Public Outcry Preserves Lu Xun’s Cigarette Portrait in Shaoxing Heritage Site】

On August 22, a user known only as Ms. Sun posted on Weibo that the mural “misleads young people” by glorifying smoking. She went further, filing an official complaint with the local authorities and suggesting that the picture be swapped for a more “positive” depiction. Within days, the complaint had been amplified by a handful of media outlets, some of which highlighted an odd detail from Sun’s profile – a reference to “only nicotine pouches were allowed,” a product that is illegal in China. The mention sparked speculation that the complaint might have been driven by personal or commercial motives rather than genuine moral concern. Sun’s account was subsequently deleted, leaving many to wonder whether the episode was a manufactured flashpoint.

The outcry from ordinary citizens was swift and decisive. Over a hundred callers, identifying themselves as “热心人士” – a phrase that can be rendered as “enthusiastic individuals,” “concerned citizens,” or “ardent supporters” – rang the municipal “12345” mayor’s hotline and lodged formal petitions with the Shaoxing Lu Xun Hometown scenic area. Their message was unequivocal: the wooden‑cut mural, a piece of art that has become part of the site’s identity for more than two decades, should remain as it is. “Lu Xun did smoke,” they wrote in unison across social platforms. “Changing the image would be historically inaccurate and an affront to our cultural memory.” The tone of the comments was largely scornful toward the original complaint, which many labeled an overreaction or an attempt to rewrite history.

The municipal Culture and Tourism Bureau and the managing board of the Lu Xun Memorial Hall responded with a statement that reaffirmed the mural’s place in the scenic area. They noted that the woodcut, which depicts Lu Xun holding a cigarette, has been a fixture for 22 years and forms an integral part of the site’s narrative. “We respect Lu Xun, history, and art,” the statement read, adding that the authorities “will not easily change an established image based on individual opinions.” The response was carefully worded, aiming to appease both the petitioners who demanded preservation and the officials who must balance public health messaging with cultural stewardship.

Beyond the immediate dispute, the episode has become a microcosm of broader cultural and political currents in contemporary China. At first glance, the issue pits historical authenticity against modern health concerns—a classic clash of preserving the past while promoting present‑day values. The cigarette, an anachronistic symbol in a nation that now runs aggressive anti‑smoking campaigns, is seen by health advocates as a potentially harmful cue for younger visitors. Yet the same image is defended by those who argue that altering it would constitute a form of “cancel culture,” a term increasingly used in China to describe the erasure of historically significant, but now uncomfortable, details.

The online backlash underscores a generational divide. Many older users, steeped in the reverence for Lu Xun as a catalyst for intellectual awakening and national rejuvenation, see any modification as a betrayal of his legacy. Younger commentators, more attuned to global discourses around public health and symbolic representation, are more ambivalent, though in this case they largely echoed the older cohort’s sentiment, perhaps because the complaint itself appeared fringe and its proponent’s credibility was quickly called into question.

Media dynamics have also played a pivotal role. The rapid spread of Sun’s original post, followed by a flurry of articles that delved into her nicotine‑pouch comment, suggests a willingness among some outlets to amplify sensational elements without fully contextualizing them. Critics on Weibo argue that such coverage wastes public resources and fuels “absurd” debates, while also accusing journalists of “selective reporting” that can distort public perception. The saga illustrates how a single social‑media post can be magnified into a nationwide discourse, testing the limits of journalistic responsibility in the digital age.

Politically, the incident reveals the delicate balancing act faced by local governments. The Shaoxing authorities, tasked with fostering cultural tourism and preserving a national icon, must navigate the competing imperatives of historical fidelity, public health policy, and social harmony. Their decision to leave the mural unchanged is a tacit acknowledgment that tampering with Lu Xun’s image—no matter how minor—could be interpreted as disrespect toward a figure who symbolizes intellectual resistance and progressive thought. In a society where historical narratives are tightly linked to political legitimacy, even a seemingly trivial visual alteration can carry symbolic weight.

At the same time, the episode speaks to China’s soft‑power ambitions. Cultural sites like the Lu Xun Hometown are not only domestic attractions; they are also showcases of Chinese heritage for foreign visitors. Maintaining the authenticity of such sites bolsters the country’s claim to a rich, uninterrupted cultural lineage. Alterations that might be viewed abroad as “revisionist” could undermine that narrative and invite criticism from international observers.

In the months that followed, the wooden‑cut mural continues to draw tourists, its depiction of a pensive Lu Xun with a cigarette untouched. The public discourse, meanwhile, has settled into a familiar rhythm of online commentary punctuated by occasional references to the “cigarette controversy.” For many, the episode serves as a reminder that even the smallest brushstroke on a wall can ignite a broader conversation about how societies remember, reinterpret, and sometimes resist the past. The collective voice of over a hundred citizens—whether seen as protective, nostalgic, or simply contrarian—has ultimately affirmed that, in this case, history will remain as it was drawn, smoke and all.