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“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

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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

 

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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

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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 

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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].

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Explainer: Ten Key Terms and Concepts of the 20th CPC National Congress

Take a look at the essential keywords and concepts surrounding the 20th Party Congress.

Manya Koetse

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What are the key terms and concepts mentioned in Xi Jinping’s speech that are propagated all over Chinese social media this week? Here, we explain ten important concepts and keywords that you are probably going to see much more of in the coming five years.

It is the week of the 20th CPC National Congress, China’s quinquennial major political event that is all about discussing and deciding on important Party issues, appointing Party leadership and officially announcing new governance concepts, thoughts and strategies proposed by the CPC Central Committee.

The Party Congress opened on Sunday, October 16, when Chinese leader Xi Jinping delivered his nearly two-hour-long speech reflecting on the recent past and the future of the Communist Party and the country at large, signalling the direction China will be heading.

In our earlier article covering Xi Jinping’s speech, we focused on how Chinese official channels turned parts of the work report into hashtags that were promoted on social media and then became trending topics.

Here, we will go over some of the terms and words that were used in the political report delivered by Xi and were propagated on Chinese social media as ‘key terms’ through general hashtags such as “Understanding These Key Terms from the 20th Party Congress Report,” “Studying the Essence of the 20th Party Congress” or “The New Era and Journey of the 20th Party Congress” (#看懂二十大报告中这些关键词#, #学习二十大精神#, #党的二十大新时代新征程#).

During the 19th CPC National Congress in 2017, Party newspaper People’s Daily published a vocabulary list containing 100 relevant words and terms. That list included terms such as “5G Era” (5G时代), “Sharing Economy” (分享经济), “The 20th anniversary of Hong-Kong’s return to China” (香港回归祖国20周年), “Made in China 2025” (中国制造2025), and other key terms that were deemed relevant in 2017 for China’s nearing future.

This Congress, there has not been a comparable official vocabulary list, but there have been various shorter lists and hashtags encouraging netizens to study key terms that are important to this year’s Congress and the Party goals. Many of these terms are visualized in infographics or explained in online posts and articles.

We’ve gathered some of these key terms from Xi’s speech here that are important to understand, not just for the fact that they are mentioned in Xi’s speech but also because they are specifically highlighted by various official channels.

 

1. Modernizing the Chinese Way 中国式现代化

This concept was mentioned at least five times throughout Xi Jinping’s address and it is one of most important themes of this Party Congress: “Chinese modernization” or “Chinese-style modernization” (中国式现代化 Zhōngguóshì xiàndàihuà).

While the 19th Party Congress was all about China’s ‘new era’ (新时代), this 20th Party Congress term grasps the idea of further modernizing the country in a ‘Chinese way,’ meaning a type of modernization in which typically Chinese features and characteristics (“中国特色”) are maintained.

This is a relatively new term. A tool that shows searches on the Chinese search engine Baidu indicates that it did not receive any significant amount of searches before spiking during the week 20th Party Congress.

Baidu trend search shows that the term “Chinese-style modernizarion” “中国式现代化” did not receive any significant searches before October 2022.

The concept, however, did pop up in Chinese official media discourse since late 2021, such as in one article published by Xinhua News on September 27 in 2021 titled “Grasping the Main Features of the New Path of Chinese-Style Modernization” (把握中国式现代化新道路的主要特征)

The idea of Chinese-style modernization is closely related to other key concepts such as “common prosperity for all” (全体人民共同富裕 quántǐ rénmín gòngtóng fùyù) and “harmony between humanity and nature” (人与自然和谐共生 rén yǔ zìrán héxié gòngshēng).

 

2. The Central Mission 中心任务

The term “central mission” (中心任务 zhōngxīn rènwù) was mentioned at least once in Xi Jinping’s address to convey how the central task of the CPC is to “unite and lead the people of all nationalities to build a strong socialist modern country,” and to “promote the great rejuvenation of the Chinese nation with Chinese-style modernization.”

Although the term “central mission” itself is not particularly tied to the 20th Party Congress at all, it is now because of how it is being used in the new context of the Party’s ‘main goal’ in China’s ‘new era.’ People’s Daily also promoted a hashtag including this term: “The Communist Party of China’s Central Task from Now On” (#从现在起中国共产党的中心任务#”).

 

3. Top Priority 第一要务

The key term ‘top priority’ (第一要务 dì yī yàowù) refers to the Party pursuing the kind of “high-quality development” (“高质量发展”) that will lead to the further modernization of the country.

“High-quality development” was also mentioned in the 19th Party Congress report in 2017 to indicate a shift and a new phase in China’s economic development from a focus on high-speed growth to a focus on more high-quality development, which is also outlined in the 14th Five-Year Plan (2021-2025).

This means, among others, that there will be more focus on innovation-driven industries and technological advancement.

 

4. The “Two-Steps” Strategy “两步走”战略安排

In the segment of Xi’s speech where he addresses China-style modernization in the new era, he also mentions the “two steps” strategy (“两步走”战略安排 “liǎng bù zǒu” zhànlüè ānpái). This is not a new term and it has been previously introduced as part of China’s journey to becoming a strong, rejuvenated country – making China great again.

The two steps of this strategy are to realize ‘socialist modernization’ by 2035 and then to enter the next phase from 2035-2050 to build China into a “strong, democratic, civilized, harmonious and beautiful socialist modernization country.” The year 2049 will mark the 100th anniversary of the People’s Republic of China, and this is the moment when China’s “great rejuvenation” should be completed.

 

5. The Road to Follow 必由之路

At the end of Xi Jinping’s speech, he mentioned “the road to follow” (必由之路, bìyóuzhīlù) five times. On social media, the “road to follow” has been reiterated multiple times as well by official channels, including in a propaganda video published by CCTV.

The five ‘roads to follow’ mentioned in the Party Congress and in the state media videos are the following that are together presented as “the only road” the country and the Party must take. They are all linked together and are actually somewhat circular, namely:

– to develop socialism with Chinese characteristics, they must adhere to the overall leadership of the Party
– to achieve the “great rejuvenation” of China they must stick to socialism with Chinese characterics
– to reach this historic undertaking, they must be united in struggle
– to allow China to grow and develop in the ‘new era,’ they must implement the new concepts for development
– to be able to take this new road together & keep the Party full of vitality, they must follow the way of comprehensive and strict Party governance

 

6. Building Beautiful China 建设美丽中国

In the 20th CPC National Congress report, the idea of “building beautiful China” (建设美丽中国, jiànshè měilì Zhōngguó) was mentioned in the segment dedicated to the “green development” of China as part of its overall modernization. This includes environmental protection, pollution control, carbon reduction, and climate change awareness.

‘Beautiful China’ as a concept was first introduced during the 18th Party Congress in November of 2012 as part of China’s long-term environmental protection plan within the context of people’s welfare and the future of China.

 

7. Whole-process People’s Democracy 全过程人民民主

This concept of ‘whole-process people’s democracy’ (全过程人民民主, quán guòchéng rénmín mínzhǔ) is mentioned at least five times in Xi Jinping’s 20th Party Congress speech and it is one of the political concepts and terms proposed by Xi himself as part of Xi Jinping’s Socialist Thought with Chinese Characteristics for a New Era. It was mentioned in the speech Xi gave during the celebration of the Party’s 100-year anniversary in 2021.

This so-called ‘whole-process people’s democracy’ is officially presented as a ‘process-oriented’ democracy that, despite being different from Western democracy, supposedly “covers all aspects of the democratic process and all sectors of society” through a combination of elections, consultations, decision-making, management and oversight.

This idea of China having its own particular kind of democracy – or perhaps having invented a Chinese version of what ‘democracy’ actually means – also suits the idea of Chinese-style modernization, in which China’s path to the future will not be like the route Western countries are taking, but instead combining modernization with Chinese features.

 

8. Socialist Culture 社会主义文化

‘Socialist Culture’ (社会主义文化, shèhuì zhǔyì wénhuà) comes up at least four times in the 20th Party Congress report. The term represents a cultural side of China’s modernization, and emphasizes that, in order to build a strong socialist country, there must also be a strong socialist culture.

Although not explicitly stated, official media propaganda inescapably plays an important part in the cultivation of a strong ‘socialist culture’ that is all about cultural self-confidence, cultural innovation, creativity, and ‘spiritual energy.’

At time of writing, the Baidu Trends tool did not have enough information to show any relevant data on the search engine interest in this particular term, but the idea of ‘socialist culture’ is by no means a new one. “Socialist culture with Chinese characteristics” was already proposed by Jiang Zemin (江泽民) at the 15th CPC National Congress in 1997.

The idea that building a strong socialist culture is important for the further development of China has been further cultivated over the past few years under Xi’s leadership. Also read this article in English titled “How to build a strong socialist culture” in Qiushi, the CPC Central Committee bimonthly.

 

9. Improve the Distribution System 完善分配制度

This phrase comes up once in the part of the 20th Party System report that disusses a fairer economic system with more equal employment & income opportunities and regulated wealth accumulation, encouraging hard work to get rich.

Although it is the first time that a regulation of wealth accumulation has come up in this way (and it is not explained what this actually means), the idea behind these concepts of the distribution system and wealth accumulation standardization is that of ‘common prosperity,’ one of the most important concepts guiding China’s recent policymaking.

‘Improve the distribution system’ (完善分配制度, wánshàn fēnpèi zhìdù) was explicilty mentioned as one of the key concepts for this week’s meeting by various channels, but it mainly is ‘the regulation of wealth accumulation’ that is featured in social media hashtags (#中国将规范财富积累机制#).

 

10. Focus 着力点

Many of the words or phrases propagated as ‘key terms’ for this 20th Party Congress are insignificant by themselves but are merely used to represent a bigger body of thoughts. The aforementioned “Top Priority,” “Central Mission,” and “Road to Follow” are all just words that only mean something within the context of Xi Jinping’s speech.

Another example is “Major Principles” (“重大原则” zhòngdà yuánzé) which is also included by CCTV in this list of most important keywords, but which actually just goes back to the same ideas that are referred to in the other terms, namely strengthing the overall leadership of the Party, adhering to the road of socialism with Chinese characteristics, emphasizing people-centered ideology, etc. – which is similar to the idea behind the “Road to Follow” (必由之路) keyword.

Explanation of ‘Major Principle’ concept in English and Chinese by People’s Daily, posted on Weibo.

Then there is the keyword “focus,” 着力点 (zhuólìdiǎn), which is about the focus of China’s economic development.

In China’s coming years, the economic focus should be placed on the real economy (实体经济). This literally is also a hashtag promoted on Weibo by CCTV this week (“Put the Focus of Economic Development on the Real Economy” #把发展经济的着力点放在实体经济上#).

Different from the Financial Economy, the Real Economy is the realm of economy that is about businesses, production, and the direct exchange/purchase of goods or services.

Also part of this ‘focus’ is China’s new industrialization, manufacturing, product quality, aerospace, transportation, new technology, and digital China. Another related term that is proposed as one of the keywords of this Party Congress is ‘innovation’ (创新, chuàngxīn).

Please check in with us again this week as we will keep an eye on social media trends surrounding the CPC National Congress. Don’t forget to subscribe. For previous posts on the Party Congress, check here.

By Manya Koetse 

 

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Images via Weibo account of Communist Youth League, CCTV, and People’s Daily.

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