CC BY
0Юнхун Гун
Доцент, руководитель магистратуры, Колледж музыки, Чунцинский педагогический университет, Чунцин, Китай.
деятельность объединенного культурного
фронта Южного бюро Центрального комитета Коммунистической партии Китая в запасной столице г. Чунцин*
Аннотация. Южное бюро Центрального комитета Коммунистической партии Китая придавало серьезное значение деятельности единого фронта на территориях, контролируемых Гоминьданом. Важной частью этой деятельности была работа объединенного культурного фронта. Южное бюро тщательным образом реализовывало общую политику Коммунистической партии Китая по созданию единого антияпонского национального фронта, в реалиях революционной борьбы объединяло прогрессивных деятелей культуры тыла вокруг партии, а также осуществляло политики единого культурного фронта. Цель данного исследования - выявить положительную роль Южного бюро ЦК Коммунистической партии Китая в литературном и художественном движении японо-китайской войны. Научная новизна статьи заключается в том, что автор рассматривает литературно-художественную политику и деятельность единого культурного фронта Южного бюро ЦК Коммунистической партии Китая с точки зрения учреждений культуры. Южное бюро осуществляло масштабную и гибкую работу единого культурного фронта в разных направлениях и на разных уровнях. Так, был создан комитет культуры, поддержано создание Всекитайской ассоциации деятелей литературы и искусства по отпору врагу, а также продвигалось укрепление статуса «третьего отдела» Департамента политической работы Центральной военной комиссии Национального правительства Китая, позже - Комитета по культурной работе Китая. Данные организации объединили большое количество деятелей литературы и искусства, подчёркивая необходимость сопротивления Японии и спасения своей страны. Велась упорная борьба с реакционными силами Гоминьдана.
Ключевые слова: Японо-китайская война, Южное бюро ЦК Коммунистической партии Китая, Объединенный культурный фронт, Чунцин, Коммунистическая партия Китая, Чжоу Эньлай.
© Юнхун Гун, 2024.
Yonghong Gong
Associate professor and master's supervisor of the College of Music of Chongqing Normal University, Chongqing, China.
The Cultural United Front Work of the Southern Bureau of the Central Committee of the Communist Party of China in the alternate capital Chongqing
Abstract. The Southern Bureau of the Communist Party of China has attached great importance to the united front work in the Kuomintang controlled areas, and cultural united front was an important means. The Southern Bureau of the Communist Party of China has thoroughly implemented the general policy of the CPC on the anti-Japanese national united front, combined with the reality of the revolutionary struggle, closely united the progressive cultural figures in the rear area around the Party, and implemented a series of cultural united front policies. The purpose of this study is to reveal the positive contributions made by the Southern Bureau of the Communist Party of China to the Anti-Japanese War literary and artistic movement. The novelty of the article lies in examining the literary and artistic policies and cultural united front work of the Southern Bureau of the Communist Party of China from the perspective of cultural institutions. The Southern Bureau has carried out rich and flexible cultural united front work from multiple perspectives and levels, including the establishment of the "Cultural Committee", supporting the establishment of the "All China Literary and Art Anti-Enemy Association", and leveraging the legitimate status of the "Third Department" of the Political Department of the Military Commission of the Nationalist Government and its later "Cultural Work Committee". They have united and led a large number of literary and artistic workers, while insisting on resisting Japan and saving the country, On the one hand, there was an indomitable struggle against the reactionary forces of the Kuomintang.
Key words: Anti-Japanese War, Southern Bureau of CPC, Cultural United Front. Chongqing, CPC, Zhou Enlai.
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1. Introduction
Since the September 18 Incident in 1931, the national consciousness of resistance against Japan has never been able to form a strong spiritual will. Even after the July 7th Incident in 1937, there were various views on the situation of the war in China, and the first was the theory of victory. It was believed that the Chinese army has the strength to repel the Japanese army and can defeat Japan's military offensive, achieving military victory. The second was the theory of national subjugation. It was believed that the outcome of the Sino-Japanese War will lead to the downfall of China. The third was the theory of ultimate victory. The Sino-Japanese War became a prolonged post-war war, ultimately leading to foreign armed intervention and China's eventual victory over Japan with foreign assistance. The fourth was the theory of peaceful salvation of the country. China should actively respond to the peace talks, end the destructive and massive war carried out on Chinese soil as soon as possible, and reduce the loss of China's national strength. The Communist Party has been raising the banner of the anti-Japanese national united front since the September 18 Incident in 1931, adhering to its anti-Japanese stance and fighting for the liberation and independence of the Chinese nation. However, there was a significant division within the Kuomintang on the issue of whether to fight or to negotiate peace. In the face of a great enemy, the anti-Japanese war ideology cannot be unified, and national strength was also difficult to consolidate. There was an urgent need for a new culture of resistance to unify thinking and guide the people.
Figure 1. The former site of the Southern Bureau and the Eighth Route Army's Chongqing office.
a Image source: http://guoqing.china.com.cn/
In 1937, the Japanese army unleashed the shocking Marco Polo Bridge Incident, marking the beginning of China's full-scale resistance against Japan. During the Luochuan Conference (August 23, 1937), the Central Committee of the Communist Party of China's Yangtze River Coastal Committee was established. At the end of the year, Japan was preparing to launch the Battle of Xuzhou, and the Kuomintang and the Communist Party should unite more closely to fight together. On December 18th, the Political Bureau of the Central Committee of the Communist Party of China decided to establish the Yangtze River Bureau in Wuhan to comprehensively lead the work of the Communist Party organizations in the Kuomintang ruled areas and some occupied areas south of the Yangtze River, strengthen negotiations and cooperation between the Kuomintang and the Communist Party, and consolidate and expand the anti-Japanese national united front. On December 23rd, the Yangtze River Bureau was officially established. At the end of 1938, Wuhan fell and the Central Committee of the Communist Party of China abolished the Yangtze River Bureau. In January 1939, the Sixth Plenary Session of the Sixth Central Committee of the Communist Party of China decided to establish the Southern Bureau in Chongqing, located at 70 Computer Room Street, with Zhou Enlai as the secretary, to unify the work of the Communist Party of China in southern and southwestern provinces, as well as the establishment of institutions such as the Eighth Route Army Office, the New Fourth Army Office, "Xinhua Daily", and the "People's Weekly" in these areas1. The Southern Bureau was a secret organization that operated under the name of the Chongqing Office of the Eighth Route Army.
On May 3rd and 4th, 1939, the Japanese army launched a brutal "May 3rd, May 4th Bombing"2, destroying No. 70 Computer Room Street and damaging the Southern Bureau and Chongqing Eighth Route Army Office. Zhou Enlai contacted Ms. Rao Guomo through the underground party in eastern Sichuan and obtained her consent. In mid-May, he relocated the Southern Bureau of the Communist Party of China Central Committee and the Eighth Route Army's Chongqing office to the "Dayou Farm" located at No. 13 Hongyanzui (renamed as No. 13 Hongyan Village in 1945)3.The Southern Bureau attached
1 Edited by the Party History Research Office of the Chongqing Municipal Committee of the Communist Party of China, History of the Southern Bureau of the Communist Party of China, published by the Party History Publishing House, preface, page 1.
2 On May 3 and May 4, 1939, the Japanese army took off from Wuhan and continuously bombed the central area of Chongqing, using a large number of incendiary bombs. The fire in the center of Chongqing burned for two days, and the commercial street was burned into ruins. The total number of deaths from the bombing was 3,991, and 2,323 people were injured. 4889 buildings were destroyed. Nearly 200,000 people were homeless, even foreign churches, embassies of countries such as Britain and France in China, and embassies of Nazi Germany were not spared.
3 In 1930, the warlord government in Sichuan sold about 300 acres of wasteland at a low
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great importance to the united front work in the Kuomintang controlled areas, and Zhou Enlai was personally responsible for it. Zhou Enlai fully grasped the severe situation of united front work in the rear area. He believed that it was necessary to fully utilize and play the role of the cultural community, establish a broad cultural united front, and truly mobilize the power of the people, guide them to recognize the current situation, and actively engage in the anti-Japanese cause4.
2. The Cultural Policy of the Southern Bureau
In August 1937, the CPC held a meeting in Luoch-uan5. Mao Zedong proposed and adopted the "Ten Guidelines for Resisting Japan and Saving the Nation", which comprehensively summarized the basic political propositions of the CPC during the Anti-Japanese War. On August 25th, Mao Zedong published "Struggle to Mobilize All Forces for Victory in the War of Resistance", pointing out that "the entire Chinese people should mobilize, arm themselves, participate in the War of Resistance against Japan, make strong contributions, have money to contrib-
price in order to raise military salaries. Patriotic educated woman Rao Guomo bought this place and established the "Dayou Farm", which mainly operated flowers and fruits. Because her husband's surname was Liu, it was also known as the "Liu Family Garden".
4 Editorial. Transforming Spiritual Mobilization into Mass Movement. Xinhua Daily, April 17, 1939, 4th edition.
5 The Luochuan Conference was an expanded meeting of the Political Bureau held by the Central Committee of the Communist Party of China in Luochuan, northern Shaanxi from August 22 to 25, 1937. The meeting decided to focus the Party's work on the theater command and behind the enemy lines, mobilize the masses behind the enemy lines, carry out independent guerrilla warfare, open up the battlefield behind the enemy lines, and establish anti-Japanese base areas behind the enemy lines.
Figure 2. The "Ten Guidelines for Resisting Japan and Saving the Nation" passed at the Luo-chuan Conference.
a Image source: Baidu Baike - Ten Guidelines for Resisting Japan and Saving the Nation - Entry image.
ute, have guns to contribute, and have knowledge to contribute".6 In October 1938, at the Sixth Plenary Session of the Sixth Central Committee of the CPC, Mao Zedong made a report "On the New Stage", proposing that the great war of resistance must be accompanied by the great war of resistance education movement, and that the war of resistance should be the first theme of the cultural front. In the meeting, it was decided to abolish the Yangtze River Bureau and establish the Southern Bureau in Chongqing. Holding high the banner of the anti-Japanese national united front and consolidating the anti-Japanese national strength has become an important mission of the Southern Bureau. Consolidating and expanding the anti-Japanese national united front, maintaining cooperation between the Kuomintang and the Communist Party, and striving for intermediate forces have become the most important political tasks of the Southern Bureau.
From September 29 to November 6, 1938, the Central Committee of the Communist Party of China held the expanded Sixth Plenary Session of the Sixth Central Committee in Qiaoergou, Yan'an. Mao Zedong, on behalf of the Political Bureau, delivered a political report titled "On the New Stage of the Anti-Japanese National War and the New Stage of the Development of the Anti-Japanese National United Front", abbreviated as "On the New Stage". The report pointed out that the Chinese people must make the survival of their nation the most urgent task, and proposes that "a great anti-Japanese war must be accompanied by a great anti-Japanese education movement". It had repeatedly proposed that the purpose of cultural education construction is to resist Japan and save the country, and to build a culture of resistance against Japan. When the Southern Bureau of the Communist Party of China was established in January 1939, the Anti-Japanese War had entered a strategic stalemate stage, and the Kuomintang began to implement passive anti-Japanese and active anti-communist policies. The Southern Bureau inherited and developed the cultural and artistic team established during the period of the Yangtze River Bureau, and continued to implement the central cultural policy. On July 7, 1939, the Central Committee of the Communist Party of China issued the "Declaration on the Situation in Commemoration of the Second Anniversary of the Anti-Japanese War", proposing the political slogan of "Persist in the Anti-Japanese War to the End, Oppose Compromise midway; Persist in Unity, Oppose Division; Strive for National Progress, Oppose Backward Regression"7. From early July to the end of August, the Central Committee of the Communist Party of China held a meeting of the Politburo. Zhou Enlai pointed out that the slogan of the cultural movement should be: "nationalization, popularization, and democratization.
6 Selected Works of Mao Zedong, People's Publishing House, 1964, 1st edition. P. 327+582.
7 Compiled by the Central Archives, Volume 12 of Selected Documents of the Central Committee of the Communist Party of China, published by the Central Party School Press, 1991. P. 143.
We should first seek quantitative development, and then seek qualitative progress. We should first seek the development of the surface, and then seek the depth; we should first seek the development of individuality, and then seek the success of collective creation; we should first seek intellectual progress, then seek artistic success". On July 15th, the Central Committee of the Communist Party of China issued the "Instructions to Local Party Branches on Organizing the Anti-Japanese United Front to Expand the National Salvation Movement", requiring "Communist Party members should actually become the initiators of national salvation movements and organizations in various regions..."8 On July 17th, the Central Committee of the Communist Party of China submitted the "Declaration on Cooperation between the Kuomintang and the Communist Party of China" to the Kuomintang.
On December 1, 1939, Mao Zedong pointed out in his article "Absorbing a Large Number of Intellectuals" to the Central Committee of the Communist Party of China that "a large number of intellectuals (including literary and artistic figures) should be recruited into our army, schools, and government work... For some intellectuals who cannot or are unwilling to join the Party, they should also establish a good working relationship with them and lead them to work togeth-er."9 In September 1940, the Central Committee of the Communist Party of China issued the "Directive on the Development of Cultural Movements", further pointing out that cultural work is an "extremely important task" in the Kuomintang controlled areas... In the areas under the Nationalist rule, the Party should pay special attention to the development of cultural movements and frequently put the promotion, development, strategies and methods of cultural movements on its own agenda."10 According to this instruction, the Southern Bureau led progressive cultural figures in the Kuomintang controlled areas to carry out extensive and in-depth cultural movements on the anti-Japanese national united front.
The CPC has fully grasped the demands of cultural people and formulated a series of policies. For example, in October 1940, the Propaganda Department of the Central Committee and the Central Cultural Commission issued the "Instruction on Cultural People and Cultural Organizations in Anti-Japanese Base Areas", "We should use all means to guarantee the necessary conditions for cul-
8 Compiled by the Secretariat of the Central Committee of the Communist Party of China "Since the Sixth National Congress - Secret Documents within the Party" (Part 1), People's Publishing House, 1981, 1st edition. P. 846.
9 Volume 3 of the 2nd National Forum on Party History and Culture. Research on Party History and Culture and the Chinese Anti Japanese War - Propaganda and Education Bureau of the Central History Research Office of the Communist Party of China, Compiled by the Communist Party History Publishing House - Communist Party History Publishing House, 2015, 01.
10 Pang Hu, Holding the Torch of Culture to Resist Invasion: A Study on the Cultural Work of the Southern Bureau of the Communist Party of China from the Perspective of the Anti-Japanese War [D]. Xiamen University, 2009. P. 36.
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Figure 3. Kang Sheng's Collection «On the New Stage», Liberation Society 1938 Edition.
a Image source: http://pmgs.kongfz.com/
tural people to write spiritually and materially... We should take all means... to publish their works". Zhou Enlai called Liao Chengzhi, the person in charge of the Eighth Route Army's Hong Kong office, and pointed out, "We cannot measure them or demand them with the standards of ordinary party members... We must learn from Lenin and Stalin's perspective, attitude, and standards towards Gorky in order to help and promote these cultural figures forward."11.
After the Wannan Incident, more than 40 cultural groups were disbanded, and during the extremely difficult period of the Chongqing Anti-Japanese Cultural Movement, the successful convening of the "Yan'an Literature and Art Symposium"12 by the Central Committee of the Communist Party of China was
11 Selected Cultural Works of Zhou Enlai, Central Literature Publishing House, 1998 edition. P. 755.
12 The Yan'an Forum on Literature and Art was held in Yangjialing, Yan'an from May 2 to 23, 1942. Mao Zedong gave an introduction at the meeting, stating that the purpose of the meeting was to exchange views with everyone, "to seek the correct development of revolutionary literature and art, to seek better assistance from revolutionary literature and art for other revolutionary work, in order to overthrow the enemies of our nation and complete the task of national liberation". Literature and art should "serve as a powerful weapon for uniting the people, educating them, striking enemies, and eliminating them". In the conclusion of the last day's work, Mao Zedong systematically answered the controversial issues in the literary and artistic movement from the perspective of Marxist theory, linking the experience of the revolutionary literary and artistic movement since the May Fourth Movement. He emphasized that the Party's literary and artistic workers must fundamentally solve the issues of stance and attitude, and clarified the fundamental direction of revolutionary literature and art serving the people, first and foremost, the workers, peasants, and soldiers. During
Figure 4. Group photo of participants at the Yan'an Forum on Literature and Art.
a Image source: http://blog.sina.com.cn/
welcomed. Mao Zedong delivered an important speech at the meeting, stating that "in order to defeat the enemy, we must first rely on an army with guns in hand... and also on a cultured army, which is an essential force for uniting ourselves and defeating the enemy." On May 12th, the "Xinhua Daily" reprinted an article from the "Liberation Daily" in Yan'an, conveying the main content of Mao Zedong's speech at the Yan'an Forum on Literature and Art. Subsequently, the Southern Bureau launched a three-month "rectification and revision" campaign to address the issue of who newspapers serve, clarifying the guidelines for literature and art to serve workers, peasants, and soldiers. On November 7, 1943, the Central Propaganda Department made a "Decision on Implementing the Party's Literary and Artistic Policies", requiring all party literary and artistic workers to conscientiously implement Comrade Mao Zedong's "Speech at the Yan'an Literary and Art Symposium". On January 1, 1944, Mao Zedong's main content of his "Speech" was published in the full page of the "Xinhua Supplement", and later in a single volume. At the same time, many excellent literary and artistic works from the liberated areas were gradually introduced to the Nationalist controlled areas.Group photo of participants at the Yan'an Forum on Literature and Art.
In response to some prejudices against cultural figures in the past, Zhou Enlai pointed out, "We cannot view them from the perspective before the Anti-Japanese War; we cannot treat them with the attitude before the Anti-Japanese War;
the conference, the "Liberation Daily" opened a special column to introduce materials related to the conference and the opinions of various writers. This meeting played a positive role in promoting the rectification movement in the literary and artistic circles, and also promoted the development of literary and artistic movements in various anti-Japanese base areas. Mao Zedong's speech at the Yan'an Forum on Literature and Art, which put forward a series of important ideas such as "literature and art for the people, first and foremost serving the workers, peasants, and soldiers", established the fundamental policy of the Party's leadership in literary and artistic work, and still has important guiding significance to this day.
we cannot measure their demands on them using the standards of ordinary party members."13 Cultural figures are "propagandists and singers of the revolutionary spirit of the masses"14. Guided by the basic principles of central documents, the Southern Bureau led by Zhou Enlai, under the cover of the Communist Party of China's Eighth Route Army Office in Chongqing, formulated a set of top-down united front policies and strategies for the literary and artistic circles, utilizing the government's open and legal identity to organize united front organizations from official to civilian levels. To ensure the leadership of the Communist Party over the Third Department, Zhou Enlai and others have done a lot of work. Zhou Enlai, Bo Gu, and Dong Biwu cleared the obstacles set by the Kuomintang in various aspects such as the work policy, organizational structure, personnel, and party activities of the Third Department, and secretly established a Communist Party group in the Third Department, directly led by Zhou Enlai. A special branch of the Communist Party of China was secretly established within the Third Department. After the fall of Wuhan, most of the party members and progressive cultural figures from the Third Department went to Chongqing or Guilin, becoming the backbone of the cultural work of the Southern Bureau. Another group of personnel went to Yan'an and became members of the revolutionary literary and artistic team. After the relocation of the Third Department to Chongqing, some influential promotional activities such as drama, music, art, and film were held. Such as the torch parade held on New Year's Day in 1939, the second Drama Festival and "National Form" Drama Seminar in 1940, the second annual conference of the "Film Association" in March 1940, and large-scale music concerts and woodcut exhibitions from 1939 to 1940. These external cultural propaganda methods not only highlighted the anti-Japanese and national salvation activities, but also promoted the activity and exchange of Chongqing's cultural and artistic circles. The Third Department was still conducting anti-war education among Japanese prisoners of war. In the autumn of 1940, Feng Naic-hao sent clerk Kang Dachuan15 of the Third Department to the Japanese prisoner
13 Tang Zhengmang, The Chinese Communist Party and the Western Anti-Japanese War Culture's Development and Booming [J]. Social Science Journal of Xiangtan University, 2003(05): P. 70-76.
14 The Editing Group of Party History Materials of the Southern Bureau, Zhou Enlai's Instructions to Liao Chengzhi on the Attitude of Leading Cultural Workers. Cultural Work in Party History Materials of the Southern Bureau, Chongqing Publishing House 1990 edition, May 7, 1941. p. 7.
15 Kang Dachuan, also known as Kang Tianshun, is a Taiwanese born in 1915. In March 1938, he graduated from Waseda University in Japan and returned to China. He joined the military and participated in the Anti-Japanese War, then moved to the front lines of northern Guangxi and northern Hunan. In March 1939, he participated in a Japanese language training class organized by the Guilin Garrison and assisted in the academic affairs of the training class led by Communist Party member Liao Tiren. During this time, he met the honorary instructor of the training class and Japanese anti-war activist Lu Digeng. After 1940, as a staff member of the Third Division of the Third Department of the Political Department and the Third Group of the Cultural Work Committee, he
of war detention center located in Zhenyuan, Guizhou, to jointly carry out education for prisoners of war with members of the Anti-War Alliance stationed in the detention center. They organized members of the alliance to learn Chinese, learn to sing anti-Japanese songs, and create and sing antiwar songs.
The Southern Bureau also utilized the Party's newspapers, publications, and other resources to guide progressive literary and artistic groups, organize discussions on revolutionary literary and artistic theories, and criticize the Kuomin-tang's literary and artistic policies and their erroneous words and actions. By organizing the study of Mao Zedong's "Speech at the Yan'an Forum on Literature and Art", introducing the achievements of cultural construction in the anti-Japanese base areas, and helping cultural intellectuals clarify their historical mission, actively participate in the struggle against imperialism and feudalism, establish and develop a new culture of the Chinese nation, and arm and influence the people of the Kuomintang controlled areas with advanced cultural ideas.
3. Cultural Affairs Committee and All-China Anti-Enemy Association of Literary and Art Circles
3.1 The Internal Cultural Institution of the Southern Bureau - the Cultural Committee
The Southern Bureau attached great importance to literary and artistic work. Zhou Enlai had repeatedly summoned literary and artistic workers to the Zhou Mansion, had friendly conversations with them, and instructed them on how to further carry out their work. Zhou Enlai personally had a conversation with literary and artistic workers such as He Luting, encouraging him to work hard and use songs as a powerful weapon to unite the people and strike the enemy.
At the beginning of the establishment of the Southern Bureau in 1939, Zhou Enlai discovered that the culture in the rear area was silent, and the power of literature and art had not been integrated. The Southern Bureau transferred Xu Bing from Yan'an to Chongqing to be responsible for cultural work in the Nationalist controlled area. In May 1940, Zhou Enlai proposed the establishment of a special committee for cultural work based on the current situation and needs of cultural work in the Kuomintang controlled areas. In the summer of the same year, the Southern Bureau Cultural Affairs Committee (referred to as the Cultural Committee) of the Southern Bureau was officially established. The Cultural Affairs Commission had six sub groups: bookstore, social science, culture, literature and art, publicity, and news. The Southern Bureau has decided to appoint Kaifeng as the secretary of the Cultural Committee and Zhou Enlai as the Deputy Secretary, directly responsible for the work of the Cultural Committee,
was appointed to carry out liaison work with Japanese anti-war soldiers and individuals in the Guilin Temporary Prison of Prisoners and the Anti-War Alliance of Japanese in China. After the victory of the Anti-Japanese War, he joined the CPC.
and further strengthen the leadership of cultural work. The Cultural Committee has always been committed to striving for more cultural figures to come under the leadership of the Communist Party of China and join the anti-Japanese cultural united front. To consolidate and expand the anti-Japanese cultural united front,, the Southern Bureau reorganized and developed progressive cultural organizations, uniting, striving for, paying attention to, and caring for cultural figures from multiple perspectives, and regularly conducting research on seeking more cultural figures. After the Wannan Incident, the "Cultural Committee" was changed to the "Cultural Group", which was still directly led by Zhou Enlai, and Xu Bing was in charge of daily work.
The internal cultural leadership mechanism of the Southern Bureau was a multi-level comprehensive system, which was jointly completed under the specific command of the Southern Bureau's "Cultural Committee", with the assistance and cooperation of other departments, and the implementation of local party organizations. 16In other words, cultural work was not just the function of the "Cultural Committee", but an important mission that required collaboration among various departments. The institutions involved in cultural work in the Southern Bureau include 11 internal institutions such as the Organization Department, Propaganda Department, and Social Department, as well as external public institutions such as the Eighth Route Army Office, "Xinhua Daily", and "Masses Weekly", dispatched agencies such as the Southwest Work Committee and Southern Work Committee, and directly administered organizations such as the Communist Party of China Hong Kong Cultural Work Committee and the Communist Party of China Guilin United Front Work Committee. These organizations each leveraged their own strengths to promote the development of anti-Japanese literary and artistic work, and to promote the implementation of cultural policies in China. Due to the fact that the leadership of the Cultural Commission was concurrently held by the highest leader of the Southern Bureau, and cultural organizations were established in important cities, the directives of the Cultural Commission can be quickly and effectively conveyed to local areas, and local issues can also receive timely feedback.
3.2 The Support of the Southern Bureau for the Literary and Art Association
The full name of the Literary and Art Association was the All-China Anti-Enemy Association of Literary and Art Circles, which was a patriotic cultural organization established in Wuhan during the early stage of the Anti-Japanese War. After the fall of Nanjing, most of the Kuomintang government offices relocated to Wuhan. In the tide of the national resistance war, literary and artistic workers from Northeast China, Pingjin, Shanghai, Nanjing, and Shandong rushed to
16 Pang Hu, Holding the Torch of Culture to Resist Invasion: A Study on the Cultural Work of the Southern Bureau of the Communist Party of China from the Perspective of the Anti-Japanese War [D]. Xiamen University, 2009. P. 35.
Wuhan. By the end of 1937, more than a thousand cultural figures had gathered in Wuhan. However, due to the lack of rigorous organization, their literary propaganda and creation often had varying degrees of blindness, and sometimes there was also confusion in understanding. In order to change this situation, the CPC had done a lot of work. Zhou Enlai maintained extensive contacts with the literary and artistic circles in Wuhan through the Eighth Route Army Office, "Xinhua Daily", as well as party members and progressive figures in the cultural sector. On New Year's Day in 1938, the All-China Drama Society Anti-Enemy Association was established in Hankou. Since then, other sectors also established organizations such as the All-China Film Industry Anti-Enemy Association, the All-China Song Association, and the Wuhan Cultural Action Committee. Due to industry and regional constraints, people felt that several national organizations in the literary and artistic world had not been able to form a joint force. So various cultural groups and literary figures in Wuhan decided to unite and use their pens to mobilize the people and defend the motherland. In early 1938, playwright Yang Hansheng (a Communist Party member) first proposed the establishment of a "literary and art association". Based on the establishment of the "Drama Association", Yang Hansheng envisioned that the theater industry could unite under the banner of the Anti-Japanese War, and writers should also be able to unite sincerely under the banner of the Anti-Japanese War. So they exchanged opinions with writer Wang Pingling, and they hit it off as soon as possible. They then split up and contacted a large number of writer friends, receiving high approval. Yang Hansheng reported this idea to Zhou Enlai and received strong support from him. At the same time, Wang Pingling also reported to the Kuomin-tang's Central Propaganda Minister, Shao Lizi, and received support. On March 27, 1938, the All-China Anti-Enemy Association of Literary and Art Circles was established in Hankou, Wuhan, with Zhou Enlai serving as honorary chairman. On the day of the establishment conference, more than 500 scattered writers from various regions, as well as more than 100 Chinese and foreign guests, attended the conference. During the preparation period of the Literary and Art Association, figures in the literary and artistic circles reached a consensus on the role of the Literary and Art Association, in uniting and working together for the anti-Japanese war literature and art17. At the founding conference of the Literary and Art Association, Zhou Enlai highly praised the unity and unity of the literary and artistic circles.
As an important position of discourse power in the rear area of the Anti-Japanese War, the Literary and Art Association became the object of intense competition between the Kuomintang and the Communist Party. Lao She was elected as the Executive Director and Director of the General Affairs Department
17 Lao She. Autobiography of Lao She [M]. Guangzhou: Guangdong People's Publishing House, 2018: 115.
since the establishment of the Literary and Art Association. During the development process of the Literary and Art Association, he became the person in charge, responsible for daily affairs internally, representing the Literary and Art Association externally, and fully responsible for the leadership work of the association. The appointment of Lao She as the head of the Literary and Art Association was a compromise result of the political struggle between the Kuomintang and the Communist Party. It was precisely because of Lao She's independent and progressive nature that the development of the Literary and Art Association remained pure. Communist Party member Yang Hansheng played an important role during the preparation period of the "Literary and Art Association". Zhou Enlai, as a member of the negotiating delegation of the Communist Party of China in the rear area, and also a leader of the Yangtze River Bureau of the Communist Party of China, served as the honorary chairman of the Literary and Art Association. Communist Party members such as Mao Dun, Feng Naichao, Lou Shiyi, Xia Yan, Tian Han, Ding Ling, Kong Luosun, Zhang Tianyi, etc. jointly served as directors of the Literary and Art Association and carried out activities in accordance with the party's instructions, forming a left-wing progressive force in the Literary and Art Association that united to resist Japan. The Communist Party actively collaborated with progressive patriotic literati within the Literary and Art Association, conveying instructions through its members to ensure that the overall direction of the Literary and Art Association's anti-Japanese national united front remains unchanged. Wang Pingling's identity as a member of the Kuomintang Party had strengthened the efforts of the Literary and Art Association to gain support from the Kuomintang government. The Literary and Art As-
Figure 5. On March 27, 1938, the All-China Anti-Enemy Association of Literary and Art Circles held a group photo at the founding conference in Hankou.
sociation had become a shining flag and a fortress for combat. The establishment of the Literary and Art Association demonstrated the tremendous power of the anti-Japanese national united front and created a new situation of cultural unity in the anti-Japanese war.
The birth of the Literary and Art Association united literary and artistic workers who had previously fought independently due to differences in class, group, worldview, and artistic methods, under the common purpose of opposing Japanese aggression.
After the establishment of the Literary and Art Association, some members proposed the idea of compiling and printing popular literary and artistic reading materials. To this end, the Literary and Art Association proposed slogans such as "articles going to the countryside" and "articles enlisting", and organized members to actively participate in wartime service groups and consolation groups for soldiers. Not long after, the Third Department launched the "Anti-Japanese Expansion Propaganda Week" activity, and the Literary and Art Association "either provided funding or took on work, all within their capabilities". On the first day of the Anti-Japanese Expansion Propaganda Week, the Literary and Art Association" produced pamphlets and flyers on behalf of the organization, and also edited special issues of major newspapers. In April 1938, the news of the victory in the Battle of Taierzhuang spread to Wuhan. The Literary and Art Association sent members Sheng Cheng and Yu Dafu as representatives, carrying a large number of "Comfort Letters for Frontline Soldiers" to the labor force, greatly inspiring the enthusiasm of frontline soldiers in the war of resistance. On May 4, 1938, the official publication of the Literary and Art Association, "Anti-Japanese War Literature and Art", was founded in Wuhan. It was initially a three-day publication, but later changed to a weekly publication with one volume and five issues. At the end of March 1940, it was changed to a daily publication. The editorial of the magazine called on literary and artistic workers across the country to "concentrate their attention on the current national enemy" and to break through the narrow circle of intellectuals in the past and penetrate into the masses of the Anti-Japanese War. It has extensively promoted the heroic achievements of anti-Japanese soldiers and reported on the activities of the "Literary and Art Association".
4. The "Third Department" to the "Cultural Work Committee"
4.1 The Actual Leadership of the Southern Bureau over the "Third Department"
After the outbreak of the Anti-Japanese War, some literary and artistic figures took to the front line, while more literary and artistic figures gathered in the rear. They were full of passion for the war of resistance and suffered from a stage without performance. The Kuomintang government and the Communist Party both saw the existence of this force and realized that the way to organize dispersed
literati was to establish a tangible institution or society to play the intangible role of literature and art. 18After the fall of Nanjing, people of all ethnic groups, political parties, organizations, and patriots across the country strongly demanded that the government actively resist Japan. Due to the situation, the Kuomintang government established the Political Department of the Military Commission on February 19, 1938. On April 1 of the same year, the Political Department established the Third Department to be responsible for anti-Japanese cultural propaganda work. The establishment of the Third Department was fully participated in by Zhou Enlai, as the Deputy Minister of the Political Department, in terms of institutional themes, institutional settings, and personnel arrangements, and he was in charge of the Third Department. Zhou Enlai deeply realized the importance of the Third Department for the Communist Party's literary and artistic united front work in the rear areas. He has presided over several meetings of the Cultural Group of the Southern Bureau, discussing the work issues of the Third Department - that is, how progressive individuals can stand firm in this position, and use their legitimate position to promote the party's policy of adhering to resistance, unity, and progress, while carrying out extensive united front work. 19At the invitation and efforts of Zhou Enlai, Guo Moruo was appointed as the director of the Third Department. At the end of 1938, Wuhan fell and the Third Department entered Chongqing.
With the efforts of Zhou Enlai and Guo Moruo, the Third Department had been filled with a progressive atmosphere since its establishment. The Third Department led by Zhou Enlai adhered to the policy of the Communist Party of China's united front, united numerous progressive figures and representatives in the cultural sector in the Kuomintang controlled areas, and united various democratic parties and people's organizations to resist Japan. It enjoys high prestige among the masses. Guo Moruo's activities in the Third Department at that time were undoubtedly a prominent peak in the history of anti-Japanese life in the Nationalist controlled areas. During his tenure as Director, Guo Moruo devoted himself wholeheartedly to the work of the Third Department. He united famous figures in the fields of ideology, literature and art, and academia, bringing together talented individuals under the banner of resistance against Japan and national salvation. Under the guidance of Guo Moruo's organization, many Communist Party members used the platform of the Third Department to carry out anti-Japanese propaganda. The Third Department became a fortress for the anti-Japanese national united front and an important battlefield for promoting anti -Japanese salvation. There were three divisions under the Third Department. Hu Yuzhi, the
18 Deng Jing, A Brief Research of United Front Work In Literature Field of the South Bureau [D]. Chongqing Normal University, 2010.
19 Zhang Ying, Thinking of the Long Sun and Moon - Zhou Enlai, the Best Friend of Literary and Art Masters [M]. Beijing: China Drama Press, 1987.8: 128.
director of the Fifth Divasion, was responsible for mobilization work; Tian Han, the director of the Sixth Division, was responsible for cultural and artistic propaganda; Fan Shoukang, the director of the Seventh Division, was responsible for propaganda against the enemy. Among them, literary and artistic propaganda was the most important weapon in the anti-Japanese cultural propaganda of the Third Department, so the Sixth Division in charge of literary and artistic propaganda was the most important. On the one hand, the Third Department directly invitedliterary and artistic figures to carry out their work, and on the other hand, it united and mobilized various performance groups and folk artists to unite. Under the Third Department, ten theatrical teams, four propaganda teams, and one children troupe were formed. After intensive training, these teams went to the front line, went deep into the rear, and closely contacted the masses and frontline soldiers, carrying out arduous anti-Japanese propaganda activities. The Third Department had always held high the banner of the anti-Japanese national united front, gathered anti-Japanese forces, and played an important role. The work of the Third Department was obstructed and disrupted by the stubborn faction of the Kuomintang, and Chiang Kai-shek even demanded that anyone working in the Military Commission should join the Kuomintang. Those who do not join the Kuomintang must all withdraw from the Third Department."20 In September 1940, the Kuomintang government abolished the Third Department under the pretext of restructuring the Political Department.
4.2 The Actual Leadership of the Southern Bureau over the "Cultural Work Committee"
After the Kuomintang government abolished the Third Department, they were worried that the progressive members of the original Third Department" would go to Yan'an. Therefore, on October 1, 1940, they established the Political Department Cultural Work Committee (referred to as the Cultural Work Committee). Zhou Enlai was the instructor, Guo Moruo was the director, and almost all other personnel were from the original Third Department. The Kuomintang government demanded that the Cultural Work Committee only conduct research and not engage in external political activities, in an attempt to restrain the hands and feet of progressive cultural figures. The Cultural Work Committee brought together a large number of cultural figures such as playwrights and writers, expanding the anti-Japanese national united front in the cultural sphere. After the establishment of the Cultural Work Committee, Guo Moruo led everyone to do some research work on one hand; On the one hand, the committee held some speeches to promote resistance against Japan. For a while, the Cultural Work Committee became the revolutionary cultural base of the Kuomintang controlled areas.
20 The Fortress of Anti-Japanese War Cultural United Front Work - San Ting He Wen Gong Union - Zeng He - Hongyan Chunqiu, 2005, 08.
The Cultural Work Committee was a product of the Communist Party's guidance on the struggle and reconciliation between progressive artists and the Kuomintang government during the middle period of the Anti-Japanese War and the tense situation in the rear area. Although the Cultural Work Committee was no longer a political institution, its work was limited to cultural research, and the Kuomintang government also had many restrictions on it. But as Zhou Enlai said to literary and artistic figures, one can break out of the circle and engage in rational, beneficial, and disciplined struggles. The Cultural Work Committee had united more literary artists than the Third Department. In addition to Guo Moruo, Yang Hansheng, Tian Han, Hong Shen, and others who were present during the Third Department period, famous writers such as Mao Dun, Lao She, and Hu Feng had also been invited to the Cultural Work Committee to engage in literary research and creative work. It was necessary to continue to establish party groups and grassroots party branches in the Cultural Work Committee; The organizational structure, working methods, and personnel adjustments of the cultural and trade union are all carried out under the leadership of the party organization; Many things also needed to be fully negotiated with non party members, with the aim of continuing to implement the united front policy based on the cultural and trade union, continuing to unite all democratic parties and people's organizations in the cultural and educational circles of the Kuomintang controlled areas, and fighting together for democracy and national liberation.21 The Cultural Work Committee cannot organize a grand anti-Japanese and national salvation mass movement like the Third Department, but it united numerous progressive literary and artistic figures through literary and artistic creation and research, widely connected with the masses through various means, promoted democratic movements, and literary and artistic creation was also widely carried out.
Under the leadership of the Southern Bureau of the Communist Party of China and Zhou Enlai, the Third Department and Cultural Work Committee united and led progressive writers, artists, and others on the basis of cooperation between the Kuomintang and the Communist Party, forming a broad anti-Japanese national united front, carrying out various literary and artistic activities and salvation movements, and engaging in arduous struggles with the stubborn faction of the Kuomintang. They made outstanding contributions to mobilizing the people to rise up against Japan and strive for the final victory of the Anti-Japanese War, promoted unprecedented prosperity in literature and art.
5. Conclusion
Under the guidance of the anti-Japanese national united front policy of the Central Committee of the Communist Party of China, the Southern Bureau
21 Yang Hansheng, Fifty Years of Trials and Hardships [M]. Beijing: People's Literature Publishing House, 1986. 10: 267.
united with progressive cultural figures in the Kuomintang controlled areas to carry out the anti-Japanese democratic cultural movement. Among the cultural institutions and organizations in the accompanying capital of Chongqing, the Third Department of the Political Department of the Military Commission in charge of cultural work of the Kuomintang Government was actually a fortress of anti-Japanese cultural united front under the leadership of Zhou Enlai; Various cultural groups and academic institutions, represented by the All-China Anti-Enemy Association of Literary and Art Circles, had carried out rich cultural movements to save the nation with the support of the Southern Bureau. These factors together established the central position of Chongqing's anti-Japanese war culture in the rear area.
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