Scott No: 1047-52
Serial number: N1-6
Values in set: 6
Date of issue: August 1, 1970
Denomination: 48 fen
Designer: Yang Baizi
Size of stamps:
30*40mm for N1, N3;
40*30mm for N2, N6;
31*52mm for N4, N5
Perforation:
11.5*11 for N1, N3;
11*11.5 for N2, N6;
11.5 for N4, N5
Sheet composition:
50(10*5) for N1, N3;
50(5*10) for N2, N6;
40(10*4) for N4, N5
Printing process: Photogravure
Printing House: Beijing Postage Stamp Printing Works

Numbered Stamps 1-6 "Revolutionary Modern Peking Opera Taking Tiger Mountain by Strategy" numbered stamps were issued on August 1, 1970. The set consists of 6 stamps, printed by photogravure, designed by Yang Baizi, and printed by the Beijing Stamp Factory. Stamp size 30 mm × 40 mm, perforation gauge 11.5 × 11, 50 stamps per sheet.

Theme of the Set

Taking Tiger Mountain by Strategy is adapted from Qu Bo's novel Tracks in the Snowy Forest, set in the early period of the War of Liberation in the Northeast. To wipe out the bandits entrenched deep in the mountains, the reconnaissance platoon leader Yang Zirong disguises himself and infiltrates the bandits' lair, maneuvering among the enemy with courage and wisdom and cooperating with the main force to annihilate the bandit gang in one stroke. The opera is a well-known revolutionary modern Peking opera and one of the model operas. This set selects six core classic stage scenes from the opera and creates them on the basis of stage photographs, displaying the revolutionary heroic spirit of the heroic figures—resourceful, resolute, and fearing no hardships—and telling the story of soldiers and civilians united in wiping out the bandit scourge.

Stamp Designs and Historical Background

Stage Photo of Yang Zirong

The design shows Yang Zirong's classic stage image: draped in a tiger-skin greatcoat, with a dagger at his waist, and a calm, resolute expression. This image is Yang Zirong disguised as the bandit Hu Biao entering Tiger Mountain; it is the most recognizable landmark look of the whole opera, highlighting the hero's calm confidence and composure in danger.

Questioning the Suffering in the Deep Mountains

The design is taken from the "Questioning the Suffering in the Deep Mountains" scene. In the snow-covered mountain forest, Yang Zirong comes to the home of the hunter Chang and listens to Chang's mother and daughter tell of the oppression and persecution by the bandit leader Zuo Shandiao. Yang Zirong patiently comforts the suffering masses and learns the details of the bandit gang, embodying the army's close bond with the people and its reliance on the masses in struggle.

Crossing the Forest Sea

The design is taken from the classic dance sequence "Fighting the Tiger and Going Up the Mountain." With snow flying everywhere and the forest sea vast, Yang Zirong cracks his whip and urges his horse through the boundless snowfield, colored ribbons flying in the wind. This passage is the most infectious scene of the whole opera, expressing Yang Zirong's fearless spirit of fearing no severe cold, going deep into danger, and actively heading to the bandits' lair to carry out the undercover mission.

Mobilizing the Masses

The design describes that after the PLA detachment enters Jiapigou, the soldiers explain revolutionary principles to the local poor masses and mobilize them to rise against bandit oppression. The background is the wooden houses of a Northeast mountain village, and the masses listen attentively, displaying the scene of the revolutionary ranks taking root in the countryside, mobilizing the masses, and gathering the strength of struggle.

A Sun in the Heart

The design is a scene inside the Weihu Hall: Yang Zirong is surrounded by bandits, composed and calm, with a firm gaze. Though in danger, he keeps the revolutionary mission in mind, in the dark bandit lair but with his heart toward the light, corresponding to the aria "A Sun in the Heart." It is the climactic scene of the opera's conflicts.

Victorious Meeting

The bandit-suppression battle is won and the bandits are completely wiped out. In the forest sea, PLA troops, militia, and liberated masses gather joyfully, red flags flutter, and everyone rejoices, celebrating the great victory of the bandit-suppression struggle. It marks that the masses of Jiapigou have completely thrown off bandit oppression and ushered in liberation.

Artistic Design Features

The set directly uses stage photographs for artistic processing, preserving the lighting, modeling, and dance postures of the Peking opera stage, with a strong stage atmosphere. The contrasts of warm and cool colors are sharp: the snow scenes are cold, the Weihu Hall is dark, and the victory scenes are passionate, fitting the emotional mood of each act. The six stamps are arranged strictly in the order of the plot's development: the hero's appearance, visiting the masses, going into the mountains alone, mobilizing the people, maneuvering in the bandits' lair, and welcoming victory, forming a complete and coherent narrative chain. It is a highly representative set among the model-opera-themed numbered stamps.