1967.3.1英国驻华外交官将文革《群丑图》报给英国外交部

英国外交官Cradock（1968年曾任英国驻华临时代办）说漫画《群丑图》出自1967年2月22日的红卫兵报纸《东方红》（按：该报由由首都大专院校红卫兵第二司令部革命造反联络站主办，该漫画的作者是中央美术学院学生翁如兰），在鼓楼还挂出一幅更大的彩色版，引人注意。

Cradock说这幅画有维多利亚时代的风格，是自文革以来他见到的最好的漫画，所以立刻送给英国外交部远东司的J.B Denson(1969年接替Cradock任临时代办)，既因为可笑，也因为图中丰富的政治信息。

Cradock猜测，最重要的文学作品往往出现在运动结尾时，这幅漫画可以看作是前不久出现的小册子《资产阶级黑线的源头》的姊妹篇，这就暗示运动的牺牲品差不多都抛出来了，现在到了巩固、定案而非继续残杀的时刻了。

Cradock在简介图中形象时犯了一个小错，他在翻译刘少奇胳膊下的“修养”(ethical training)二字时漏掉了小字“养”，而误以为“修”(revisionism)。文革中刘少奇既被批为“修正主义头子”，他写的《论共产党员的修养》也被大批特批为“黑修养”。

关于《群丑图》中的详细人物、道具列表，请见附录。

3月13日，泰晤士报发表这幅漫画，并配发中国通Richard Harris的评论。评论中有些话很像是引自英国外交部的报告，不过结尾部分应是作者自己的观点，认为文革批斗阶段结束后，官僚仍然会主导局势。

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RESTRICTED

Office of the British Charge

 d’Affaires,

Peking.

1 March, 1967

(1011/67)

Dear John,

I enclose for your political information and pleasure the best cartoon I have seen so far on the cultural revolution. It appears in the Red Guard newspaper Tung Fang Hung of 22 February. A larger coloured version is up on the Drum Tower and attracts considerable attention. In this case political hatchet work reaches the level of art.

2. As you see, it represents a procession or caravan, rather like the retinue which attended an Imperial official in the old days. Its members, all beautifully drawn, are the bourgeois reactionaries and the revisionists, the villains of the revolution. The greater men are borne in sedan chairs; there are outriders, bearers and flunkeys; and the whole procession winds over the landscape, though drawing perilously near to the precipice in the foreground.

3. Like the best Victorian genre paintings it repays close attention. At the head of the procession is Lu Ting-yi, beating his gong. Behind are the cultural delinquents of the early days of the revolution, Teng T'o and Wu Han, both in some sort of livery and brandishing their works. Behind follows a kind of brass band, led by Chou Yang, then coffers packed with poisonous plays. The first main victim follows, P’eng Chen, in a litter carrying a placard marked "The February programme". Behind him, appropriately engaged in eavesdropping work with a radio, is Yang Shang-k’un. Lo Jui-ch'ing is borne in a basket, his injured leg protruding. He has military bearers, Liang Pi-yeh and Hsiao Hsiang-jung.

4. We now come to the main section, centred around Liu shao-ch'i, whose sedan chair bears the legend "the bourgeois reactionary line", also the characters for 'revisionism’ and 'self’. His bearers are An Tzu-wen, Po I-po, Lin Feng and Li Wei-han. Preceding him is Wang Kuang-mei in pearl necklace and on her famous bicycle with a placard bearing the thoughts of Liu. Ho Lung, suitably martial and proud, acts as outrider.

5.  Teng Hsiao-p'ing follows, supported by the provincial bosses, Li Ching-ch'uan (S,W.Bureau)and Liu Lan-t’ao (N.W.Bureau). He carries cards (he was a keen bridge player) marked 'King' and ’Work Teams'. Among his retinue is Liu Chih-chian, formerly of the Army Cultural Revolution Group, also the former Railway Minister, Lu Cheng-ts'ao, carrying the gifts of economism and a card marked "strikes". The last main figure is T’ao Chu, on horse-back, bearing the symbol "preserve" (preserve the Party structure? or possibly meaning Royalist), his men, Wang Jen-chung, of the Central South Bureau, Ch'ien Hsin-chung, former Minister of Public Health and Hsiao Wang-tung, Vice-Minister of Culture, all in attendance. Various dimmer figures wind away into the distance, symbolising the control squads of the east and west of Peking, the United Action Group, the Red Flag Army, and so on.

6. There is a good deal more in the picture which you will be able to detect better than I. One thought does occur; that like most considerable works of art it comes at the end and sums up a movement. It is a companion piece with the brochure entitled "Source of the Bourgeois Black Line", which Ray Whitney enclosed in his letter of 6 February to David Wilson. It suggests that the list of victims of the movement is nearing completion and that we are now in a stage of consolidating and classifying, rather than calling for more blood.

7.  I am sending a copy of this letter, without the enclosure, to Anthony Elliott in Hong Kong, Kathleen Draycott in Information and Research Department, Frank Brewer in Joint Research Department and Gilmore in Washington.

(P. Cradock)

J.B.Denson, Esq., Q.B.E.

Far Eastern Department, 

Foreign Office,

London, S.W.l,

RESTRICTED

出处：英国外交部档案FCO21/16

附录：文革《群丑图》人物、道具列表

该画人物共39名，排成一队，自画面右下方起始为队首，经画面左方至画面右上方止为队尾。现将该画中的人物及其手举道具按从前到后的顺序按组列出：
    队伍正在向标有“资本主义”路标的深渊走去，路标上停有一只乌鸦。

陆定一：举槌敲打标有“阎王殿”字样的铜锣，铜锣发出“教条主义”、“简单化”、“庸俗化”、“实用主义”的响声；

　　吴晗（戴眼镜老者，三家村之一）：身穿带有“先锋”字样的褂子，手举顶有带“彭”字将军盔的《海瑞罢官》；
　　邓拓（头向左转，三家村之一）：身穿带有“先锋”字样的褂子，手举“燕山夜话”；
　　廖沫沙（戴眼镜，三家村之一）：身穿带有“先锋”字样的褂子，手举“有鬼无害”；
　　夏衍（四条汉子之一）：用喇叭吹出“三十年代”；
　　周扬（四条汉子之一）：用喇叭吹出“王明路线”、“国防文学”、“反对鲁迅”，并敲鼓；
　　林默涵（戴眼镜）：吹喇叭；
　　齐燕铭：扛着装“鬼戏”的箱子；
　　田汉（四条汉子之一）：穿着写有“反党”字样的戏衣，手举《谢瑶环》；
　　阳翰生（四条汉子之一）：打着写有“李秀成之死”的招魂幡，夹着“北国江南”；
　　彭真：手捧“二月提纲”条幅，坐在刘仁推的车内；
　　刘仁：在彭真身后；
　　郑天翔、蒋南翔：在彭真右手边，肩扛写有“专斩左派”、“真理面前人人平等”的虎头铡；
　　陆平（戴眼镜）：在彭真左手边；
　　严慰冰：在陆平左手边；
　　杨尚昆：在彭真左手边，正戴着窃听器接受耳机抄录；
　　罗瑞卿：断了腿装在筐子里，绑着绷带的断腿举起来；

肖向荣、梁必业：正在抬装有罗瑞卿的筐子；

陈鹤桥：扶着罗瑞卿的断腿；

　　王光美：戴遮阳帽，穿旗袍，戴项链，骑着自行车，左手挎着写有“桃园经验”的挎包，右手手举一支写有“刘”字的令牌，自行车前挂着“刘主席语录”，自行车后架上摞着许多“帽子”，分别写有“反革命”、“干扰”、“真右派”、“假左派”、“游鱼”、“扒手”、“反党分子”、“小牛鬼蛇神”等字样。
　　刘少奇：坐在轿子里，手举一大把写有“刘”字的令牌。轿子左前角和左后较分别缀有“三自一包”、“三和一少”的缀子，轿子左侧菱形黑底上写有“修养”，菱形四个边外各写有一个“我”字；
　　薄一波、安子文、李维汉、林枫：给刘少奇抬轿子，薄一波腰间插着“经委”、“建委”、“计委”的公章；
　　贺龙：在刘少奇轿子右手边，身背分别写有“老子英雄”四个字的四面靠旗；
　　邓小平：坐在滑竿上，手拿一把写有“王牌”、“工作队”、“三自一包”等字样的牌；
　　万里、李井泉、刘澜涛、何长工：给邓小平抬滑竿。李井泉手提鞭子；
　　刘志坚：在邓小平滑竿左手边，左手提笑脸面具，右臂夹着写有“军队”字样的公文包。
　　吕正操：衣兜里装着“罢工”条，手托大叠“100元”的“经济主义”钞票正在散发；
　　陶铸：手举写有“保”字的笏；
　　肖望东、王任重、钱信忠：钱某未露脸，王某漏半个脸；
　　队伍后面有六面小旗，代表六个反动组织，前面三面分别为“东纠”、“西纠”、“（海）纠”，后面三面分别为“联动”、“红旗军”、“荣复军”。