Childhood 1912-1930
A village childhood Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six
A Decade of Challenges 1966-1976
During the tumultuous period of the “Cultural Revolution” Li Qun, like many writers and artists, faced severe hardships and endured humiliation. Initially transferred back to Shanxi in early 1966, the upheaval of the “Cultural Revolution” saw him forcefully returned to Beijing, labeled by the Red Guards as part of the “Four Olds” and intellectuals were considered to be the “Stinking Old Ninth” and became widely persecute. His daily existence involved scrutiny, criticism, physical abuse, confinement in a cow shed for self-incrimination, labor re-education in the fields, and even abduction with severe beatings.
His wife, Liu Pingdu, suffered a similar fate, enduring brutal beatings and abandonment in the countryside. Tragically, returning to her hometown, she succumbed to the scorching sun after spending an entire day in a wheat field, leaving Li Qun with a haunting and painful memory.
The dark weather of those times blurred the lines between humanity and monstrosity. Li Qun, who had been passionate about art since childhood, dedicated his adulthood to exploring and creating beauty in the elevated realm of art. However, amidst the chaos, questions arose about the essence of beauty and its place in a world dominated by evil. Three years of torment left him drained, and he longed to escape the oppressive environment, opting to return to his hometown for a peaceful life in a mountain village.
His decision aligned with the prevailing sentiment and received approval from the “Provincial Revolutionary Committee” and a warm welcome from his hometown. In February 1970, nearing sixty years of age, he returned to Lingshi County, the Hao family, and the idyllic paradise of his childhood.
Yet, Li Qun was not content with mere tranquility. He sought redemption for the land of his birth by donning the landscape in greenery. Undertaking the role of the forestry captain for the production brigade, he traveled extensively, conducting scientific research, and successfully established a connection between wild jujube and cultivated varieties.
Back in his hometown, he contributed to the cultural landscape by conducting woodcut training classes, supporting local factories, and collaborating with cultural bureaus and mining entities. Tirelessly working, he aimed to sow the seeds of art, enhance his community’s cultural identity, and foster economic growth.
Since his return, amidst the smoke and grass, Li Qun created numerous print works, including “Jujube Picking Up Jujube”, “Sending Fertiliser in the Snow”, “Summer”, “Dig a Pool“, “This is also Classroom” and “Celebration”. Despite enduring ten years of challenges marked by wind, frost, rain, and snow, Li Qun remained resilient, hearing the metaphorical dance of the chicken, echoing the saying that “there is no way out despite the mountains and rivers, and there is another village with dark flowers and bright flowers”.
By the end of October 1976, as the dark clouds cleared from the sky, Li Qun entered the second spring of his life.
In 1970, upon Li Qun’s return to his hometown and assumption of the role of forestry captain during the resettlement efforts, he spearheaded a significant initiative. Guiding the local community, he facilitated the introduction of over 10,000 high-quality trees to Hao Jia Zhang Village, his birthplace. The accompanying photograph captures him engaging in discussions about the prospect of propagating jujubes during his study of grafted varieties.
In Hao Jia Zhang Village, Li Qun, now in his sixties, tirelessly traverses the region, meticulously selecting superior plant species, mastering grafting techniques, and collaborating with the local community. Together, they have transformed a once barren ravine into a flourishing woodland that stands verdant and thriving today. This remarkable achievement has become an indelible part of Li Qun’s legacy, a topic that invariably arises whenever people discuss his contributions.
Frequently engaging in discussions with veteran farmers from the forestry team, Li Qun shares both the challenges and the moments of nostalgia that accompany their collective efforts.
During the same year, Li Qun seized the chance to take a group photo with his mentor Li Kuchan and Li Kuchan’s wife. In the photograph, Li Qun’s eldest daughter A Li is positioned on the left, while his eldest son A Ming stands third from the right.
In the midst of the sweeping “Cultural Revolution” in 1970, as Li Qun prepared to return to his hometown for resettlement amidst the chaotic circumstances, being able to capture a photograph with Dong Shouping and others was considered a fortunate opportunity. Front row from left: Zhu Yan, Dong Shouping, Li Qun, Su Guang. Back row from left: Wang Huan, Zhu Tong.
In 1972, upon Li Qun’s return to his hometown to integrate into a team and settle down, his role extended beyond being the forestry captain of the production brigade. His commitment to contributing to the greening of Haojiazhang Village, coupled with an invitation from the Lingshi County Cultural Centre, led him to conduct a woodcut training class. This initiative expanded to include multiple training sessions in locations such as Taigu Normal University.
During his time in Lingshi, the class attracted not only art enthusiasts from the county’s workers, peasants, and soldiers but also participants from Jiexiu garrison and Yangquan miners. The number of participants grew from a dozen to over 30. Upon graduation, 10 of Li Qun’s students were acknowledged for their creations, with all of them joining the 1972 Jinzhong area art exhibition. Nine of these participants continued to contribute to the Shanxi Provincial Art Exhibition. Many of these students, acting as “art seeds” later emerged as key figures in the art scene, actively participating in various regions of Shanxi.
In 1972, Li Qun was invited to conduct a woodcut training class for the Lingshi Cultural Center. Simultaneously, he played a pivotal role in the creation of a printed version of “Lingshi Literature and Art”. Commencing with the second issue, he sought the endorsement of Zhao Puchu to inscribe the publication’s title.
The inaugural edition of “Lingshi Literature and Art” featured Li Qun’s woodcuts “Sending Fertiliser in the Snow” and “Sour Dates Picking Up Big Dates”. In addition to incorporating his paper-cut piece “Wheat Harvest” on the cover, the third issue showcased his prose titled “Ode to Spring”. Unfortunately, the turbulent era of the “Cultural Revolution” compelled the cessation of “Lingshi Literature and Art” after only three issues due to factional disruptions.
The accompanying image depicts Li Qun, at the age of 80, discussing a traditional Chinese painting on the back cover of the third issue of “Lingshi Literature and Art” at the former site of the Cultural Center. This location is where the “Li Qun Woodcuts Exhibition” was held in 1964.
(Left) Li Keran and Li Qun. Taken in 1973. (Centre) In the 1970s, he was locked up in Mount Wutai with the calligrapher Chen Ju. (Right) In 1972, Li Qun was invited to paint for Chairman Mao’s Roadside Memorial Hall in Dai County. The picture shows him, Guo Xiaocheng and other painters taking a group photo in front of the memorial hall.
In 1973, Li Qun received an invitation to provide guidance on product design at the Nanguan Ceramics Factory in his hometown, Lingshi County. Throughout this period, he applied his expertise to create a diverse range of new products tailored to the production conditions. Some of these designs gained popularity and even became sought-after export items. Notably, the squirrel ashtray, one of Li Qun’s creations, experienced robust sales in Southeast Asia, though the local market faced challenges due to high demand and limited supply.
Captured in this poignant photograph is Li Qun, standing within the premises of his newly established home in Hao’s village. Having departed from his hometown in his youth and returning after over four decades, he toiled the soil, facing the challenges of homelessness. Compelled by circumstances, he invested his entire savings to construct this humble three-room cave dwelling for himself. To his dismay, a mere three years after settling in, tragedy struck when his 55-year-old wife, Liu Pingdu, suffered a sudden cerebral hemorrhage and passed away within these walls. The heart-wrenching event occurred at midnight on June 20, 1974, leaving an indelible mark on Li Qun and his children. The memory of this emotionally charged three-room cave dwelling and the once vibrant courtyard, adorned with flowers and trees, lingers vividly. Despite the now desolate state of the courtyard, the legacy of Li Qun’s presence endures, evoking numerous reminiscences among those who recall his time here. (Left) Li Qun in the new courtyard of the Hao family.
(Left) “Even as I oversee the affairs of the Hao family, moments of respite demand my continued dedication to artistic creation”. In the pursuit of y drawings, I frequently seek the opinions of the villagers”. (Right) The photograph captures Li Qun and Liu Pingdu, his wife of nearly 40 years, standing in front of Li Qun’s newly constructed cave dwelling in 1973.
Liu Pingdu’s artistic journey with Li Qun spanned from Shanghai to Yan’an, from Beijing to Shanxi. Her final resting place is situated beyond the quaint mountain village of Haojiazhang, marked by a cup of loess, a tombstone, and Li Qun by her side. Two poplar trees were planted, symbolising Li Qun and their children, and the present scene reveals the growth of numerous small trees beside them. Amidst the mountain wind’s haunting melody and the rustling leaves, it seems as though nature itself seeks to console her spirit in the heavens.
(Left) In 1975, marking the first anniversary of his wife Liu Pingdu’s passing, Li Qun traveled to Shanghai to visit Liu Pingdu’s brother, his classmate, and fellow refugee Liu Pingruo (Cao Bai). Together, they journeyed to Shaoxing to pay homage to the Lu Xun Memorial Hall. (Centre) In 1976, following the defeat of the “Gang of Four” Li Qun reunited with old friends in Taiyuan. Front row from left: Jia Ke, Li Qun, Lu Meng, Hu Zheng. (Right) Also in 1976, Li Qun, accompanied by his second wife Li Yueying, returned to his hometown of Haojiazhang Village in Lingshi County, Shanxi Province.
Created in 1975 in Lingnan “Summer” is a rural landscape painting set under the scorching red sun. The scene captures Haojiazhang Village in Shi County, where women are shown spraying pesticides on crops to prevent and eliminate pests and diseases. The thick shade of trees, the gurgling stream, and the purple wildflowers beside it convey the tranquility and beauty of the mountains, far from the hustle and bustle.
This artwork emerged during the later stages of the “Cultural Revolution” intentionally or unintentionally revealing the harmonious life Li Qun had longed for through pastoral scenery.
Entering Society 1931-1935
A fervent and spirited young man, deeply moved by the news of the “September 18th” incident, found himself compelled to
War of Resistance to Japan 1936-1938
Following the Marco Polo Bridge Incident on July 7th, a significant event unfolded in Shanghai known as the “August 13th”
Journey to Yan’an 1939-1945
In Li Qun’s contemplation, Yan’an had long been the revered sanctuary he ardently sought. Communist Party members and numerous progressives
Journey Along Jinsui 1946-1948
In August 1945, following the Japanese surrender, Liqun bid farewell to Yan’an, where he had dedicated six years of work
Formative Years of the People’s Republic 1949-1966
Following the inaugural national literary congress, Li Qun adhered to Comrade Zhou Yang’s directives and returned to Shanxi to collaboratively
A Decade of Challenges 1966-1976
During the tumultuous period of the “Cultural Revolution,” Li Qun, like many writers and artists, faced severe hardships and endured
The Dawn of a New Era 1977-1997
With the demise of the “Gang of Four,” a wave of joy swept across China. Li Qun, like countless others,
Enchanting Twilight 1998-2012
Determining precisely when Li Qun entered old age proves challenging, given the considerable gap between his vitality and chronological age.
