DATE

5/27/25

TIME

4:35 PM

LOCATION

Oakland, CA

The Kuomintang Fought the Battles, the Communists Stirred the Countryside

接《立宪自治需要中央和地方一起配合》

6-6: 自治退潮与国共合作前夜

驱张后的湖南一度成为联省自治浪潮的象征。毛泽东主张湖南人治湖南,不仅是一种地方情绪的表达,更是一种对“脱离军阀-中央体系”的政治实验。但这种自治尝试并没有得到持续的支持。赵恒惕在中央压力下日益保守,毛泽东等激进派被边缘化。

1921年底到1922年初,湖南出现数次“整顿秩序”的行动,对农协、学生社团、舆论刊物进行打压。《湘江评论》在1921年8月被查封,标志着地方政治开放空间的收紧。毛泽东在湖南已难有容身之地。

1921年7月23日,中国共产党第一次全国代表大会在上海法租界的一栋民居内秘密召开,后因法租界巡捕察觉,会议转移至浙江嘉兴南湖的一艘游船上继续完成。当时的毛泽东,受陈独秀、李大钊思想影响已久,且正逐渐对湖南地方自治的改良路径失望。

在此之前,1919年到1921年间,全国各地涌现出一批马克思主义研究小组,被称为“共产主义小组”。这些组织是中国共产党的前身,起到了播种、酝酿、组织人力和思想准备的作用。最早的小组由李大钊在北京大学组织,上海的组则由陈独秀发起。长沙小组是其中非常重要的一个,由毛泽东实际主导。在长沙共产主义小组工作后,他被推举为湖南代表之一,赴上海参会。

整个大会共有13名代表,代表全国50多名共产党员。这就是大名鼎鼎的中共一大。中共第一大的细节不赘述了,相信很多文献都可以查到。主要事件有确立党名为“中国共产党”,明确目标为推翻资产阶级政权,建立无产阶级专政,实现社会主义直至共产主义。还规定了每月缴纳党费,禁止党员参与反革命组织或宗教组织等。

值得一提的是,当时的列席者有马林,是Comintern代表,他提出中共应考虑加入共产国际。Comintern全名Communist International,成立于1919年3月,由列宁发起,总部在苏联莫斯科。目标是推动世界范围内的无产阶级革命,推翻资本主义政权。1943年,斯大林为拉拢西方盟友,在二战期间宣布解散。会议未正式决定是否加入,但实质上接受其指导。后来,陈独秀成为中共总书记,亦由共产国际批准。

CCP起初非常微弱,缺乏资源与组织。毛开始频繁往返于上海、长沙、北京之间,试图寻找政治突破口。他一方面在湖南努力保存地方建政的残余力量,另一方面也开始思考更大范围的社会动员方案。

1922年,第一次国共合作尚未正式启动,但中共内部已开始讨论渗透国民党的策略。此时的国民党,正在孙中山领导下酝酿重组。为了寻求苏联援助与扩大基层力量,孙中山正在重新考量对共产党、苏联的态度。


6-7: 北伐期间

呼应之前写的“5-1: 北伐”,国民党北伐了大半年,从夏天发到到冬天,节节胜利。工农运动高涨,共产党力量上升。中共开始没收土地、动员罢工、攻击旧有权威;同时号召工人、农民反抗地主、资本家,并且主张工人农民组织直接管理地方政权。当时毛先生在国民党湖南省支部担任代理宣传部部长。

1926年7月,国民革命军由广州出发北伐,节节胜利,湖南、湖北、江西、福建大量地方迅速解放。旧军阀逃跑或投降,地方政权真空,尤其农村地区无人管。同时,各地共产党组织、工会、农会趁势大幅扩张。湖南、江西、广东尤为激进,农民协会、工人罢工团体如雨后春笋。

地方没有官、没有兵、没有绅士,但地主还在收租,农民继续被剥削。这时候,谁来组织农民成了巨大的空间。中共在1925年前后就开始在湖南、广东、江西等地建立农民协会。最早的农会多由共产党员、社会主义青年团员、留法回国激进分子推动。他们在农村举办夜校、讲演、演戏、放映幻灯片,宣传反帝反封建、减租减息。一开始是教育启蒙 、 小规模组织农事互助会,后逐步转向斗争型组织。

北伐军打到湖南、江西、湖北后,地主出逃,保甲系统瘫痪。中共趁势派出大批干部、农运工作队深入乡村,发动群众组建农会。农会最早在贫苦农民集中、有党员活动的村落建立,然后向周围扩散。各地建立村农会,选举会长、组宣传队、纠察队,印发农会证,发誓团结。

其中, “保甲制度” 是一种把农民分成若干小组,让他们自己管理自己、互相监视、共同担责的制度。“甲”是一种单位,代表10户人家。最基层,称为“一甲”,甲长负责户籍、传达政令、报告可疑人物。而“保”,则是10甲,约100户。保长统管各甲,对官府负责;有时兼征税、抓壮丁、征粮食。还有“总保”,更高一级,大概管理几百户,类似现在的“乡长”,协调多个“保”。

甲长、保长往往是地头蛇,比如地方豪绅、地主代理、政府鹰犬。他们有权威、无制衡,勾结官府横征暴敛,多收税、私吞粮。他们会抓所谓的乱民、也会举报共产党、阻止农会、打压下层反抗,是军阀和国民党在乡村维稳、镇压异己的抓手。因为连坐机制,农民不敢反抗、邻里不敢帮忙。

保甲制度瘫痪之后到1927年初,湖南省农会会员高达200万,能直接动员的群众超1000万人。许多县市90%的农民都加入了农会。农会开始主动查封地主家产、分配土地、打击宗族、建立农民政权。

在湖南、湖北、江西一些农民运动基础较好的地区,中共组织农会开始查田分地。他们的核心做法包括没收大地主土地,分配给贫苦农民或佃户,没收反革命军阀、土豪劣绅的田地与资产。他们呼吁耕者有其田,反对高租重利。对于没收的土地,中共和农会的处理大致分为三类:土豪地主土地没收分配,对革命军人或支持者土地进行保留或优待。

而对中小地主土地,征收部分租税,缴给农会组织,作为农民协会的经费来源。比如购买纸张、粮食、武器、宣传物料等。还用来成立纠察队、农民自卫军,维持地方秩序与对地主镇压。同时,建设农民夜校、扫盲教育等公益事业,设立“贫农救济基金”,帮助赤贫农民度灾渡荒。

1927年3月,政变前夕,毛泽东写下《湖南农民运动考察报告》,是他实地走访湖南五县后的总结报告。四月,蒋介石国民党北伐回来,进行了四一二政变。



6-6: The Retreat of Provincial Autonomy and the Eve of the First United Front

In the wake of the Expel Zhang Campaign (驱张运动) in 1920, Hunan briefly became a symbol of the provincial autonomy movement. Mao Zedong’s call for “Hunan governed by Hunanese” was not merely a localist sentiment—it was a political experiment to break away from the warlord-controlled central system. However, this attempt at autonomy failed to gain sustained support. Under pressure from Beijing, Zhao Hengti grew increasingly conservative, and radicals like Mao were gradually marginalized.

From late 1921 to early 1922, Hunan saw several “order rectification” campaigns that targeted farmers’ associations (农协), student groups, and critical publications. Xiangjiang Review (《湘江评论》), Mao’s radical journal, was shut down in August 1921, signaling the shrinking space for political experimentation. Mao could no longer find a foothold in Hunan.

On July 23, 1921, the First National Congress of the Chinese Communist Party (CCP) was secretly convened in a residential building in the French Concession of Shanghai. After the French patrol became suspicious, the meeting was moved to a boat on Nanhu Lake in Jiaxing, Zhejiang Province. By then, Mao—already disillusioned with the limitations of provincial reform—was heavily influenced by the ideas of Chen Duxiu and Li Dazhao.

Between 1919 and 1921, Marxist study groups known as Communist Cells (共产主义小组) began emerging across China. These served as ideological and organizational forerunners to the CCP. The first group was formed by Li Dazhao at Peking University; the Shanghai group was led by Chen Duxiu. Mao played a leading role in the Changsha cell and was selected as a delegate to the First Congress.

The congress was attended by 13 delegates representing just over 50 members. It formally adopted the name Communist Party of China, declared its goal as the overthrow of the bourgeois regime and the establishment of a dictatorship of the proletariat, and laid the groundwork for monthly dues, political discipline, and anti-reactionary policies.

Notably, the congress was attended by a Comintern (Communist International) representative, Maring from the Netherlands, who urged the CCP to align with the global communist movement. The Comintern, headquartered in Moscow and launched by Lenin in 1919, aimed to promote global proletarian revolutions. Though the CCP did not formally vote on joining, it effectively accepted Comintern guidance.

Still a minor political force, the early CCP lacked resources and organizational power. Mao traveled frequently between Shanghai, Changsha, and Beijing in search of political opportunities. While attempting to preserve local power structures in Hunan, he also began envisioning broader strategies for grassroots mobilization.

By 1922, though the First United Front between the KMT and CCP had yet to formally begin, internal CCP discussions were already exploring a strategy of infiltration and cooperation with the KMT. Meanwhile, Sun Yat-sen, leader of the KMT, was actively reconsidering his stance toward both the Communists and the Soviet Union, seeking Soviet aid to rebuild his party and extend influence among the lower classes.


6-7: The Northern Expedition Era

As discussed in 5-1: The Northern Expedition, the KMT launched its military campaign from Guangzhou in July 1926, securing rapid victories throughout the summer and fall. The surge of peasant and worker movements coincided with the CCP’s rise in influence. The Communist Party began seizing land, organizing strikes, and challenging traditional authority. Workers and peasants were urged to oppose landlords and capitalists and to form self-governing councils. During this period, Mao served as Acting Director of Propaganda for the Hunan Provincial KMT Committee.

As the National Revolutionary Army advanced through Hunan, Hubei, Jiangxi, and Fujian, local warlords fled or surrendered, leaving a vacuum of authority—especially in rural areas. Communist organizations and unions expanded swiftly. In provinces like Hunan, Jiangxi, and Guangdong, peasant associations (农民协会) and labor organizations mushroomed.

With local bureaucrats, militias, and gentry gone, landlords continued to collect rent while peasants remained exploited. This created a power vacuum that the CCP moved quickly to fill. As early as 1925, the Party had begun establishing peasant associations in rural regions, led by Party members, Socialist Youth League activists, and radicals who had studied abroad. They organized night schools, public lectures, theatrical performances, and film screenings to promote anti-imperialist and anti-feudal ideas. Initially formed for education and mutual aid, these associations evolved into militant political organizations.

Following the breakdown of the baojia (保甲) system—a traditional method of rural surveillance and mutual responsibility where households were grouped into units of 10 (jia 甲), then 100 (bao 保)—the CCP dispatched teams of organizers to villages. Associations quickly spread, starting in villages with poor peasants and active Party presence. Local branches were formed, complete with elected leaders, propaganda teams, and militia squads.

The baojia system had long been a tool of control, with local gentry serving as jiazhang (甲长) and baozhang (保长), enforcing taxes, recruiting conscripts, and suppressing dissent. After the system collapsed in the wake of the Northern Expedition, CCP cadres rapidly replaced it with peasant-controlled structures.

By early 1927, Hunan’s peasant association had grown to over 2 million members, capable of mobilizing more than 10 million people. In some counties, more than 90% of the rural population had joined. These associations began expropriating landlord property, redistributing land, undermining clan structures, and forming provisional rural governments.

In areas with strong CCP presence, land reform began in earnest. Large estates owned by landlords and warlords were confiscated and redistributed to poor peasants and tenant farmers. Revolutionary supporters were allowed to retain their land, while moderate landlords were taxed, with revenues supporting the association’s operations—purchasing supplies, arming militias, and funding schools and welfare projects.

In March 1927, on the eve of Chiang Kai-shek’s betrayal of the CCP, Mao penned his Report on an Investigation of the Peasant Movement in Hunan. Just a month later, the April 12 Purge began, signaling the violent collapse of the First United Front.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。