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Jiang Qing (March 191414 May 1991; also spelled as Chiang ChingWade, Nigel. "MAO's Widow Arrested." Daily Telegraph, 12 Oct. 1976, pp. 1+. The Telegraph Historical Archive. Accessed 21 June 2025.) was a Chinese revolutionary, actress, and political figure. She was the fourth wife of Mao Zedong, the Chairman of the Chinese Communist Party and Paramount leader of China. Jiang was best known for playing a major role in the Cultural Revolution as the leader of the radical Gang of Four.
Born into a declining family with an abusive father and a mother who worked as a Domestic worker and sometimes a Prostitution, Jiang Qing became a renowned Actor in Shanghai, and later the wife of Mao Zedong in Yan'an, in the 1930s. In the 1940s, she worked as Mao Zedong's personal secretary, and during the 1950s, she headed the Film Section of the Publicity Department of the Chinese Communist Party (CCP).
Appointed deputy director of the Central Cultural Revolution Group in 1966, Jiang played a pivotal role as Mao's emissary during the early stages of the Cultural Revolution. Collaborating with Lin Biao, she advanced Mao's ideology and promoted his cult of personality. Jiang wielded considerable influence over state affairs, particularly in culture and the arts. Propaganda posters Idolatry her as the "Great Flagbearer of the Proletarian Revolution." In 1969, she secured a seat on the Politburo, cementing her power.
Following Mao's death, she was soon arrested by Hua Guofeng and his allies in 1976. State media portrayed her as the "Baigujing," and she was widely blamed for instigating the Cultural Revolution, a period of upheaval that caused the deaths of hundreds of thousands of Chinese people. Initially sentenced to death with a two-year reprieve in a televised trial, Jiang's sentence was commuted to life imprisonment in 1983. Medical parole in the early 1990s, she committed suicide in May 1991.
She adopted the name Li Yunhe during primary school. She told her biographer Roxane Witke that she liked the name because "Yunhe," meaning "crane in the cloud," sounded beautiful. In July 1933, during her first visit to Shanghai, she assumed the name Li He and worked as a teacher for local workers. On her second visit to Shanghai in June 1934, she used the alias Zhang Shuzhen. Later, when detained by the Nationalist government in October 1934, she identified herself as Li Yungu.
In 1935, when she entered the entertainment industry, she took on the stage name Lan Ping, which means "blue apple". Although the name had no particular meaning, its bluntness made it unique. However, Jiang Qing did not favour this name due to its association with her scandals in Shanghai. She became known as Jiang Qing upon arriving in Yan'an, where Jiang means river and Qing means azure or "better than blue".
In 1991, when she was hospitalised in Beijing, she used the name Li Runqing. When she died in Beijing, her body was labelled with the pseudonym Li Zi. In March 2002, she was buried in Beijing by her school name Li Yunhe.
As a child, Jiang was deeply traumatised by the domestic violence inflicted by her father, who verbally and physically abused her mother almost every day. One Lantern Festival, after her father broke her mother's finger during an attack, her mother fled with Jiang under the cover of darkness. Her mother found work as a domestic servant that often blurred the lines with prostitution, and her husband separated from her.
Jiang eventually moved with her mother to her grandparents' home in Jinan. However, they soon returned to Zhucheng, as her mother continued to seek Inheritance, or financial support, from her husband's family, which proved extremely difficult. During this period, Jiang attended two primary schools with disruptions, where she was often mocked for wearing outdated, boyish clothing from her brothers. She became silent and not easy to open up.
Her mother, having fallen ill, eventually abandoned hope of obtaining further financial support from her husband. After selling some of her belongings, she purchased a train ticket, and together with Jiang, boarded a train from Jiaozhou City to Jinan. There, Jiang was welcomed by her grandparents and resumed her primary education. In 1926–1927, her mother took her further north to Tianjin to stay with her half-sister. During this time, Jiang worked as a housekeeper in the household. She proposed taking a job rolling cigarettes, but the family disapproved. Later they returned to Jinan, where her mother died in 1928.
The Mukden incident in September ignited her patriotism, leading her to develop a dislike for the Kuomintang and its supporters. By the end of 1932, Jiang and Yu Qiwei fell in love and began living together, enabling Jiang to gain entry into the Communist Cultural Front. She became a member of the Seaside Drama Society, performing in plays such as Lay Down Your Whip, harnessing the influence of theatre to resist Japanese aggression. In February 1933, she officially joined the CCP.
The Communist activities at Qingdao University attracted significant attention from the Kuomintang's secret police, who arrested Yu Qiwei in July, forcing Jiang to leave Qingdao.
She performed in the Shanghai Work Study Troupe. Jiang was among the cast of a production of Roar, China! which British authorities banned from being performed in Shanghai's International Settlement.
In September 1934, Jiang was arrested and jailed for her political activities in Shanghai. During her arrest in Shanghai, Jiang Qing was interrogated by a Zhongtong agent, Zhao Yaoshan. Jiang had once revealed to Zhao that Tan Xiaoqing was a CCP member, leading to Tan's arrest. She was released three months later, in December. She then traveled to Beijing where she reunited with Yu Qiwei who had just been released following his prison sentence, and the two began living together again. (Jiang is the third woman from the left)|left]] She returned to Shanghai in March 1935, and entered Diantong. She became famous when featuring in Henrik Ibsen's play A Doll's House as Nora. She later became an actress in Goddess of Freedom and Scenes of City Life, during which she fell in love with Tang Na, her colleague at Diantong. The two began living together in September 1935. However, Jiang lied to Tang, claiming her mother was ill, and returned to Tianjin to see Yu Qiwei. When Tang discovered the truth, he attempted suicide in Jinan but later reconciled with Jiang and returned with her to Shanghai in July 1935. Later they were married in a collective wedding ceremony at Liuhe Pagoda in Hangzhou in April 1936. Shanghai, Jiang joined Lianhua Film Company, where she acted in Blood on Wolf Mountain and Lianhua Symphony. During this period, she began an affair with film director Zhang Min, appeared in his production The Storm. She also became an actress in Wang Laowu. However, during the second performance of The Storm in May 1937, Tang attempted suicide again. Following this incident, Jiang divorced Tang and started living with Zhang Min, but the relationship cost her career as she was dismissed by Lianhua Film Company.
Jiang's widely publicised affair with Tang Na tarnished her reputation, making it difficult for her to continue her acting career in Shanghai. Like many youths of her time, she was drawn to the Progressivism associated with Yan'an. The Marco Polo Bridge Incident in July 1937, which marked the start of Japan's full-scale invasion of China, further galvanised young activists to advocate for a united front. Yan'an, promoted through Communist propaganda, emerged as a symbol of democracy, freedom, and hope. She left Shanghai in July, after which the Japanese invasion in Shanghai started on 13 August.
| +Selected films featuring Jiang Qing in the 1930s !Year !English title !Original title !Role !Notes | ||||
| 1935 | Goddess of Freedom | 自由神 | Yu Yueying | |
| Scenes of City Life | 都市风光 | Wang Junsheng's girlfriend | ||
| 1936 | Blood on Wolf Mountain | 狼山喋血记 | Liu Sansao | |
| 1937 | Lianhua Symphony | 联华交响曲 | Rickshaw puller's wife | Segment 1: "Twenty Cents" |
| 1938 | Wang Laowu | 王老五 | Young Girl Li | Filmed in 1937. Leading actress |
Nevertheless, on 28 November 1938, Jiang Qing married Mao Zedong with the eventual approval of the Politburo, but with three restrictions as follows:
Later that year, Jiang critiqued and objected to the distribution of the movie The Life of Wu Xun for glorifying the wealthy landed class while dismissing the peasantry. Again, Jiang's opinion was dismissed. Mao had to intervene to support her again.
Jiang's third attempt involved the role of literary criticism in the development of socialist art. She asked the editor of People's Daily to republish the new literary interpretation of the classic novel Dream of Red Mansions by two young scholars at Shandong University. The editor refused Jiang's request on the grounds that the party newspaper was not a forum for free debate. Again, Mao spoke up on Jiang's behalf.
Jiang was a member of the Ministry of Culture's steering committee for film production.
During this period, as a foreign dignitary, she gained access to a wide range of films banned in the Soviet Union, including many Hollywood movie. This exposure allowed her to stay informed about Western art trends, which later influenced her transformation of the Peking opera. In 1957, Jiang recovered from cervical cancer, though she believed she was still unwell, contrary to her doctors’ assessment of her good health. Therefore, they recommended that she engage in therapeutic activities such as watching films, listening to music, and attending theatre and concerts.
In December, Mao Zedong travelled to Hangzhou with Jiang Qing. After his departure on 14 March, Jiang received an anonymous letter from Shanghai later that month. Initially disturbed and then angered, she sought out Zhejiang party chief Tan Qilong, asserting her revolutionary commitment and requesting an investigation. Despite extensive police efforts, the sender's identity remained unknown.
In 1958, while Mao attended a meeting in Nanning, he met Huang Jing, who had had a romantic relationship with Jiang. After being criticised by Mao, Yu suffered severe mental and physical distress. Upon arriving at Guangzhou Airport, he before Li Fuchun, pleading to be "spared." Li then escorted him to a military hospital. There, Yu attempted suicide by jumping out of a window, resulting in a broken leg. Yu died a few months later, and Mao sent a wreath in his name alone as a gesture of condolence.
In 1961, Zhu Ming, the widow of Lin Boqu, wrote to the Party Central Committee regarding her late husband. Her handwriting matched that of the anonymous letter. When confronted, Zhu admitted to writing the letter and subsequently committed suicide.
After Jiang's return to China in 1962, she frequently attended local opera performances. In 1963, Jiang Qing enlisted A Jia to help modernise Beijing Opera with revolutionary socialist themes. She later instructed the Beijing Municipal Opera Company to create Shajiabang, depicting the struggle between the Kuomintang and Communists during the Second Sino-Japanese War, and tasked the Shanghai Beijing Opera Company with producing Taking Tiger Mountain by Strategy. In her first public speech in June 1964 at a Peking opera convention, Jiang criticised regional opera troupes for glorifying emperors, generals, scholars, and other ox-demons and snake-spirits.
Jiang's efforts to reform Peking opera gained approval from the Communist leadership, especially during the 1964 Modern Beijing Opera Trial Performance Convention. She also formed a productive collaboration with Yu Huiyong, to push the yangbanxi (model drama) projects. Their shared vision focused on creating operas that reflected modern Chinese society and the lives of the working class, starting with On the Docks, which portrayed Communist-ruled Shanghai. Jiang's political influence helped ensure the success of these projects, which aimed to create revolutionary art that represented the reality of contemporary life.
In February 1966, Jiang hosted a forum with PLA officers, the Military Arts & Literature Work Conference, which she planned in conjunction with Lin Biao. The group studied writings by Mao, watched films and plays, and met with the cast and crew of an in-progress film production. The forum concluded that a "black line" of bourgeois thought dominated the arts since the PRC's founding. According to this interpretation, the history of socialist culture was a class struggle between reactionary and proletarian lines, and a large majority of writers failed to resist bourgeois ideological influence. The group contended that cultural workers should be totally reorganised. A summary of Jiang's analysis at the forum was later distributed widely during the Cultural Revolution and became a significant document.
Over April through June 1966, Jiang presided over the All-Army Artistic Creation Conference in Beijing. Conference attendees evaluated a total of 80 domestic and foreign films. Jiang approved of 7 as consistent with Mao Zedong Thought and criticised the other films. Backed by her husband, she was appointed deputy director of the Central Cultural Revolution Group (CCRG) in 1966 and emerged as a serious political figure in the summer of that year.
The Central Cultural Revolution Group was initially a small body under the Standing Committee of the Politburo. With the backing of Jiang Qing, Zhang Chunqiao and Yao Wenyuan initiated a coup in Shanghai in January 1967, consolidating power and gaining support from revolutionary factions like Wang Hongwen. On 6 January 1967, Red Guards at Tsinghua University, with Jiang Qing's backing, lured Wang to the campus under the pretext of her daughter being in a car accident. Once there, Wang was detained and prosecuted.
Following the Red Guards' disruption of party structures in January 1967, this group replaced the Secretariat and became the central command for the party. Jiang Qing's role as the "First Deputy Head" of the group grew significantly, elevating her political power. Chen Boda, the nominal leader of the group, was repeatedly humiliated by Jiang Qing during this period. Fearing her power, he endured her mistreatment in silence. In one notable incident, after a middle school student scaled his wall, Chen's wife reported the event, sparking a "footprint incident" that enraged Jiang Qing. She demanded Chen move out of Zhongnanhai, and this further strained his relationship with her. Seizing the opportunity, Lin Biao and his wife, Ye Qun, aligned with Chen, who quietly defected to their faction. On 18 July 1967, a public struggle session against Liu Shaoqi was held in Zhongnanhai. On 5 August, the Central Cultural Revolution Group approved three separate struggle sessions targeting Liu Shaoqi and his wife, Deng Xiaoping and his wife, and Tao Zhu and his wife. From that point, Liu Shaoqi was completely stripped of his personal freedom. On 16 September 1968, under Jiang Qing's leadership, a special investigation team compiled three volumes of so-called evidence against Liu, largely extracted through torture and coercion. After being imprisoned in Zhongnanhai for over two years, Liu Shaoqi was transferred to Kaifeng, Henan Province, on 17 October 1969, where he subsequently died.
Meanwhile, Jiang's stature continued to rise, though she was still not a member of the Central Committee during the 11th Plenary Session of the 8th Central Committee. At the 9th National Congress of the Chinese Communist Party in April 1969, Jiang was admitted to the Politburo after Mao Zedong shifted his stance, likely to balance the power of the Lin Biao faction. Mao also approved the entry of Lin Biao's wife, Ye Qun, into the Politburo, further consolidating their influence.
Jiang's rivalry with, and personal dislike of, Zhou Enlai led Jiang to hurt Zhou where he was most vulnerable. In 1968, Jiang had Zhou's adopted son (Sun Yang) and daughter (Sun Weishi) tortured and murdered by Red Guards. Sun Yang was murdered in the basement of Renmin University. After Sun Weishi died following seven months of torture in a secret prison (at Jiang's direction), Jiang made sure that Sun's body was cremated and disposed of so that no autopsy could be performed and Sun's family could not have her ashes. In 1968, Jiang forced Zhou to sign an arrest warrant for his own brother. In 1973 and 1974, Jiang directed the "Criticise Lin, Criticise Confucius" campaign against premier Zhou because Zhou was viewed as one of Jiang's primary political opponents. In 1975, Jiang initiated a campaign named "Criticizing Song Jiang, Evaluating the Water Margin", which encouraged the use of Zhou as an example of a political loser. After Zhou Enlai died in 1976, Jiang initiated the "Five Nos" campaign in order to discourage and prohibit any public mourning for Zhou. When traditional landscape and bird-and-flower paintings re-emerged in the early 1970s, Jiang criticised these traditional forms as "black paintings", which in fact targeted Zhou Enlai.
After Zhou Enlai was hospitalised, Wang Hongwen managed the Politburo, Deng Xiaoping oversaw the State Council, and Ye Jianying led the Central Military Commission. On 4 October 1974, Mao Zedong proposed appointing Deng as First Vice Premier. Sensing that Deng might replace Zhou Enlai at the upcoming Fourth National People's Congress, Jiang Qing attempted to block Deng from taking charge of the State Council and the Party's central operations.
On 12 December, Mao reaffirmed his support for Deng by proposing his appointment as a member of both the Military Commission and the Politburo—a suggestion that gained majority approval from Politburo members. On 23 December, despite his ill health, Zhou Enlai flew to Changsha to meet Mao and seek his endorsement of Deng Xiaoping, with Wang Hongwen also in attendance. Mao agreed and, while pointing at Wang, remarked that Deng's "politics is better than his. " Mao spoke English for the word "politics." Wang was embarrassed as he did not understand.
In January 1976, official news announced the death of Zhou Enlai. Zhou was highly respected in Chinese society, second only to Mao Zedong in influence. However, no official commemorative activities were organised following his death. On 5 March and 25 March, Wenhui Daily published two reports criticising Deng Xiaoping, indirectly accusing Zhou Enlai of being the "biggest capitalist roader" who had supported and protected Deng. Starting on 21 March, students at Nanjing University began questioning and condemning Wenhui Daily and the criticisms of Zhou in Shanghai. On 29 March, the students escalated their protests by writing large slogans on trains departing from Nanjing, spreading their message nationwide. On 30 March, members of the All-China Federation of Trade Unions, including Cao Zhijie, posted signed wall posters in Beijing. These posters transformed the veiled political dissent into open protest, marking the beginning of the Tiananmen protests in Beijing.
Many Chinese instinctively believe that it was Jiang Qing who ordered the removal of the wreaths dedicated to Zhou Enlai from Tiananmen Square. In response, slogans appeared, such as "Down with the Empress Dowager, down with Indira Gandhi." Another individual placed a wreath in honour of Mao's revered second wife, Yang Kaihui, who had been executed by Chiang Kai-shek in 1930. Jiang Qing was often referred to obliquely as "that woman" or "three drops of water," a reference to part of the Chinese character for her name. The protests eventually evolved into a riot, with cars ignited by angry protesters and militia intervention.
Mao died on 9 September. The funeral services were hosted by Wang Hongwen, with a million people assembled at Tiananmen Square to mourn his death. Jiang sent a large wreath of chrysanthemums and greenery, as his student and comrade, rather than his widow. Hua was the designated successor of Mao and soon became the party chief and became embroiled in a power struggle with the Gang of Four. Jiang went to Baoding to rally the 38th Army, preparing to replace Hua as a party chief. In response, both Ye Jianying, one of Deng's allies, and Hua mobilised their military forces in Beijing and Guangzhou. Xu Shiyou warned a north expedition from Guangzhou, if Jiang had not been arrested in Beijing. In 4–5 October, Hua continued to negotiate with Jiang's allies on the personnel arrangement and agreed to continue the talk the following day.
On 6 October, Zhang Chunqiao and Wang Hongwen were arrested when they arrived at Zhongnanhai. Jiang Qing and Yao Wenyuan were arrested at their homes. Hua – supported by the military and state security – had Jiang and the rest of the Gang arrested and removed from their party positions. According to Zhang Yaoci, who carried out the arrest, Jiang did not say much when she was arrested. It was reported that one of her servants spat at her as she was being taken away under a flurry of blows by onlookers and police. In May 1975, Mao Zedong once criticised the Gang of Four for leaning too heavily on empiricism. However, he downplayed the severity of their issue, stating that it was not a significant problem but needed to be addressed. Mao remarked,
The remark served as a justification for Hua Guofeng to arrest the Gang of Four.
In November 1980, the government announced that Jiang and nine others would stand trial. She was tried with the other three members of the Gang of Four and six associates. She was accused of persecuting artists during the Cultural Revolution, and authorising the Burglary of the homes of writers and performers in Shanghai to destroy material related to Jiang's early career that could Kompromat. Xinhua News Agency reported that Jiang initially sought to recruit her own lawyers but rejected those recommended by the special team after interviews. Meanwhile, five of the ten defendants agreed to be represented by government-appointed lawyers who would act as their defence counsel.
Jiang was defiant in the court. She argued to the special prosecution teams that Mao should also be held accountable for her actions. Whenever a witness took the stand, there was a chance the court proceedings would devolve into a shouting match. She did not deny the accusations, and insisted that she had been protecting Mao and following his instructions. Jiang remarked:
Her defence strategy was marked by attempts to transcend the court room and appeal to history and the logic of revolution. Jiang sought to challenge Hua Guofeng's authority within the Party, with a significant yet unverifiable claim,
The court announced its verdict after six weeks of testimony and debate and four weeks of deliberations. In early 1981, she was convicted and sentenced to death with a two-year reprieve. She was assigned the highest level of criminal liability among the defendants as a "ringleader" of a counterrevolutionary group. Wu Xiuquan recounted in his memoir that the court room erupted into applause as the verdict was read and Jiang Qing was dragged out of the court room by two female guards while shouting revolutionary slogans.
In 1984, Jiang was granted medical parole and relocated to a discreet residence arranged by the authorities. In December 1988, on the occasion of Mao Zedong's 95th birth anniversary, Jiang requested approval to hold a family gathering, but her petition was denied. Distressed, she attempted suicide by ingesting 50 sleeping pills she had secretly saved. The attempt failed. She was later sent back to Qincheng Prison in 1989 when her medical parole concluded. Jiang Qing believed that Deng Xiaoping should be held responsible for the student movement (better known as the Tiananmen Square protests), as he tolerated Western ideologies. She also condemned the subsequent massacre that followed the protests, emphasising that Mao Zedong had never ordered the army to massacre crowds. While in custody, Jiang was diagnosed with throat cancer, and doctors advised surgery. She refused, asserting that losing her voice was unacceptable.
That afternoon, Li Na, went to the hospital to sign the death certificate and agreed that no funeral or memorial service would be held. On 18 May, Jiang Qing's remains were cremated. Neither Li Na nor any of Jiang Qing's other relatives attended the cremation. Jiang Qing's ashes were entrusted to Li Na, who kept them at her home. The Chinese government confirmed that she had hanged herself on 4 June, withholding the announcement for two weeks to avoid its impact before the second anniversary of the 1989 Tiananmen protests.
However, He Diankui, a former staff of Qincheng Prison, later claimed that "Jiang Qing never left Qincheng Prison until her death." He suggested that she died in the prison from taking sleeping pills, which refuted the official report regarding her death.
Jiang Qing is often viewed as a figure of naked ambition, with many perceiving her as a typical power-hungry wife of an emperor, seeking to secure power for herself through questionable means. Her public image is largely shaped by her self-serving narrative, which portrays her as a central figure in the turbulent and cutthroat environment of Chinese leadership. She is seen as embodying the ruthless, unpredictable, and dangerous nature of life at the top. Her long-standing vendetta against former cultural-political rivals from her acting days in Shanghai has fueled her reputation for vindictiveness. Though she framed her conflicts with these men as ideological battles, it is widely believed that personal grudges and animosities were the true driving forces behind her actions.
According to Roxane Witke, Jiang's early life was marked by poverty, hunger, and violence, and later, as a woman in a male-dominated world, she faced numerous challenges. These experiences shaped her defensive and aggressive personality, fostering an opportunism that persisted even when she no longer needed to assert herself. Jiang's televised trials and her defiance in court have softened hatred towards her among the younger generations, who became sceptical of China's Communist system.
The 1980 Gang of Four trial solidified Jiang's image as a manipulative and villainous figure. The indictment held the Gang responsible for the violence of the Cultural Revolution, accusing Jiang of using political purges for personal vendettas and fostering large-scale chaos. Widely broadcast both within and outside China, the trial reinforced a clear dichotomy: Jiang as a symbol of the past's chaos, and Deng Xiaoping's administration as the harbinger of order and progress. This narrative was consistent with the CCP's Resolution on History, which sought to redefine Mao Zedong's legacy. While Mao was criticised for "errors," he was not held directly accountable for the excesses of the Cultural Revolution. Instead, full blame was shifted to Jiang and the Gang of Four, allowing Mao Zedong Thought to remain ideologically valid under Deng's reforms.
Jiang identified the weakness of Beijing opera as the lack of well organised music, which according to Jiang, "builds the image of the characters." This conception was influenced by Yu's writing on the functional conception of music. Yu focused on reforming the language of music. This was due to Yu's belief that for yangbanxi to become successful in educating the masses on the structure and benefits of the new socialist state, the language of the music must be understandable to the common person. He first recommended that the lyrics be written in Mandarin, which was in line with the Chinese government policy that mandated the use of Mandarin as the language of instruction in schools nationwide. Yu also advocated that "the melody should be composed in such a way that it also shadowed the syllabic tonal patterns", which "should sound natural to the ear as well as being easily understandable to the listener." According to Jiang's theory of the "three prominences," the model revolutionary works were to foreground the principal hero over other heroic characters and positive characters over other characters. Jiang criticised spy thrillers (which were known as counterespionage films) for making the antagonists seem too intriguing. Jiang was known to be blunt in directing the yangbanxi, but Yu was able to serve as the mediator between Jiang and the performers. Since Jiang could not communicate her vision clearly, performers often take her criticisms as personal insults. Du Mingxin, one of Jiang's composers, recalled Jiang dismissed his music in the ballet The Red Detachment of Women (Hong Se Niang Zi Jun) as "erotic ballad that used to be performed in the 1930s Shanghai nightclubs". Du was then criticised for trying to destroy the yangbanxi project by hiding bourgeois music in a revolutionary ballet. Du felt humiliated by this remark. It was until Yu asked the group to submit another composition that Du regained his motivation and composed the now famous Wanquan Heshui (On Wanquan River). According to Du, this incident revealed Yu's artistic integrity, personal courage, and the ability to gain Jiang's acknowledgement on his decisions.
She had a daughter with Mao Zedong, which was Li Na. Li Na visited her frequently at Qincheng Prison, but they often quarrelled with each other for the husband of Li Na, Wang Jingqing, who once served the Central Security Regiment.
Since 1961, Jiang Qing, under the pen names Li Yunhe and Li Jin, had multiple landscape photographs selected for four consecutive National Photography Exhibitions. She became one of the photographers with the most works featured in each exhibition. In terms of lighting techniques, Jiang favoured backlighting and side-backlighting. Her visual style, which emphasised grandeur and completeness, had a significant influence on the photography community in mainland China.
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