The CPC’s Historical Exploration of Its Cultural Mission during the New Democratic Revolution and Contemporary Implications

For more than a century, the Communist Party of China has taken the logic of responsibility as its primary logic of action, continuously clarifying its historical mission and role functions on the basis of focusing on the fundamental interests of the entire people, thereby manifesting the unique spiritual characteristics of a Marxist political party and also constructing the distinctive hallmark of a mission-oriented party. During the period of the New Democratic Revolution, the CPC took the development of “a culture of the masses under the leadership of the proletariat that is anti-imperialist and anti-feudal” as its cultural program for the New Democratic Revolution, thereby forming the CPC’s cultural mission during the New Democratic Revolution. The CPC’s clear recognition of its cultural mission and its conscious action in daring to shoulder that mission greatly promoted the flourishing and development of New Democratic culture. Xi Jinping pointed out, “The Party’s historical experience should be taken as an important ideological weapon for correctly judging the situation, scientifically foreseeing the future, and grasping historical initiative.” In order to shoulder the new cultural mission and better respond to various risks and challenges on the road ahead, we should draw inspiration from history and refine the magic weapon for defeating the enemy from experience.

百余年来，中国共产党一直将责任逻辑作为主要的行动逻辑，不断在聚焦全体人民根本利益的基础上明确自身的历史使命与角色功能，彰显了马克思主义政党的独特精神特质，同时也构筑了使命型政党的显著标识。新民主主义革命时期，中国共产党将发展“无产阶级领导的人民大众的反帝反封建的文化”作为新民主主义革命的文化纲领，形成了中国共产党新民主主义革命时期的文化使命。中国共产党对于文化使命的清晰认知以及勇于担负起文化使命的自觉行动，极大地促进了新民主主义文化的繁荣发展。习近平指出，“要把党的历史经验作为正确判断形势、科学预见未来、把握历史主动的重要思想武器”。为了担负起新的文化使命，更好地应对前进道路上的各种风险挑战，我们应从历史中获取启迪，从经验中提炼克敌制胜的法宝。

I. The Establishment of the Chinese Nation’s Cultural Subjectivity and the Awakening of the Consciousness of the Cultural Mission

一、中华民族文化主体的确立与文化使命意识的觉醒

In modern times, traditional Chinese culture encountered a powerful impact from foreign cultures, and the confusion over cultural identity caused a crisis in traditional Chinese culture. The question of how to handle the relationship between Chinese culture and Western culture was realistically placed before the Chinese people. However, whether it was the “wholesale Westernization” faction, which completely ignored the subjectivity of Chinese culture, or the “Chinese cultural centrism” faction, which clung to outdated remnants, both largely exhibited a narrow cultural mentality. Since the founding of the CPC, the Party has gradually formed a correct understanding and scientific judgment regarding the “substance-function debate,” [1]1 The “substance-function debate” (体用之争) refers to the late-19th and early-20th-century Chinese intellectual controversy over whether to preserve Chinese “substance” (essence, values) while adopting Western “function” (practical techniques, technology), or to adopt Western substance wholesale. reconstructed the cultural subject, and marked the gradual awakening of the Party’s consciousness of its cultural mission.

近代以来，中华传统文化遭遇到异域文化的强烈冲击，文化身份的迷茫造成了中华传统文化的危机。如何处理中国文化与西方文化关系的问题现实地摆在了国人面前，但是无论是完全忽视中华文化主体性的“全盘西化”派，抑或是抱残守缺的“华夏文化中心论”者，都在很大程度上表现出狭隘的文化心态。自中国共产党成立以来，党对“体用之争”逐渐形成了正确的认识与科学的判断，重构了文化主体，标志着党文化使命意识的逐步觉醒。

(1) Confusion over Cultural Identity: The Modern Crisis of Traditional Chinese Culture

（一）文化身份的迷茫：中华传统文化的近代危机

After the Opium War, [2]2 The Opium War (1840–1842) was a military conflict between Britain and Qing China, often seen as the beginning of modern Chinese history and the start of a century of foreign incursions and domestic decline. as the invasion of China by Western powers gradually deepened, the economic base of traditional Chinese society disintegrated, and the moral norms and spiritual culture of feudal society were fundamentally shaken. Many people of lofty ideals, in order to save the nation from subjugation and ensure its survival, attempted to seek strategies from Western culture to strengthen the country and resist foreign aggression, but fell into an endless “substance-function model” debate. “The crisis of China in the past hundred years is fundamentally a cultural crisis.” At that time, society faced a problem: “Under the powerful impact of Western culture, can modern Chinese people continue to maintain their original cultural identity?” Based on different attitudes toward this question, three factions roughly emerged.

鸦片战争后，随着西方列强对中国入侵的逐渐加深，中国传统社会经济基础分崩离析，封建社会的道德规范与精神文化产生了根本动摇。许多仁人志士为救亡图存，尝试从西方文化中寻求图强制夷之策，但陷入无休止的“体用模式”之争。“中国近百年来的危机，根本上是一个文化的危机。”在当时的社会面临一个问题，那就是“在西方文化的强烈冲击下，现代中国人究竟能不能继续保持原有的文化认同”。根据对这一问题的不同态度，大致分为三派。

One faction was the Western-centric advocates of “complete abandonment and wholesale Westernization.” In their eyes, Western culture, originating from science, was superior, and they advocated abolishing traditional Chinese culture and the value system carried by Confucianism, replacing it with a Western value system. Another faction was the conservative advocates of “revering Confucius, reading the classics, and restoring old rites.” Compared with other periods, in the early years of the Republic of China, the trend of revering Confucius carried a strong political restorationist color: “There was a group of people who believed in Confucianism and foolishly wanted to use the power of government decrees to restore the dignity of Confucianism.” [3]3 This quotation is from Chen Duxiu’s 1917 essay “The Revival of the Confucian Cult,” criticizing attempts to restore Confucianism as a state religion during the early Republic of China. Another faction was the New Confucians of “taking China as the substance and moderately learning from outside,” that is, advocating taking traditional Chinese culture as the main body and moderately absorbing foreign cultural ideas, “combining the essence of Chinese and Western civilizations, fusing them together, and penetrating them.” On the one hand, their acceptance and understanding of Western culture moved toward rational selection and transformation; on the other hand, they moved from criticism and neglect of traditional Confucian culture toward rational return and transformation, exposing the “Chinese cultural centrism” remaining in their deep cultural mentality. However, the prevalence of Western centrism made the propositions of this faction powerless. The ideological and cultural trends of modern China exhibited a very special antinomy: “On the one hand, there was the pursuit of national survival, which should be affirmed; on the other hand, there was relentless self-denial in culture.”

一派是主张“全盘皆弃、完全西化”的西方中心主义者。在他们眼里，源于科学的西方文化更加优越，主张废除中华传统文化及以孔孟儒学为载体的价值体系，并以西洋的价值体系取而代之。一派则是主张“尊孔读经、复古旧礼”的保守主义者。与其他时期相比较，民国初期，尊孔思潮带有浓厚的政治复辟色彩，“有一班信仰孔教的人妄想要用政府法令的势力来恢复孔教的尊严”。一派是“以中为体、适度鉴外”的新儒家，即主张以中华传统文化为主体，适度吸收外来文化思想，“兼取中西文明之精华，而熔铸之，贯通之”。一方面，他们对西方文化的接受、认知走向理性的选择与改造；另一方面，又由对传统儒家文化的批判、忽视走向理性的回归与转换，暴露了其深层文化心态中残留的“华夏文化中心论”。但是，西方中心主义的大行其道使得此派别的主张回天乏术。近代中国思想与文化潮流表现出一种十分特殊的二律背反，那就是“一面是求民族自存，这是应当肯定的；一面却在文化上，作不遗余力的自我否定”。

After the May Fourth Movement, [4]4 The May Fourth Movement (1919) was an anti-imperialist, anti-feudal cultural and political movement sparked by the Treaty of Versailles, which led to the rise of Marxism and the founding of the CPC in 1921. a large number of intellectuals with communist leanings began to study and apply Marxism, using it as an ideological weapon to analyze social reality and guide the future and destiny of the nation, ultimately establishing the CPC. The CPC chose Marxism through rational judgment among numerous social trends of thought. As Qu Qiubai stated, “The Soviet ‘cultural revolution’ is to criticize the consciousness and cultural life of the landlord and bourgeoisie from the standpoint of the proletariat, to enable the broad masses to accept all truly valuable cultural tools and knowledge in human history, while simultaneously eliminating the influence of feudal and bourgeois consciousness.” [5]5 Qu Qiubai (1899–1935) was an early CPC leader and intellectual who served as the Party’s general secretary in 1927–1928. This quotation reflects his advocacy of a proletarian cultural revolution. Li Dazhao also pointed out, “Eastern civilization has decayed in stillness, while Western civilization is exhausted under materialism. To save the world from crisis, the rise of a third new civilization is necessary to cross this dangerous cliff,” [6]6 Li Dazhao (1889–1927) was a co-founder of the CPC and a leading Marxist intellectual. This quotation is from his 1918 essay “The Victory of Bolshevism,” where he argued for a synthesis of Eastern and Western civilizations. advocating absorbing the reasonable elements of both Eastern and Western cultures while overcoming their respective deep-rooted defects, so as to form a “third new civilization” to save the fate of Chinese culture. These rational statements laid the ideological foundation for traditional Chinese culture to find the correct direction later.

“五四运动”以后，一大批具有共产主义倾向的知识分子开始学习并运用马克思主义，将其作为分析社会现实、指引国家前途命运的思想武器，最终成立中国共产党。中国共产党在对众多社会思潮的理性判断中选择了马克思主义。如瞿秋白说道：“苏维埃的“文化革命”是要在无产阶级立场上去批判地主资产阶级的意识和文化生活，要使广大的群众能够接受人类历史上的一切真正有价值的文化工具和知识，同时肃清封建的和资产阶级的意识上的影响。”李大钊也指出，“东洋文明既衰颓于静止之中，而西洋文明又疲命于物质之下，为救世界之危机，非有第三新文明之崛起，不足以渡此危崖”，主张既要吸收东西文化的合理要素，又要克服东西文化的劣根，以形成“第三新文明”来挽救中华文化之命运。这些理性言论为后续中华传统文化找到正确方向打下了思想基础。

(2) Awakening of Cultural Subjectivity Consciousness: The Proposal of “the New Culture of the Chinese Nation” Reveals the CPC’s Cultural Mission

（二）文化主体意识觉醒：“中华民族的新文化”的提出昭示了中国共产党的文化使命

As understanding of Marxism gradually deepened, the CPC began to thoroughly correct the erroneous tendency of dogmatizing Marxism after the Great Revolution [7]7 The Great Revolution (1924–1927) refers to the first united front period between the CPC and the Kuomintang, culminating in the Northern Expedition and the subsequent split and suppression of the CPC by the KMT. and the attitude of simply rejecting and criticizing traditional culture. This revealed the awakening of the CPC’s consciousness as a “completely new cultural force” with cultural subjectivity. Mao Zedong, in “Oppose Book Worship,” [8]8 “Oppose Book Worship” (反对本本主义) is a 1930 essay by Mao Zedong criticizing dogmatic adherence to Marxist texts without regard for Chinese conditions. proposed for the first time that “Marxist ‘books’ must be studied, but they must be combined with the actual situation in our country.” The CPC rationally criticized and absorbed the essence of traditional culture, initiating the integration of Marxism with fine traditional Chinese culture. By the Yan’an period, [9]9 The Yan’an period (1935–1948) refers to the CPC’s base area in Shaanxi after the Long March, where it consolidated its ideology and leadership, including the rectification campaign and the formulation of Mao Zedong Thought. Zhang Wentian believed that the “debate on Chinese and Western culture” that had troubled the cultural and intellectual circles for many years should be answered. He proposed the proposition of “building the new culture of the Chinese nation,” pointing out, “The new culture is not a total negation of the old culture, but a true ‘carrying forward and development’ of the old culture. The new culture is not a strange thing falling from the sky, but a higher development of past human culture.” [10]10 Zhang Wentian (1900–1976) was a senior CPC leader and theorist. This quotation is from his 1940 speech “On the Cultural Policy of the National Salvation,” advocating a synthetic approach to Chinese and foreign cultures. As related thinking deepened, Mao Zedong proposed building a “national, scientific, and mass” “new culture of the Chinese nation,” declaring that this was our goal in the cultural field: “to transform a China that is ignorant and backward under the rule of the old culture into a China that is civilized and advanced under the rule of the new culture.” [11]11 This quotation is from Mao Zedong’s 1940 essay “On New Democracy,” which outlined the cultural program of the New Democratic Revolution. In Mao’s view, the new culture was no longer the so-called new culture of the bourgeoisie, but something that reflected new politics and new economy in the form of ideas, belonging to a part of the world proletarian socialist culture. “Because the Chinese political force, namely the Chinese proletariat and the CPC, had ascended the political stage of China, this cultural force, with new attire and new weapons, united all possible allies and deployed its battle formation.” [12]12 This quotation is from Mao Zedong’s 1940 essay “On New Democracy,” describing the CPC as a new cultural force in the revolutionary struggle. Marxists consciously combined the construction of new culture with the goals of the Chinese revolution, combined cultural rejuvenation with the transformation of Chinese society, and combined the fate of fine traditional Chinese culture with the trends of world development, launching a heroic attack on imperialist culture and feudal culture. This was a further manifestation of the CPC’s consciousness of its mission as a cultural subject, prompting China’s cultural revolution to become a part of the world proletarian socialist cultural revolution, expanding the thinking on the development of fine traditional Chinese culture, and also pointing out the correct track for the development of Chinese culture.

随着对马克思主义的认识逐渐深入，中国共产党开始彻底纠正大革命后对待马克思主义教条化的错误倾向以及对待传统文化一味排斥与批判的态度，这昭示了中国共产党作为“完全崭新的文化生力军”这一文化主体意识的觉醒。毛泽东在《反对本本主义》中第一次提出，“马克思主义的‘本本’是要学习的，但是必须同我国的实际情况相结合”。中国共产党理性批判和吸收传统文化的精髓，开启了马克思主义与中华优秀传统文化相结合的序幕。到了延安时期，张闻天认为应当对困扰文化界与思想界多年的“中西文化争论”给予回答。他提出“建设中华民族的新文化”这一命题，指出，“新文化不是旧文化的全盘否定，而是旧文化的真正‘发扬光大’。新文化不是从天上掉下来的奇怪的东西，而是过去人类文化的更高的发展”。随着相关思考的日趋深入，毛泽东提出要建设“民族的科学的大众的”“中华民族的新文化”，宣示这就是我们在文化领域中的目的，“要把一个被旧文化统治因而愚昧落后的中国，变为一个被新文化统治因而文明先进的中国”。在毛泽东看来，新文化已经不再是资产阶级的所谓新文化，而是在观念形态上反映新政治和新经济的东西，属于世界无产阶级的社会主义文化的一部分。“由于中国政治生力军即中国无产阶级和中国共产党登上了中国的政治舞台，这个文化生力军，就以新的装束和新的武器，联合一切可能的同盟军，摆开了自己的阵势”，马克思主义者自觉地把新文化建设同中国革命目标相结合、将文化复兴与中国社会的变革相结合以及将中华优秀传统文化的命运与世界发展潮流相结合，向帝国主义文化和封建文化展开英勇进攻，这是中国共产党作为文化主体使命意识的进一步彰显，促使中国的文化革命成为世界无产阶级的社会主义文化革命的一部分，拓展了中华优秀传统文化发展的思路，也指明了中华文化发展的正确轨道。

II. The CPC’s Understanding and Practice of Its Cultural Mission during the New Democratic Revolution

二、新民主主义革命时期中国共产党对文化使命的认识与实践

During the New Democratic Revolution, the CPC advocated, on the basis of critically inheriting and drawing lessons from excellent cultures, both ancient and modern, Chinese and foreign, establishing a new culture led by the proletariat, guided by Marxism, that is national, scientific, and mass. It actively shouldered the cultural mission entrusted by history, enabling fine traditional Chinese culture to gradually emerge from its modern crisis and opening up a correct path for cultural development.

新民主主义革命时期，中国共产党提倡在批判继承、借鉴古今中外优秀文化的基础上，建立无产阶级领导的、以马克思主义为指导的民族的科学的大众的新文化，主动承担起历史赋予的文化使命，使中华优秀传统文化逐渐走出近代危机，开启了一条正确的文化发展之路。

(1) Understanding of the Leading Force of Culture: Building the Prerequisite Foundation for the Legitimacy of the Cultural Mission

（一）对文化领导力量的认识，构筑了文化使命合理性的前提基础

The understanding of cultural leadership is the prerequisite for the smooth development of New Democratic cultural construction. After the proletariat transforms from a class-in-itself into a class-for-itself, it must be led by its own independent political party. As Engels stated: “The proletariat, if it is to be strong enough to win at the decisive moment, must (as Marx and I have maintained since 1847) form a special party distinct from all other parties and opposed to them, a conscious class party.” [13]13 Engels, “Letter to G. Trier,” 18 December 1889, in Marx and Engels, *Selected Works* (Chinese edition), Vol. 4, p. 469. In the era when the proletariat stepped onto the political stage, the leadership responsibility of China’s revolutionary war naturally fell on the shoulders of the Communist Party of China. Mao Zedong pointed out: “History has determined that the task of the bourgeois-democratic revolution against imperialism and feudalism in China cannot be accomplished through the leadership of the bourgeoisie, but must be accomplished through the leadership of the proletariat.” [14]14 Mao Zedong, “On the New Democracy,” *Selected Works of Mao Zedong*, Vol. 2, p. 672. The CPC came to recognize and form the idea of revolutionary leadership. The class that controls material production inevitably “rules as the producers of ideas, regulating the production and distribution of the ideas of their age; and thus their ideas are the ruling ideas of the age.” [15]15 Marx and Engels, *The German Ideology*, *Selected Works*, Vol. 1, p. 179. This emphasizes that the proletariat must seize cultural leadership, and all cultural work must uphold the Party’s political leadership. This also means that, in addition to seizing revolutionary leadership, the CPC’s realization of cultural leadership is an important component.

对文化领导力量的认识是新民主主义文化建设顺利开展的前提。无产阶级由自在的阶级变成自为的阶级后，必须由自己独立的政党来领导。正如恩格斯所说：“无产阶级要在决定关头强大到足以取得胜利，就必须（马克思和我从1847年以来就坚持这种立场）组成一个不同于其他所有政党并与它们对立的特殊政党，一个自觉的阶级政党。”在无产阶级走上政治舞台的时代，中国革命战争的领导责任自然落在了中国共产党的肩上。毛泽东指出：“中国反帝反封建的资产阶级民主革命的任务，历史已判定不能经过资产阶级的领导，而必须经过无产阶级的领导，才能够完成。”中国共产党意识到并形成了革命领导权思想。掌握着物质生产的阶级，必然“作为思想的生产者进行统治，他们调节着自己时代的思想的生产和分配；而这就意味着他们的思想是一个时代的占统治地位的思想”。这强调了无产阶级必须掌握文化领导权，一切文化工作必须坚持党在政治上的领导。这也意味着中国共产党除了掌握革命领导权以外，实现文化领导也是重要一环。

The cultural construction of the proletariat is a long-term and arduous complex systemic project. “The accomplishment of cultural tasks cannot be as swift as that of political and military tasks… In a period of acute crisis, political victory can be achieved in a few weeks. In war, victory can be achieved in a few months, but in the cultural sphere, victory cannot be achieved in such a short time.” [16]16 Lenin, “On Cooperation,” *Selected Works of Lenin*, Vol. 4, p. 698. This determines that the CPC’s realization and strengthening of cultural leadership is a continuous historical process. If the Party is to achieve the goal of “completely replacing the old artistic lineup with a new one among the masses, and completely replacing the lineup divorced from the masses with one that connects with the masses among art workers,” it “still requires a long period and extensive, enormous efforts.” [17]17 Mao Zedong, “Talks at the Yan’an Forum on Literature and Art,” *Selected Works of Mao Zedong*, Vol. 3, p. 865. The proletariat’s understanding of cultural leadership clarified that the CPC is the leading force in cultural construction, advancing the idea of proletarian leadership in the democratic revolution a major step forward, and simultaneously laying the theoretical foundation for the legitimacy of the CPC’s cultural mission.

无产阶级的文化建设是一个长期而艰巨的复杂系统工程，“文化任务的完成不可能像政治任务和军事任务那样迅速……在危机尖锐化时期，几个星期就可以取得政治上的胜利。在战争中，几个月就可以取得胜利，但是在文化方面，要在这样短的时间内取得胜利是不可能的”。这也就决定了中国共产党对于文化领导权的实现和加强是一个持续的历史过程。党若想达到“要在群众中完全以新艺术的阵容代替旧艺术的阵容，要在艺术工作者中完全以联系群众的阵容代替脱离群众的阵容”这一目标任务，“还需要一个长时期的和多方面的巨大的努力”。无产阶级对于文化领导权的认识，明确了中国共产党是文化建设的领导力量，将无产阶级在民主革命中的领导权思想向前推进了一大步，同时也奠定了中国共产党文化使命合理性的理论基础。

(2) The understanding of the tasks of cultural construction reveals the epochal characteristics of the cultural mission

（二）对文化建设任务的认识，揭示了文化使命的时代性特征

The CPC’s understanding of the tasks of cultural construction accurately grasped and responded to the themes of the era, while also accurately predicting the trends of cultural development, fully embodying the spirit of the times, and revealing the epochal characteristics of the CPC’s cultural mission.

中国共产党对文化建设任务的认识，准确把握与回答了时代主题，同时也准确预测了文化发展的时代趋势，全面体现了时代精神，揭示了中国共产党文化使命的时代性特征。

“The true content of all epoch-making systems arises from the needs of the period that produced them.” [18]18 Marx and Engels, *The German Ideology*, *Selected Works*, Vol. 1, p. 180. The CPC’s cultural mission reflects the objective existence of the Party’s cultural mission at different historical stages, and what determines this objective existence is the principal contradiction of different historical periods. The CPC’s cultural mission cannot exist divorced from the soil of the era; it is deeply constrained by the objective conditions of the times, and thus bears the distinct characteristics of a specific historical era. During the New Democratic Revolution, the national contradiction rose to become the principal contradiction of the Chinese nation. To achieve total victory in the War of Resistance, the CPC formulated cultural and educational policies centered on the needs of the resistance. Lenin once pointed out that literary and artistic undertakings, such as writing, “must become part of the common cause of the proletariat, a ‘cog and screw’ of the great Social-Democratic machine set in motion by the entire conscious vanguard of the entire working class.” [19]19 Lenin, “Party Organization and Party Literature,” *Selected Works of Lenin*, Vol. 1, p. 663. Mao Zedong inherited this view, affirming Lenin’s metaphor of writing as a “cog and screw” of Social-Democracy, and pointed out: “The Party’s literary and artistic work occupies a determined and well-established position in the Party’s overall revolutionary work; it is subordinate to the revolutionary tasks prescribed by the Party in a given revolutionary period.” [20]20 Mao Zedong, “Talks at the Yan’an Forum on Literature and Art,” *Selected Works of Mao Zedong*, Vol. 3, p. 866. Therefore, “under the principle of everything for the war, all cultural and educational undertakings should be made to suit the needs of the war,” and it was required that our cultural and educational policies “should center on raising and popularizing the anti-Japanese knowledge, skills, and national self-esteem of the masses.” [21]21 Mao Zedong, “On the New Stage,” *Selected Works of Mao Zedong*, Vol. 2, p. 624. To make the people consciously, voluntarily, and actively struggle for the cause of the War of Resistance, the general policy of cultural and educational work had to be implemented through methods of revolutionary struggle and class struggle, making cultural education serve the revolutionary war and class struggle. This clarified the nature and purpose of cultural and educational work. Guided by the Party’s line and policies, cultural workers in the base areas used various means to publicize and reflect the heroic resistance of the people during the war, enhancing the people’s awareness of the resistance, inspiring their fighting spirit, and laying a class and mass foundation for the total victory of the War of Resistance.

“一切划时代的体系的真正的内容都是由于产生这些体系的那个时期的需要而形成起来的。”中国共产党的文化使命体现中国共产党在不同历史阶段文化使命的客观存在，而决定这一客观存在的则是不同历史时期的主要矛盾。中国共产党文化使命不能脱离时代的土壤而存在，深受时代发展的客观制约，因而具有特定历史时代的鲜明特征。在新民主主义革命时期，民族矛盾上升为中华民族的主要矛盾。为了夺取抗战的全面胜利，中国共产党围绕抗日需要制定了文化教育政策。列宁曾经指出，文学艺术事业诸如写作事业，“应当成为整个无产阶级事业的一部分，成为由整个工人阶级的整个觉悟的先锋队所开动的一部巨大的社会民主主义机器的‘齿轮和螺丝钉’”。毛泽东继承了这一观点，肯定列宁将写作事业当作社会民主主义的“齿轮和螺丝钉”的比喻，并指出，“党的文艺工作，在党的整个革命工作中的位置，是确定了的，摆好了的；是服从党在一定革命时期内所规定的革命任务的”。因此，“在一切为着战争的原则下，一切文化教育事业均应使之适合战争的需要”，并要求我们的文化教育政策“应以提高和普及人民大众的抗日的知识技能和民族自尊心为中心”。使人民自觉、自愿、积极地为抗战事业作斗争，要以革命斗争和阶级斗争的方法落实文化教育工作总方针，使文化教育服务于革命战争与阶级斗争，这就明确了文化教育工作的性质与目的。在党的路线方针指引下，各根据地文化工作者，通过多种方式宣传反映抗战中民众的英勇抗敌事迹，增强了人民的抗战意识，鼓舞了民众的抗战斗志，为抗战的全面胜利打下了阶级和群众基础。

(3) The understanding of the path of cultural development pioneered the practical principles of the cultural mission

（三）对文化发展道路的认识，开创了文化使命的实践原则

During the New Democratic Revolution, Chinese Communists pioneered a path of cultural development with the characteristics of the New Democratic Revolution, namely, a path of development that integrates the basic principles of Marxism with the fine traditional Chinese culture and realizes a two-way interaction between Marxism and the fine traditional Chinese culture. Marxism spread deeply in China and increasingly combined with the Chinese workers’ movement.

新民主主义革命时期，中国共产党人开创了一条具有新民主主义革命特色的文化发展道路，即把马克思主义基本原理同中华优秀传统文化相结合、实现马克思主义与中华优秀传统文化双向互动的发展道路。马克思主义在中国深入传播，并日益同中国工人运动相结合。

With the spread of Marxism in China, the early Chinese Communists did not merely stop at propagating revolutionary theory but attempted, starting from the basic principles of Marxism, to seek a path for the development of Chinese culture. “The rectification movement against subjectivism, sectarianism, and Party stereotypical writing that the Communist Party of China has carried out in recent years is precisely aimed at further integrating Marxism-Leninism, this revolutionary science, deeply with the practice of the Chinese revolution, Chinese history, and Chinese culture.” [22]22 Mao Zedong, “On the New Democracy” (1940), Selected Works of Mao Zedong, Vol. 2. [The original Chinese text cites this passage; the translation follows the standard English edition.] The integration of the basic principles of Marxism with the fine traditional Chinese culture is reflected, on the one hand, in the inspiration that Marxist historical materialism provides for the understanding of the essence of culture. Inspired by historical materialism, the Chinese Communists defined “culture” from the perspective of the relationship between culture and economy, not only interpreting the importance of culture and its interrelationship with the economy but also profoundly revealing the essence of culture. Qu Qiubai was the early founder of the historical materialist view of culture; he was the first to define culture from the standpoint of historical materialism, pointing out that “so-called ‘culture’ is all of humanity’s ‘doings,’” and that all these “doings” include productive forces, economic relations, social and political organizations, social psychology, various systems of thought, and so on. [23]23 Qu Qiubai, “The Meaning of ‘Culture’” (1923), Collected Works of Qu Qiubai, Vol. 2. Mao Zedong, while adhering to the determining role of the economy over culture, rejected the a priori and mystical nature of ideological culture in history and recognized the counteractive effect of culture on the economy. He pointed out: “A given culture (as an ideological form of culture) is a reflection of the politics and economy of a given society, and in turn exerts a great influence and effect on the politics and economy of that society.” [24]24 Mao Zedong, “On the New Democracy” (1940), Selected Works of Mao Zedong, Vol. 2. He further emphasized that “‘cultural revolution’ is the reflection in ideological form of political revolution and economic revolution and serves them.” [25]25 Ibid. On the other hand, this is reflected in the inspiration that Marxist historical materialism provides for the attitude toward cultural inheritance. On the question of how to correctly treat ancient Chinese culture and foreign cultures, Mao Zedong advocated neither wholesale rejection nor blind adoption, but rather the use of the Marxist stand, viewpoint, and method to conduct a concrete analysis of them, in order to promote China’s new culture and serve the ongoing struggle for national independence and liberation. He said: “We must never refuse to inherit and learn from the ancients and foreigners, even if they are feudal or bourgeois.” [26]26 Mao Zedong, “Talks at the Yan’an Forum on Literature and Art” (1942), Selected Works of Mao Zedong, Vol. 3. Regarding traditional Chinese culture, Mao Zedong advocated critical analysis, stating: “China’s long feudal society created a splendid ancient culture. To clear away the development process of ancient culture, to discard its feudal dross and absorb its democratic essence, is a necessary condition for developing a new national culture and enhancing national self-confidence; but we must never accept it uncritically and indiscriminately. We must distinguish between all the decadent things of the ancient feudal ruling classes and the excellent ancient popular culture, that is, those things that are somewhat democratic and revolutionary.” [27]27 Mao Zedong, “On the New Democracy” (1940), Selected Works of Mao Zedong, Vol. 2. The cultural development path of integrating Marxism with China’s fine traditional culture clarified the essence of culture, activated the vitality of Chinese civilization, and promoted the modern transformation of Chinese civilization.

随着马克思主义在中国的传播，早期的中国共产党人并没有仅仅停留在革命理论的宣传上，而尝试从马克思主义基本原理出发来寻求中华文化的发展之路。“中国共产党近年来所进行的反主观主义、反宗派主义、反党八股的整风运动就是要使得马克思列宁主义这一革命科学更进一步地和中国革命实践、中国历史、中国文化深相结合起来。”马克思主义基本原理同中华优秀传统文化相结合，一方面，体现在马克思主义唯物史观对文化本质认知的启示上。在唯物史观的启发下，中国共产党人从文化与经济的关系出发对“文化”进行定义，不仅诠释了文化的重要性以及与经济之间的相互关系，而且深刻揭示了文化的本质。瞿秋白是早期历史唯物主义文化观的奠基人，他第一次从唯物史观出发界定文化，指出“所谓‘文化’是人类之一切‘所作’”，而这一切“所作”包括生产力、经济关系、社会政治组织、社会心理、各种思想系统等。毛泽东在坚持经济对文化的决定作用的基础上，摒弃了历史上思想文化的先验性和神秘主义，认识到文化对经济的反作用。他指出：“一定的文化（当作观念形态的文化）是一定社会的政治和经济的反映，又给予伟大影响和作用于一定社会的政治和经济。”进而强调，“‘文化革命’是在观念形态上反映政治革命和经济革命，并为它们服务的”。另一方面，表现在马克思主义唯物史观对文化继承态度的启示上。在如何正确对待中国古代文化和外国文化问题上，毛泽东主张既不一概排斥，也不盲目搬用，而是运用马克思主义的立场、观点与方法对其进行具体分析，以利于推进中国的新文化，为正在进行的民族独立和解放斗争服务。他说道：“我们决不可拒绝继承和借鉴古人和外国人，哪怕是封建阶级和资产阶级的东西。”对于中华传统文化，毛泽东主张批判性分析，指出：“中国的长期封建社会中，创造了灿烂的古代文化。清理古代文化的发展过程，剔除其封建性的糟粕，吸取其民主性的精华，是发展民族新文化提高民族自信心的必要条件；但是决不能无批判地兼收并蓄。必须将古代封建统治阶级的一切腐朽的东西和古代优秀的人民文化即多少带有民主性和革命性的东西区别开来。”把马克思主义同中华优秀传统文化相结合的文化发展道路，廓清了文化的本质，激活了中华文明的生命，促进了中华文明的现代转型。

(4) The understanding of the principles and standpoints of cultural construction reveals the value orientation of the cultural mission

（四）对文化建设原则立场的认识，昭示了文化使命的价值旨归

The question of “for whom” culture exists “is a fundamental question.” [28]28 Mao Zedong, “Talks at the Yan’an Forum on Literature and Art” (1942), Selected Works of Mao Zedong, Vol. 3. During the period of the New Democratic Revolution, the Party’s cultural work moved people emotionally and convinced them through reason. By patiently explaining and persuading, it achieved the fusion of thoughts and feelings with the broadest masses of the people, unified the people’s ideological understanding, and thereby constructed the people’s strongest and most reliable ideological defense system.

文化“为什么人的问题，是一个根本的问题”。新民主主义革命时期，党的文化工作动之以情、晓之以理，通过耐心地解释、说服，实现了与最广大人民群众思想情感的融合，统一了民众的思想认识，从而构筑了民众最坚强、最可靠的思想防御体系。

In his “Talks at the Yan’an Forum on Literature and Art,” Mao Zedong systematically answered many controversial questions in the literary and artistic movement. He pointed out that the problem of literature and art “is basically a problem of serving the masses and a problem of how to serve the masses.” [29]29 Ibid. Regarding the problem of serving the masses, Mao Zedong repeatedly emphasized, “We stand on the side of the proletariat and the masses of the people.” [30]30 Ibid. This principle of standpoint completely drew the essential boundary between proletarian literature and art and all literature and art of the exploiting classes, and indicated the fundamental direction for the development of proletarian literature and art. Regarding the problem of how to serve the masses, at the end of 1944, in his speech at the Conference of Cultural and Educational Workers in the Shaanxi-Gansu-Ningxia Border Region, Mao Zedong pointed out: “All work for the masses must start from the needs of the masses.” [31]31 Mao Zedong, “The United Front in Cultural and Educational Work” (1944), Selected Works of Mao Zedong, Vol. 3. The subsequent Cultural and Educational Conference summarized various experiences of mass cultural and educational work since the production movement and the rectification movement, and proposed developing a new art that “reflects the life of the people and in turn guides the life of the people.” [32]32 “Resolution of the Conference of Cultural and Educational Workers in the Shaanxi-Gansu-Ningxia Border Region” (1944), cited in the original text. The main method for developing this new art was to carry out large-scale mass cultural and educational movements. Through various forms of social mobilization, the Party’s cultural pioneering work achieved significant results: “The masses of the people now not only understand how to widely obtain cultural rights, but have also begun to understand how to skillfully use cultural weapons.” [33]33 Ibid. The people’s intellect was enlightened, their cultural identity was strengthened, which won a mass base for the CPC to undertake its cultural mission, and at the same time revealed the value orientation of the CPC’s cultural mission.

毛泽东在《在延安文艺座谈会上的讲话》中系统回答了文艺运动中诸多有争议的话题，他指出，文艺的问题“基本上是一个为群众的问题和一个如何为群众的问题”。关于为群众的问题，毛泽东反复强调，“我们是站在无产阶级的和人民大众的立场”。这一立场原则彻底划清了无产阶级文艺与一切剥削阶级文艺的本质界限，指明了无产阶级文艺发展的根本方向。关于如何为群众的问题，1944年年底，毛泽东在陕甘宁边区文教工作者会议上的讲话中指出：“一切为群众的工作都要从群众的需要出发。”随后召开的文教大会总结了自生产运动与整风运动以来群众文教工作的各种经验，提出了要发展“反映人民生活又指导人民生活”]的新的艺术，而发展新的艺术的主要方式则是开展大规模的群众文教运动。通过开展多种形式的社会动员，中国共产党的文化拓荒工作取得了重要成效，“人民群众现在不但懂得了怎样广泛地获得文化的权利，而且开始懂得怎样巧妙地使用文化的武器了”。民众智识得以启蒙，民众文化认同得以加强，为中国共产党承担起文化使命赢得了群众基础，同时也昭示了中国共产党文化使命的价值旨归。

III. Implications for Undertaking a New Cultural Mission in the New Era

三、对新时代担负起新的文化使命的启示

Historical experience comes from history and points the way forward. In the course of the New Democratic Revolution, the Chinese Communists, with Comrade Mao Zedong as their main representative, while leading the New Democratic Revolution and solving the epochal issues of national liberation and democratic revolution, also conducted a valuable exploration of the path for constructing Chinese culture, demonstrating the spiritual characteristics of the CPC in bravely undertaking its cultural mission. Summarizing the historical experience of the CPC in undertaking its cultural mission during the New Democratic Revolution provides insights for a series of questions facing the CPC as it undertakes a new cultural mission under new circumstances, such as what goals to aim for, what principles to follow, and what measures to adopt.

历史经验从历史中走来，指向未来前行之路。新民主主义革命进程中，以毛泽东同志为主要代表的中国共产党人，在领导新民主主义革命，解决民族解放和民主革命的时代性课题的同时，对中华文化建设道路进行了可贵探索，展示了中国共产党勇担文化使命的精神特质。总结新民主主义革命时期中国共产党承担起文化使命的历史经验，为在新的形势下中国共产党承担起新的文化使命应该朝着什么样的目标、遵循什么样的原则、采取什么样的措施等一系列问题提供了启示。

(1) Upholding Fundamental Principles and Breaking New Ground: Adhere to the Party’s Cultural Leadership and Grasp the Direction of Cultural Development

（一）守正创新：坚持党的文化领导权，把握文化发展方向

During the New Democratic Revolution, Mao Zedong pointed out: “To grasp ideological leadership is to grasp the first place in all leadership.” [34]34 Mao Zedong, “The Task of the Party in the Anti-Japanese War” (1938), Selected Works of Mao Zedong, Vol. 2. The Party achieved local cultural leadership in the anti-Japanese revolutionary base areas, established a united front in ideology and culture, and thereby laid a solid ideological and cultural foundation for the victory of the New Democratic Revolution. After the founding of New China, the Party continuously adjusted the basic strategies and policies of propaganda, ideology, and cultural work according to changes in the ideological and cultural situation, thereby continuously strengthening the Party’s commanding and guiding power in the field of propaganda, ideology, and cultural work. Since the 18th National Congress of the CPC, the Party has comprehensively deepened its understanding and grasp of cultural leadership from an overall perspective, and adhering to the Party’s cultural leadership has become a consistent core content of the Party’s work in the field of propaganda, ideology, and culture. The core proposition related to cultural leadership is ideological leadership. Facing the complex and volatile world situation, Xi Jinping pointed out: “The leadership, management, and discourse power of ideological work must be firmly held in our hands, and must never be lost at any time; otherwise, we will make irreparable historical mistakes.” [35]35 Xi Jinping, “Speech at the National Conference on Propaganda and Ideological Work” (2013), Xi Jinping: The Governance of China, Vol. 1.

新民主主义革命时期，毛泽东指出：“掌握思想领导是掌握一切领导的第一位。”党在抗日革命根据地取得了地方文化领导权，建立起思想文化上的统一战线，从而为新民主主义革命的胜利奠定了坚定的思想文化基础。新中国成立后，党根据思想文化变化状况，不断调整宣传思想文化工作的基本策略与方针，从而不断加强党在宣传思想文化工作领域的统领力和引导力。党的十八大以来，党从全局出发，全面深化对文化领导权的认识与把握，坚持党的文化领导权成为党在宣传思想文化工作领域一以贯之的核心内容。文化领导权关涉的核心命题是意识形态领导权，面对错综复杂的世界形势，习近平指出：“必须把意识形态工作的领导权、管理权、话语权牢牢掌握在手中，任何时候都不能旁落，否则就要犯无可挽回的历史性错误。”

On the one hand, adhering to the Party’s cultural leadership is an act of upholding fundamental principles by the CPC. Xi Jinping pointed out: “Upholding fundamental principles means upholding the fundamental system of Marxism’s guiding position in the ideological domain, upholding the fundamental requirements of the ‘Two Integrations,’ and upholding the Party’s cultural leadership and the cultural subjectivity of the Chinese nation.” [36]36 Xi Jinping, “Speech at the Symposium on Cultural Heritage and Development” (2023), People’s Daily, June 3, 2023. Adhering to the Party’s cultural leadership is the fundamental political guarantee for upholding and developing socialist culture with Chinese characteristics, and firmly grasping ideological leadership is the cornerstone of adhering to cultural leadership. Firmly grasping ideological leadership and building a socialist ideology with strong cohesion and guiding force means: attaching great importance from an ideological perspective to the extreme importance of ideological work, enhancing the historical responsibility and subjective consciousness for doing ideological work well, and consolidating the ideological foundation of socialist ideology; it means strengthening faith in Marxism, translating the vision of a better life and lofty goals into conscious action, and transforming the scientific theory of Marxism into a powerful spiritual force for understanding and transforming the world; it means being highly vigilant against major risks facing the ideological domain, consolidating and strengthening the mainstream public opinion of striving forward in the New Era, and highlighting the positive, healthy, and upward mainstream values and core essence of Chinese society.

一方面，坚持党的文化领导权是中国共产党的守正之举。习近平指出：“守正，守的是马克思主义在意识形态领域指导地位的根本制度，守的是‘两个结合’的根本要求，守的是中国共产党的文化领导权和中华民族的文化主体性。”坚持党的文化领导权是坚持和发展中国特色社会主义文化的根本政治保证，而牢牢掌握意识形态领导权则是坚持文化领导权的基石。牢牢掌握意识形态领导权，建设具有强大凝聚力和引领力的社会主义意识形态，意味着要从思想高度重视意识形态工作的极端重要性，增强做好意识形态工作的历史担当与主体自觉，筑牢社会主义意识形态的思想根基；意味着要坚定马克思主义信仰，将对美好生活的愿景和远大目标付诸自觉行动，把马克思主义科学的理论转化为认识世界、改造世界的强大精神力量；意味着要高度警惕意识形态领域面临的重大风险，巩固壮大奋进新时代的主流舆论思想，彰显中国社会积极健康向上的主流价值与核心本质。

On the other hand, further upholding the Party’s cultural leadership cannot be separated from innovation. Innovation means creating something new in the systems and mechanisms, ideas, and discourse narratives of propaganda, ideology, and cultural work. The *Decision of the Central Committee of the Communist Party of China on Further Deepening Reform Comprehensively to Advance Chinese-Path Modernization*[37]37 The *Decision* was adopted at the Third Plenary Session of the 20th Central Committee of the CPC in July 2024, outlining major reforms across multiple sectors, including culture. adopted at the Third Plenary Session of the 20th Central Committee of the CPC[38]38 The Third Plenary Session of the 20th Central Committee of the CPC was held in July 2024, focusing on deepening reform to advance Chinese-path modernization. put forward the major task of deepening reform of the cultural systems and mechanisms, providing a fundamental guideline and pointing the direction for the reform and development of the Party’s propaganda, ideology, and cultural work on the new journey of the New Era. To strengthen innovation in the systems and mechanisms, ideas, and discourse narratives of propaganda, ideology, and cultural work, first, it is necessary to accelerate adaptation to the rapid development of science and technology, accelerate the digital transformation of culture, develop new types of cultural business forms, and expand new boundaries and add new momentum for the “creative transformation and innovative development”[39]39 “Creative transformation and innovative development” (两创) is a policy framework for revitalizing traditional Chinese culture by adapting it to contemporary conditions. of fine traditional Chinese culture; second, it is necessary to deepen the governance of online culture, focus on the creation of online cultural content, and cultivate a positive, healthy, uplifting, and virtuous online culture; finally, it is necessary to form a discourse narrative of international consensus and shared values based on China’s iconic concepts and spiritual characteristics, thereby enhancing the discourse initiative and discourse influence of Chinese culture in the context of globalization.

另一方面，进一步坚持党的文化领导权离不开创新。创新，创的是宣传思想文化工作体制机制、思路、话语叙事之新。党的二十届三中全会通过的《中共中央关于进一步全面深化改革、推进中国式现代化的决定》，提出深化文化体制机制改革重大任务，为新时代新征程党的宣传思想文化工作改革发展提供了根本遵循、指明了前进方向。加强宣传思想文化工作体制机制、思路以及话语叙事的创新，首先，要加快适应科技迅猛发展形势，加快文化数字化转型，发展新型文化业态，为中华优秀传统文化“两创”拓展新边界、增添新动能；其次，要深化网络文化治理，聚焦网络文化内容创作，培育积极健康、向上向善的网络文化；最后，要以中华民族标识性概念与精神特质为基础形成国际共识与共同价值的话语叙事，增强中华文化在全球化语境中的话语主动权和话语影响力。

(2) Integrating the Past and the Present: Promoting Fine Traditional Culture and Strengthening Confidence in Chinese Culture

（二）熔铸古今：弘扬优秀传统文化，坚定中华文化自信

“If one seeks the growth of a tree, one must secure its roots.”[40]40 A classical Chinese proverb from the Tang dynasty statesman Wei Zheng (580–643), emphasizing the importance of foundations. In the long process of historical and civilizational evolution, the Chinese nation created the ideological systems of the “Hundred Schools of Thought,”[41]41 The “Hundred Schools of Thought” refers to the flourishing of diverse philosophical and political schools during the Spring and Autumn and Warring States periods (c. 770–221 BCE). a vast ocean of documents and classics, and unique skills and arts passed down through generations. Together, these constitute the extensive, profound, and splendid fine traditional Chinese culture, making indelible contributions to human civilization. During the New Democratic Revolution, regarding the attitude toward traditional culture, Mao Zedong pointed out: “Our nation has a history of several thousand years, has its own characteristics, and has many precious things.”[42]42 Mao Zedong, “The Role of the Chinese Communist Party in the National War” (1938). As Marxists, we should inherit and promote these historical treasures. On the new journey of the New Era, at the Symposium on Cultural Heritage and Development, Xi Jinping pointed out: “Chinese civilization has continued for thousands of years without interruption and has endured repeated hardships without decline. This is a miracle of human civilization and also the foundation of our confidence.”[43]43 Xi Jinping, speech at the Symposium on Cultural Heritage and Development, June 2, 2023.

求木之长者，必固其根本。在漫长的历史文明演进过程中，中华民族创造了“诸子百家”的思想体系、浩如烟海的文献典籍、代代相传的绝学绝技等，这些共同构成了博大精深、异彩纷呈的中华优秀传统文化，为人类文明作出了不可磨灭的贡献。新民主主义革命时期，在对待传统文化的态度上，毛泽东指出：“我们这个民族有数千年的历史，有它的特点，有它的许多珍贵品。”作为马克思主义者应当传承与弘扬这些历史珍品。新时代新征程，在文化传承发展座谈会上，习近平指出：“中华文明历经数千年而绵延不绝、迭遭忧患而经久不衰，这是人类文明的奇迹，也是我们自信的底气。”

First, promoting fine traditional culture and strengthening cultural confidence means, on the basis of resolutely safeguarding the cultural roots, promoting the creative transformation and innovative development of fine traditional Chinese culture, thereby rooting and soul-forging the continuous creation of new brilliance in Chinese culture. Looking back into the depths of history, from the moral principle of “seeing righteousness and thinking of duty, seeing danger and accepting one’s fate”[44]44 From the *Analects of Confucius* (论语·宪问), describing a moral principle of prioritizing righteousness over profit. to the ecological concept of “harmony between man and nature, all things growing together”[45]45 A concept from the *Doctrine of the Mean* (中庸) and Neo-Confucianism, emphasizing ecological harmony.; from the diligent governance wisdom of “being sensitive brings merit, bearing hardship without complaint”[46]46 From the *Analects of Confucius* (论语·阳货), praising diligence and endurance. to the benevolent realm of “extensively bestowing benefits to save the multitude, regarding all people as one’s kin”[47]47 From the *Mencius* (孟子·尽心上), describing the benevolent ruler’s care for the people.; from the gentlemanly conduct of “calming the mind to cultivate oneself, being frugal to cultivate virtue”[48]48 From Zhuge Liang’s (181–234) “Admonition to My Son” (诫子书), advocating self-cultivation through frugality. to the cognitive method of “investigating things to acquire knowledge, unity of knowledge and action”[49]49 A core concept in Neo-Confucianism, particularly associated with Zhu Xi (1130–1200) and Wang Yangming (1472–1529), linking investigation of things to moral knowledge and action., some contents of fine traditional Chinese culture transcend time and space, surpass national boundaries, and display enduring and vigorous vitality. Fully absorbing the noble value concepts and moral sentiments contained in fine traditional Chinese culture, and carrying out creative transformation and innovative development of fine traditional Chinese culture while advancing with the times, provides an extremely solid support and extremely rich nourishment for the CPC to undertake its new cultural mission in the New Era. Second, promoting fine traditional culture and strengthening confidence in Chinese culture means strengthening cultural identity. Cultural confidence is based on cultural identity, which enhances national cohesion, providing a stable psychological framework and positive behavioral orientation for undertaking the new cultural mission, as well as a set of normative value systems and noble moral standards. Cultural identity is the value affirmation and recognition by cultural subjects of the cultural symbols they follow, the cultural space they inhabit, and the cultural concepts to which they belong. It is “the deepest level of identity.”[50]50 Xi Jinping, speech at the Central Conference on Ethnic Affairs, August 27, 2021. This identity includes not only a high degree of self-affirmation but also affirmation of other members living in the same cultural space. Through internal cohesion, it forms a basically consistent cultural value system among social members. This cultural value system becomes a bond maintaining society while also enhancing national cohesion. Third, promoting fine traditional culture and strengthening confidence in Chinese culture means adhering to independence, self-confidence, and self-reliance, and firmly grasping the initiative in cultural development. “Strengthening cultural confidence means insisting on taking our own path.”[51]51 Xi Jinping, speech at the Symposium on Literature and Art, October 15, 2014. Cultural confidence represents a cultural psychology and also demonstrates cultural breadth and cultural realm. As Xi Jinping emphasized: “This spirit of independent exploration, this firm determination to take our own path, is the true meaning of our Party’s continuous awakening from setbacks and continuous victory from victory.”[52]52 Xi Jinping, speech at the celebration of the 95th anniversary of the founding of the CPC, July 1, 2016. The report of the 20th National Congress of the CPC elevated “self-confidence and self-reliance” to a worldview and methodology of Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era, inspiring the CPC to maintain a spirit of self-confidence and self-reliance, to act with the conscious awareness of placing cultural construction on the foundation of its own strength, and to undertake the mission of shouldering the burden of cultural development, continuously creating new brilliance in Chinese culture.

一是弘扬优秀传统文化，坚定文化自信，就是要在坚决守护好文化根脉的基础上，推动中华优秀传统文化的创造性转化和创新性发展，为不断铸就中华文化新辉煌植根铸魂。向历史深处望去，从“见利思义、见危授命”的道德原则，到“天人合一、万物并育”的生态理念；从“敏则有功、任劳任怨”的勤政智慧，到“博施济众、民胞物与”的仁者境界；从“静以修身、俭以养德”的君子之行，到“格物致知、知行合一”的认知方式，中华优秀传统文化中的一些内容跨越时空、超越国度，显现出持久旺盛的生命力。充分汲取中华优秀传统文化中蕴含的高尚价值理念和道德情操，在与时俱进中对中华优秀传统文化进行创造性转化和创新性发展，为新时代中国共产党承担起新的文化使命提供无比坚实的支撑与无比丰厚的滋养。二是弘扬优秀传统文化，坚定中华文化自信，就是要强化文化认同。文化自信基于文化认同，增强民族凝聚力，为承担起新的文化使命提供一个稳定的心理框架和积极的行为导向，以及一套规范的价值体系和高尚的道德规范。文化认同是文化主体对自己所遵循的文化符号、所生活的文化空间、所归属的文化理念的价值肯定与认同，“是最深层次的认同”。这种认同既包含了对自身的高度肯定，也蕴含了对生活在共同文化空间中的其他成员的肯定，通过内在的聚合力在社会成员之间形成了基本一致的文化价值观，这种文化价值观成为维系社会的纽带同时增强了民族凝聚力。三是弘扬优秀传统文化，坚定中华文化自信，就是要坚持独立自主、自信自立，牢牢掌握文化发展的主动权。“坚定文化自信，就是坚持走自己的路。”文化自信代表的是一种文化心理，也展现了文化胸怀与文化境界。正如习近平强调的：“这种独立自主的探索精神，这种坚持走自己路的坚定决心，是我们党不断从挫折中觉醒、不断从胜利走向胜利的真谛。”党的二十大报告将“自信自立”升华为习近平新时代中国特色社会主义思想的世界观和方法论，激励着中国共产党要以自信自立的精神面貌，以把文化建设放在自己力量基点上的行动自觉，以承担起文化发展重担的使命自觉，不断铸就中华文化新辉煌。

(3) People First: Respecting the Principal Position of the People and Activating the People’s Principal Force

（三）人民至上：尊重人民主体地位，激活人民主体力量

Marxism holds that “history is the activity of the masses; as historical activity deepens, the scale of the masses will inevitably expand.”[53]53 Karl Marx and Friedrich Engels, *The Holy Family* (1845). In the long process of social and historical development, the Chinese nation created splendid Chinese culture. However, in pre-modern Chinese society, culture belonged exclusively to the ruling class and was monopolized by a small elite. As Mao Zedong pointed out: “In China, historically, only the landlords had culture; the peasants had none.”[54]54 Mao Zedong, “Report on an Investigation of the Peasant Movement in Hunan” (1927). But it must also be seen that “the culture of the landlords was created by the peasants, because what created the landlords’ culture was nothing other than the blood and sweat extracted from the peasants.”[55]55 Ibid. The labor of the peasants created the prerequisite for the landlord class to detach itself from material production and participate in spiritual and cultural production. Therefore, fundamentally, the people are the principal force creating culture. At the Yan’an Forum on Literature and Art,[56]56 The Yan’an Forum on Literature and Art was held in May 1942, where Mao Zedong delivered speeches that established the Party’s line on literature and art serving the masses. Mao Zedong clarified that revolutionary literature and art must consciously position their service direction, service targets, and stage on the broadest masses of the people, awakening the cultural consciousness of the people and restoring the people’s principal cultural status. The people contain infinite creativity and are the most active and positive factor driving cultural development. Respecting the principal position of the people and activating the people’s principal force is the successful experience of the CPC in undertaking its cultural mission and continuously creating new brilliance in Chinese civilization. Xi Jinping inherited the thought of the Chinese Communists during the New Democratic Revolution of adhering to the principal position of the people, emphasizing that cultural construction must adhere to a people-centered approach and truly bring into play the role of the masses in promoting social history.

马克思主义认为，“历史活动是群众的活动，随着历史活动的深入，必将是群众队伍的扩大”。在漫长的社会历史发展过程中，中华民族创造了璀璨的中华文化，但在前现代的中国社会，文化仅仅隶属于统治阶级，被少数精英所垄断。正如毛泽东指出的：“中国历来只是地主有文化，农民没有文化。”但是，还必须看到“地主的文化是由农民造成的，因为造成地主文化的东西，不是别的，正是从农民身上掠取的血汗”。农民的劳动为地主阶级脱离物质生产、参与精神文化生产创造了前提条件，因此究其根本，人民才是创造文化的主体力量。在延安文艺座谈会上，毛泽东指明革命文艺必须自觉地把服务的方向、服务的对象和舞台都定位在最广大人民群众身上，唤醒了人民群众的文化意识，恢复了人民的文化主体地位。人民群众蕴含着无穷的创造力，是推动文化发展最活跃、最积极的因素。尊重人民主体地位、激活人民主体力量是中国共产党承担起文化使命不断创造出中华文明新辉煌的成功经验。习近平继承了新民主主义革命时期中国共产党人坚持人民主体地位的思想，强调文化建设必须坚持以人民为中心，真正发挥人民群众对社会历史的推动作用。

“Heaven and earth are vast, the common people are foremost.”[57]57 A classical expression from the *Book of Documents* (尚书·五子之歌), emphasizing the primacy of the people. The masses are the practical subject and value subject of cultural construction. They not only influence and determine the trend of culture by promoting the development of cultural productive forces but also directly participate in promoting changes in cultural content as the main force. The CPC undertaking its new cultural mission requires respecting the principal position of the people and activating the people’s principal force. This emphasizes that in cultural construction, we must focus on people and settle on people, “focus on meeting the people’s diverse, multi-level, and multi-faceted spiritual and cultural needs,”[58]58 Xi Jinping, report to the 20th National Congress of actively respond to the people’s cultural demands, strive to enhance the quality and value of cultural achievements, and achieve a high-quality supply of excellent cultural works; this emphasizes that in cultural creation, we must rely on the masses, draw the source of power for cultural creation from the simple life and great practice of the masses, and create cultural works that penetrate the lives of the people and are loved by the people; this emphasizes that in cultural evaluation, we must take the people’s satisfaction as the guide, “regard the people as connoisseurs and judges of literary and artistic aesthetics,”[59]59 Mao Zedong, “How to Study the History of the CPC” (1942), in *Selected Works of Mao Zedong*, vol. 2. and take the recognition or non-recognition of the broad masses as an important criterion for judging the quality of literary and artistic works and the level of literary and artistic creation.

天地之大，黎元为先。人民群众是文化建设的实践主体与价值主体，不仅通过推动文化生产力的发展影响和决定文化的走势，而且以主力军的角色直接参与推动文化内容的变革。中国共产党承担起新的文化使命，要求尊重人民主体地位，激活人民主体力量，这强调在文化建设时要着眼于人、落脚于人，“着眼满足人民群众多样化、多层次、多方面的精神文化需求”，积极回应人民的文化诉求，着力提升文化成果的品质与价值，实现优秀文化作品的高质量供给；这强调在文化创作时要依靠人民群众，从人民群众的朴素生活与伟大实践中汲取文化创作的动力源泉，创作深入人民生活且人民所喜闻乐见的文化作品；这强调在文化评价时要以人民满意为导向，“把人民作为文艺审美的鉴赏家和评判者”，把广大人民群众的认同与否作为判定文艺作品质量优劣、文艺创作成就高低的重要准绳。

(4) Integrating China and the World: Adhering to the Stance of Chinese Culture and Gathering the Essence of Human Civilization

（四）融通中外：坚守中华文化立场，采撷人类文明精髓

Undertaking a new cultural mission requires a broad world perspective and a global mindset; exchange and mutual learning are the essential requirements of civilizational development. By gleaning the essence of human civilization, with the great-power magnanimity of being inclusive and open to all, we can infuse the excellent and vital cultural elements of the world with a steady stream of vitality and nourishment for forging new splendor in Chinese culture. In July 1944, during a conversation with British journalist Gunther Stein, Mao Zedong emphasized, “Our belief that Marxism is the correct method of thought does not mean that we ignore the value of China’s cultural heritage or of non-Marxist foreign ideas.” At the same time, he pointed out, “Our attitude is to critically accept our own historical heritage and foreign ideas. We oppose both blindly accepting any idea and blindly rejecting any idea. We Chinese must think with our own heads and decide what can grow in our own soil.” [59]59 Mao Zedong, “How to Study the History of the CPC” (1942), in *Selected Works of Mao Zedong*, vol. 2. This demonstrated Mao’s open cultural vision while adhering to cultural subjectivity, and it also provided a historical reference for the CPC in the New Era to undertake a new cultural mission. Xi Jinping has inherited

承担起新的文化使命需要宽广的世界视野和天下胸怀，交流互鉴是文明发展的本质要求，采撷人类文明之精髓，以兼收并蓄、海纳百川的大国气度，使世界上优秀的、有生命力的文化要素为铸就中华文化新辉煌注入源源不断的活力与养分。1944年7月，毛泽东在同英国记者斯坦因的谈话中强调，“我们信奉马克思主义是正确的思想方法，这并不意味着我们忽视中国文化遗产和非马克思主义的外国思想的价值”，同时又指出，“我们的态度是批判地接受我们自己的历史遗产和外国的思想。我们既反对盲目接受任何思想也反对盲目抵制任何思想。我们中国人必须用我们自己的头脑进行思考，并决定什么东西能在我们自己的土壤里生长起来。”这展现了毛泽东在坚持文化主体性基础上开放的文化胸襟，也为新时代中国共产党承担起新的文化使命提供了历史借鉴。习近平在新时代继承和发扬了毛泽东文化主体性的观点，指出要“坚守中华文化立场、传承中华文化基因，展现中华审美风范”。

Uphold the stance of Chinese culture and gather the essence of human civilization. On the one hand, we must base ourselves on China’s specific national conditions, always proceed from the actual developmental needs of our own country, and uphold our own national character. As Mao Zedong pointed out, “When we study China, we must take China as the center and sit on China’s body to study the things of the world.” [59]59 Mao Zedong, “How to Study the History of the CPC” (1942), in *Selected Works of Mao Zedong*, vol. 2. We must promote the fine traditional Chinese culture to the world, tell China’s story well, and “make it clear that Chinese culture embodies the deepest spiritual pursuits of the Chinese nation and is the rich nourishment for its continuous growth and development; make it clear that the fine traditional Chinese culture is the outstanding advantage of the Chinese nation and our deepest cultural soft power.” [60]60 Xi Jinping, speech at the opening ceremony of the 2014 APEC CEO Summit, November 9, 2014. Truly integrate Chinese characteristics, Chinese spirit, and Chinese wisdom into China’s story, identify the common points in discourse and emotional resonance between China’s story and the external world, and truly realize the “going global” of fine traditional Chinese culture. On the other hand, as China increasingly steps onto the center of the world stage, we must adopt an open global vision to promote the development of cultural diversity. “Call for respect for the diversity of world civilizations and strengthen exchanges and mutual learning among different civilizations.” [61]61 Xi Jinping, speech at the UNESCO Headquarters, March 27, 2014. Cultural diversity is both a factual judgment and a value judgment. As Xi Jinping said: “Human beings have only differences in skin color and language, and civilizations have only differences in the splendor of a hundred flowers, but there is absolutely no distinction between superior and inferior.” [62]62 Xi Jinping, speech at the opening ceremony of the Conference on Dialogue of Asian Civilizations, May 15, 2019. Cultural differences should not become a source of conflict; rather, they are precisely the coexistence of diverse cultures. Only through mutual learning and exchange among different cultures can we continuously promote the development of human civilization from lower to higher levels, from simple to rich, thereby providing the world with a framework of thought and a historical perspective that transcends the “clash of civilizations” theory.

坚守中华文化立场，采撷人类文明精髓。一方面，我们应当做到立足中国具体国情，始终从本国的实际发展需要出发，坚守自身民族性。正如毛泽东所指出的，“我们研究中国就要拿中国做中心，要坐在中国的身上研究世界的东西”。要推动中华优秀传统文化走向世界，讲好中国故事，“讲清楚中华文化积淀着中华民族最深沉的精神追求，是中华民族生生不息、发展壮大的丰厚滋养；讲清楚中华优秀传统文化是中华民族的突出优势，是我们最深厚的文化软实力”。真正将中国特色、中国精神、中国智慧融入中国故事中去，找准中国故事与外部世界话语共同点以及情感共鸣点，真正实现中华优秀传统文化走出去。另一方面，在中国日益走向世界舞台中央之际，我们要以开放的世界视野，促进文化多样性发展。“呼吁尊重世界文明多样性，加强不同文明之间的交流互鉴”。文化多样性既是一个事实判断，也是一个价值判断。正如习近平所说：“人类只有肤色语言之别，文明只有姹紫嫣红之别，但绝无高低优劣之分。”文化差异不应该成为冲突的根源，而恰恰是多样性文化的共存。只有不同文化间的相互借鉴、相互交流，才能不断推动人类文明由低级向高级、由简单向丰富发展，从而向世界提供超越“文明冲突论”的思维框架与历史视野。

(Project: This article is a phased achievement of the Jilin Provincial Department of Education’s Special Project on Ideological and Political Work in Higher Education Institutions, “Research on the Mechanism of Integrating Red Cultural Resources into Ideological and Political Education in Higher Education Institutions” (JJKH20241368SZ), and the National Postdoctoral Researcher Funding Program, “Research on the Practical Mechanism of Carrying Forward the Spirit of Struggle in the Process of Chinese-Path Modernization” (GZC20230412).)

（项目：本文系吉林省教育厅高校思想政治工作专项课题“红色文化资源融入高校思想政治教育的机制研究”（JJKH20241368SZ)、国家资助博士后研究人员计划资助“中国式现代化进程中发扬斗争精神的实践机制研究”(GZC20230412)的阶段性成果）

(Author: Li Qunqun, Postdoctoral Fellow, Department of Marxism, Northeast Normal University)

（作者：李群群，东北师范大学马克思主义学部博士后）

Online Editor: Ma Jingren

网络编辑：马京仁