Comparing to the Chinese contemporary art which constantly prance at the head of the art market, the graphic design is an artistic object, industrial and popular, and modest in its cultural ambitions. However, its stakes present a scientific interest important because all of the specific design productions direct to the Chinese people than the foreigners. Subject to the economic and political partners, the graphic design, as the object of research, attest the existing conflicts not only inside the field of Chinese design, but also engaged in the full postmodern China. In the theoretical frame of the Cultural Studies, this thesis considers that the graphic design receives a significant social and political function in China, those stakes exceed its simple function of commercial communication which we are likely to think. From analysis of some historic and symbolic graphic productions, this research examines the updating of the Chinese cultural identity, in crisis today. In modern times, Maoist and postmodern periods, the graphic design has continued to participate in the dominant spirit of the times. As an active device, socio-forming the spirit and arising from the culture, the graphic design intervenes in the processes of individual and collective identity construction. After reported the reports sometimes ambiguous or uncertain, which were exercised by the hegemonic and competitive graphic models, this research attempts to decipher the current revealing tensions of the values and visions in the contradictory world.