

Huang Yongyu is widely recognized in China for his notable contribution to stamp design, particularly for his iconic creation of the monkey stamp in 1980. Although he designed a second monkey stamp in 2016, the 1980 stamp holds significant historical importance as it marked the commencement of China Post’s annual tradition of releasing zodiac stamps, which have since become highly regarded and collectible items.

Huang’s famous money stamp that was issued by China Post in 1980.

The monkey stamp designed by Huang Yongyu has become a cherished collector’s item, even outside of China. On online marketplaces like eBay, individual stamps from this series are being sold for approximately $2000 these days.

Huang Yongyu’s latest most famous stamp was this year’s China Post zodiac stamp. The stamp, a blue rabbit with red eyes, caused some online commotion as many people thought it looked “horrific.”

Some thought the red-eyed blue rabbit looked like a rat. Others thought it looked “evil” or “monster-like.” There were also those who wondered if the blue rabbit looked so wild because it just caught Covid.

Huang’s (in)famous blue rabbit stamp.

Nevertheless, many people lined up at post offices for the stamps and they immediately sold out.

In light of the controversy, Huang Yongyu spoke about the stamps in a livestream in January of 2023. The 98-year-old artist claimed he had simply drawn the rabbit to spread joy and celebrate the new year, stating, “Painting a rabbit stamp is a happy thing. Everyone could draw my rabbit. It’s not like I’m the only one who can draw this.”

Huang’s response also went viral, with one Weibo hashtag dedicated to the topic receiving over 12 million views (#蓝兔邮票设计者直播回应争议#) at the time. Those defending Huang emphasized how it was precisely his playful, light, and unique approach to art that has made Huang’s work so famous.

 

A Self-Made Artist

“I’m ugly, but my mum likes me”

‘Ugly Mouse’ by Huang Yongyu [Image via China Daily].


 

Huang Yongyu was born on August 9, 1924, in Hunan’s Chengde as a native of the Tujia ethnic group.

He was born into an extraordinary family. His grandfather, Huang Jingming (黄镜铭), worked for Xiong Xiling (熊希齡), who would become the Premier of the Republic of China. His first cousin and lifelong friend was the famous Chinese novelist Sheng Congwen (沈从文). Huang’s father studied music and art and was good at drawing and playing the accordion. His mother graduated from the Second Provincial Normal School and was the first woman in her county to cut her hair short and wear a short skirt (CCTV).

Born in times of unrest and poverty, Huang never went to college and was sent away to live with relatives at the age of 13. His father would die shortly after, depriving him of a final goodbye. Huang started working in various places and regions, from porcelain workshops in Dehua to artisans’ spaces in Quanzhou. At the age of 16, Huang was already earning a living as a painter and woodcutter, showcasing his talents and setting the foundation for his future artistic pursuits.

When he was 22, Huang married his first girlfriend Zhang Meixi (张梅溪), a general’s daughter, with whom he shared a love for animals. He confessed his love for her when they both found themselves in a bomb shelter after an air-raid alarm.

Huang and Zhang Meixi [163.com]

In his twenties, Huang Yongyu emerged as a sought-after artist in Hong Kong, where he had relocated in 1948 to evade persecution for his left-wing activities. Despite achieving success there, he heeded Shen Congwen’s advice in 1953 and moved to Beijing. Accompanied by his wife and their 7-month-old child, Huang took on a teaching position at the esteemed Central Academy of Fine Arts (中央美术学院).

The couple raised all kinds of animals at their Beijing home, from dogs and owls to turkeys and sika deers, and even monkeys and bears (Baike).

Throughout Huang’s career, animals played a significant role, not only reflecting his youthful spirit but also serving as vehicles for conveying satirical messages.

One recurring motif in his artwork was the incorporation of mice. In one of his famous works, a grey mouse is accompanied by the phrase ‘I’m ugly, but my mum likes me’ (‘我丑,但我妈喜欢’), reinforcing the notion that regardless of our outward appearance or circumstances, we remain beloved children in the eyes of our mothers.

As a teacher, Huang liked to keep his lessons open-minded and he, who refused to join the Party himself, stressed the importance of art over politics. He would hold “no shirt parties” in which his all-male studio students would paint in an atmosphere of openness and camaraderie during hot summer nights (Andrews 1994, 221; Hawks 2017, 99).

By 1962, creativity in the classroom was limited and there were far more restrictions to what could and could not be created, said, and taught.

 

Bright Colors in Dark Times

“Strengthen my resolve and increase the fun of living”

Huang Yongyu’s winking owl, 1973, via Wikiart.


 

In 1963, Huang was sent to the countryside as part of the “Four Cleanups” movement (四清运动, 1963-1966). Although Huang cooperated with the requirement to attend political meetings and do farm work, he distanced himself from attempts to reform his thinking. In his own time, and even during political meetings, he would continue to compose satirical and humorous pictures and captions centered around animals, which would later turn into his ‘A Can of Worms’ series (Hawks 2017, 99; see Morningsun.org).

Three years later, at the beginning of the Cultural Revolution, many Chinese major artists, including Huang, were detained in makeshift jails called ‘niupeng‘ (牛棚), cowsheds. Huang’s work was declared to be counter-revolutionary, and he was denounced and severely beaten. Despite the difficult circumstances, Huang’s humor and kindness would remind his fellow artist prisoners of the joy of daily living (2017, 95-96).

After his release, Huang and his family were relocated to a cramped room on the outskirts of Beijing. The authorities, thinking they could thwart his artistic pursuits, provided him with a shed that had only one window, which faced a neighbor’s wall. However, this limitation didn’t deter Huang. Instead, he ingeniously utilized vibrant pigments that shone brightly even in the dimly lit space.

During this time, he also decided to make himself an “extra window” by creating an oil painting titled “Eternal Window” (永远的窗户). Huang later explained that the flower blossoms in the paining were also intended to “strengthen my resolve and increase the fun of living” (Hawks 2017, 4; 100-101).

Huang Yongyu’s Eternal Window [Baidu].

In 1973, during the peak of the Cultural Revolution, Huang painted his famous winking owl. The calligraphy next to the owl reads: “During the day people curse me with vile words, but at night I work for them” (“白天人们用恶毒的语言诅咒我,夜晚我为他们工作”) (Matthysen 2021, 165).

The painting was seen as a display of animosity towards the regime, and Huang got in trouble for it. Later on in his career, however, Huang would continue to paint owls. In 1977, when the Cultural Revolution had ended, Huang Yongyu painted other owls to ridicules his former critics (2021, 174).

According to art scholar Shelly Drake Hawks, Huang Yongyu employed animals in his artwork to satirize the realities of life under socialism. This approach can be loosely compared to George Orwell’s famous novel Animal Farm.

However, Huang’s artistic style, vibrant personal life, and boundary-pushing work ethic also draw parallels to Picasso. Like Picasso, Huang embraced a colorful life, adopted an innovative approach to art, and challenged artistic norms.

 

An Optimist Despite All Hardships

“Quickly come praise me, while I’m still alive”

Huang Yongyu will be remembered in China with love and affection for numerous reasons. Whether it is his distinctive artwork, his mischievous smile and trademark pipe, his unwavering determination to follow his own path despite the authorities’ expectations, or his enduring love for his wife of over 75 years, there are countless aspects to appreciate and admire about Huang.

One things that is certainly admirable is how he was able to maintain a youthful and joyful attitude after suffering many hardships and losing so many friends.

“An intriguing soul. Too wonderful to describe,” one Weibo commenter wrote about Huang, sharing pictures of Huang Yongyu’s “Scenes of Pooping” (出恭图) work.

Old age did not hold him back. At the age of 70, his paintings sold for millions. When he was in his eighties, he was featured on the cover of Esquire (时尚先生) magazine.

At the age of 82, he stirred controversy in Hong Kong with his “Adam and Eve” sculpture featuring male and female genitalia, leading to complaints from some viewers. When confronted with the backlash, Huang answered, “I just wanted to have a taste of being sued, and see how the government would react” (Ora Ora).

In his nineties, he started driving a Ferrari. He owned mansions in his hometown in Hunan, in Beijing, in Hong Kong, and in Italy – all designed by himself (Chen 2019).

Huang kept working and creating until the end of his life. “It’s good to work diligently. Your work may be meaningful. Maybe it won’t be. Don’t insist on life being particularly meaningful. If it’s happy and interesting, then that’s great enough.”

“Hometown Scenery” or rather “Hunan Scenery” (湘西风景) by Huang.

Huang did not dread the end of his life.

“My old friends have all died, I’m the only one left,” he said at the age of 95. He wrote his will early and decided he wanted a memorial service for himself before his final departure. “Quickly come praise me, while I’m still alive,” he said, envisioning himself reclining on a chair in the center of the room, “listening to how everyone applauds me” (CCTV, Sohu).

He stated: “I don’t fear death at all. I always joke that when I die, you should tickle me first and see if I’ll smile” (“对死我是一点也不畏惧,我开玩笑,我等死了之后先胳肢我一下,看我笑不笑”).

Huang with Yiwo (伊喔), the original model for the monkey stamp [Shanghai Observer].

Huang also was not sentimental about what should happen to his ashes. In a 2019 article in Guangming Daily, it was revealed that he suggested to his wife the idea of pouring his ashes into the toilet and flushing them away with the water.

However, his wife playfully retorted, saying, “No, that won’t do. Your life has been too challenging; you would clog the toilet.”

To this, Huang responded, “Then wrap my ashes into dumplings and let everyone [at the funeral] eat them, so you can tell them, ‘You’ve consumed Huang Yongyu’s ashes!'”

But she also opposed of that idea, saying that they would vomit and curse him forever.

Nevertheless, his wife expressed opposition to this idea, citing concerns that it would cause people to vomit and curse him indefinitely.

In response, Huang declared, “Then let’s forget about my ashes. If you miss me after I’m gone, just look up at the sky and the clouds.” Eventually, his wife would pass away before him, in 2020, at the age of 98, having spent 77 years together with Huang.

Huang will surely be missed. Not just by the loved ones he leaves behind, but also by millions of his fans and admirers in China and beyond.

“We will cherish your memory, Mr. Huang,” one Weibo blogger wrote. Others honor Huang by sharing some of his famous quotes, such as, “Sincerity is more important than skill, which is why birds will always sing better than humans” (“真挚比技巧重要,所以鸟总比人唱得好”).

Among thousands of other comments, another social media user bid farewell to Huang Yongyu: “Our fascinating Master has transcended. He is now a fascinating soul. We will fondly remember you.”

By Manya Koetse 

Get the story behind the hashtag. Subscribe to What’s on Weibo here to receive our newsletter and get access to our latest articles:

References

Andrews, Julia Frances. 1994. Painters and Politics in the People’s Republic of China, 1949-1979. Berkley: University of California Press.

Baike. “Huang Yongyu 黄永玉.” Baidu Baike https://baike.baidu.com/item/%E9%BB%84%E6%B0%B8%E7%8E%89/1501951 [June 14, 2023].

CCTV. 2023. “Why Everyone Loves Huang Yongyu [为什么人人都爱黄永玉].” WeChat 央视网 June 14.

Chen Hongbiao 陈洪标. 2019. “Most Spicy Artist: Featured in a Magazine at 80, Flirting with Lin Qingxia at 91, Playing with Cars at 95, Wants Memorial Service While Still Alive [最骚画家:80岁上杂志,91岁撩林青霞,95岁玩车,活着想开追悼会].” Sohu/Guangming Daily March 16: https://www.sohu.com/a/301686701_819105 [June 15, 2023].

Hawks, Shelley Drake. 2017. The Art of Resistance Painting by Candlelight in Mao’s China. Seattle: University of Washington Press.

Matthysen, Mieke. 2021. Ignorance is Bliss: The Chinese Art of Not Knowing. Palgrave Macmillan.

Ora Ora. “HUANG YONGYU 黃永玉.” Ora Ora https://www.ora-ora.com/artists/103-huang-yongyu/ [June 15, 2023].

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2023 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Continue Reading

Subscribe to our newsletter

Stay updated on what’s trending in China & get the story behind the hashtag

Sign up here to become a premium member of What’s on Weibo today and gain access to all of our latest and premium content, as well as receive our exclusive Weibo Watch newsletter. If you prefer to only receive our free newsletter with an overview of the latest articles, you can subscribe for free here.

Get in touch

Would you like to become a contributor, or do you have any tips or suggestions for us? Get in touch with us here.

Popular Reads