Childhood 1912-1930
A village childhood Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six
Childhood 1912-1930
A Village Childhood
Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six courtyards and ten households in its nascent years. This hamlet, situated in Lingshi County, Shanxi Province earned its identity as “Hao Jia Zhang Village”. Positioned to the east of Fen River, west of Huoshan Mountain, and south of Hanxinling, (700km south west of Beijing), it abutted the rural expanse of Huozhou City. The village’s nomenclature “Hao Jia Zhang Cun” subtly reflects its diminutive size, illustrating the linguistic adeptness of local forebears in encapsulating objects with concise Chinese characters. The narrative posited in this account suggests that the primary progeny, Li Qun, hailed from Hao Jia Zhang Village.
- “郝” (Hao) Li Qun’s family surname.
- “家” (Jia) means “home”.
- “掌” (Zhang) means “to hold and care”.
- “村” (Cun) means “village”.
Li Qun’s family name, Hao, aligns seamlessly with the appellation of his birthplace. Originally named by his parents “Hao Lichun” (郝丽春), he opted to adopt the name Li Qun for two principal reasons. Firstly, following his early entanglement in left-wing art activities and subsequent arrest, the appellation “Hao Lichun” became permanently etched in the records of the Kuomintang (nationalists) prison, rendering it unusable. Furthermore, he had concerns regarding the perceived femininity linked with the name “Hao Lichun”, which translates to “Beautiful Spring” in Chinese. Therefore, upon regaining freedom and influenced by the demands of the ever-changing social environment, he adopted the name Li Qun. “Li” conveys the concepts of power or strength, while “Qun” signifies people, reflecting his commitment to serving the populace and a demonstration of faith in collective wisdom.
Li Qun entered the world on December 25, 1912 (the 17th day of the 11th month in the lunar calendar), coinciding with the inaugural year of the Republic of China. Li Qun’s formative years were imbued with the prevailing ethos of “revolution”. Yet, from his early years, his predilection for painting had already taken root, nurtured by his second grandfather, a peasant painter. The family abode adorned with plum, orchid, chrysanthemum, and bamboo paintings attested to this artistic heritage. Moreover, the nearby ancient temple, adjacent to the Enlightenment Primary School, featured paintings such as “Phoenix Playing with Peonies” crafted by Li Qun’s second grandfather. The indelible influence of these surroundings with his exposure to renowned works like “Mustard Seed Garden Painting Manual” fuelled Li Qun’s growing fascination with the artistic domain. This affinity persisted through his academic journey, from the junior primary school in his village to Daomei Village Primary School, ultimately leading him to Taiyuan Chengcheng Middle School. His subsequent enrolment in the National Hangzhou Art College (China Academy of Art) was a natural progression, rooted in a lifelong inclination toward artistic pursuits. While the term “revolution” initially resonated faintly in his youth, it progressively permeated the depths of his ideology, colouring his subsequent trajectory and life experiences in nuanced and profound ways.
Li Qun’s birthplace, Hao Jia Zhang Village in Lingshi County, Shanxi, China, witnessed his arrival on December 25, 1912. Despite its modest size, with only 20 households and a population of approximately 50, this small mountain village retained historical significance. A noteworthy proportion of its inhabitants ascended to positions of prominence within the governmental hierarchy. Among them, five individuals attained the rank of state cadres beyond the district division level, six individuals achieved positions at the county and regimental level, and five individuals reached the departmental level.
Even in the post-1949 era, when the village experienced prosperity, its modest population and intimate community persisted. The surrounding landscape, adorned with place names such as “Longshan” (Dragon Mountain), “Hushan” (Tiger Mountain) and “Yuanbaogeda” (Chinese Treasure) contributed to the local perception of Hao Jia Zhang as an auspicious geomantic treasure. Particularly in the 1930s, the villagers took pride in the accidental discovery of an 8-meter-long dragon body and keel during the construction of a kiln and a monastery, reinforcing their belief in residing within a revered “dragon vein” a Chinese Qi concept in Feng Shui refering to channels of energy flowing through mountain ranges.
Regrettably, despite its rich history, the village has been dismantled to accommodate mining activities, emblematic of China’s economic progress. This poignant transformation serves as a bittersweet reminder of the evolving landscape and socioeconomic shifts the country has undergone over the years.
The venerable locust tree, standing prominently in front of Li Qun’s ancestral residence, looms large in his childhood recollections as a symbol of strength and resilience. In a notable event post-1937, during the incursion of the Japanese invading army into the village, attempts were made to fell the tree for repurposing as a sleeper at the Nanguan Railway Station, situated over 30 miles away. Li Qun’s sister-in-law, caught during the Japanese invasion and lacking the opportunity to flee, valiantly risked her life to safeguard the tree. Fortunately, the tree endured, steadfast with deep roots and luxuriant leaves, bearing witness to the unfolding pages of history alongside the adjacent stone mill.
Constructed during the early Qing Dynasty, the former residence bears the marks of time on its courtyard walls, now weathered and pitted (1998), revealing the rich tapestry of life’s vicissitudes. Despite the erosion, the front door stood resolute, adorned with the inscription “Seeing one’s footwork to test one’s auspiciousness” 视履考祥 a Chinese idiom that translates to “observe propriety, consider good fortune”. It conveys the idea of paying attention to one’s behaviour or actions and considering their implications on one’s future prospects or fortune.
Situated serenely between the front and backyard, the second door of the former residence is surrounded by overgrown vegetation. The weathered facade features the three characters “Yong Huai Tu” 永怀图 (Eternal Aspiration) while the brick plaque proudly displays the distinct clarity of the two characters “Ning Rui” 凝瑞 (Gathering Auspiciousness).
His mother, Ren Shuang Zhi carrying him in her womb during tumultuous times navigated through skirmishes between the Qing Army and Revolutionary Army to leave the village. The year 1911 marked the collapse of the Qing Dynasty, and the Revolutionary Army and the Qing Army found themselves on opposing sides of the mountain near by during this historic period. Surviving a perilous escape, Li Qun emerged into the world as a testament to the family’s resilience.
(1998) The diminutive structure situated in the foreground of the antiquated courtyard, measuring a mere 10 square meters, had succumbed to the environment overtime. However, during Li Qun’s return to his hometown in the latter part of the “Cultural Revolution” he found temporary residence within this modest dwelling. Alongside his wife, Liu Pingdu, a native of Jiangnan.
Adorning the inner screen door of the secondary entrance in the old courtyard is a plaque bearing the inscription “Serenity far-reaching” positioned opposite the main kiln. This visual hallmark, encountered daily, serves to nurture the character of the dwelling’s occupant.
Captured in this 1920 photograph, Li Qun’s father, Hao Changxu, embodies a moment frozen in time, reflecting the early years of his remarkable journey. Li Qun’s father, Hao Changxu (known by the alias Ji Tang), served as a salt merchant during the late Qing Dynasty and the early Republic of China. Operating in various locations such as Gaotang and Tengxian in Shandong, he exhibited diligence and thrift throughout his career. Progressing from an apprentice to a manager, Hao Changxu established his reputation through hard work and integrity, driven by the aspiration to uplift his family from poverty. However, his efforts were unexpectedly met with the stigmatising designation of a “class enemy” during the land reform of the late 1940s. Despite having assumed the role of a landlord in 1937, the repercussions of this label brought considerable challenges and hardships to his family members and subsequent generations. These challenges, whether subtle or overt, lingered in daily life and work, particularly in the context of previous political movements.
Li Qun’s mother, Ren Shuang Zhi, faced arduous circumstances while raising two boys and three girls. Except for the eldest daughter, all her children were sent to revolutionary camps, subjecting her to various hardships inflicted by soldiers, bandits, and the Japanese invading army. Enduring years of displacement, Ren Shuang Zhi, upon returning to the village, dedicated herself to household responsibilities and supporting her family. Stoically weathering the embarrassment of numerous vicissitudes, she carried the burden silently. After 1949, she lived with Li Qun for only a brief period in Taiyuan and approximately a year in Beijing before passing away in May 1955.
The 1920 portrait of Li Qun’s parents encapsulates a poignant moment in time, with his second daughter, Li Ying, cradled in his mother’s arms. This snapshot offers a glimpse into the family’s early life, marked by resilience and fortitude.
In Hao Jia Zhang Village, an ancient temple stands as a poignant symbol of Li Qun’s early education, marking the initial steps of his scholastic journey. During his return to the village on August 5, 1998, Li Qun revisited this significant site, only to find it in a state of disrepair, reduced to crumbling walls amidst overgrown weeds and thorns.
During his childhood, Li Qun frequently traversed the mountainous trails between Hao Jia Zhang village and Ren Yi village, navigating river crossings. These journeys, often impeded by makeshift bridges that succumbed to floods, became a part of his youthful experiences. The completion of the Xiaoyao Bridge near Xiaoyao Village in 1993 marked a transformative moment, providing a more reliable crossing. In 2006, alongside the completion of the bridge, a stele pavilion was erected, bearing the inscription.
In 1923, Li Qun commenced his education at County No. 3 Senior Primary School in Daomei Village, Lingshi County. At that time, Daomei High School was housed within a Jade Emperor Temple. The “Daomei School” gate stands adjacent to street shops, with the school compound featuring a blend of modern structures and open squares. Notably, only vestiges of the temple’s past were discernible in front of the main hall, marked by an earth platform now adorned with overgrown weeds and flowers. Initially transitioning from a primary school to a middle school after the establishment of the People’s Republic of China, it has since reverted to its primary school designation.
Daomei Tongji Bridge, first constructed during the Yongzheng period of the Qing Dynasty, held distinction as one of the only four Fen River bridges in Lingshi during the Republic of China. During Li Qun’s tenure as a senior primary school student in Daomei Village, he traversed the bridge at least once or twice a week. Moreover, in his spare time, he undertook the task of learning to swim in the turbulent Fenshui waters beneath the bridge. The current state of Daomei Bridge is a glimpse into its contemporary form.
The journey into Li Qun’s educational history brings us to his enrolment at Taiyuan’s Chengcheng High School in 1927, a significant juncture in his life at the age of 15. Captured in a photograph from that pivotal year in 1927, Li Qun stood at the threshold of adolescence, donning the original school badge and cap badge of Chengcheng Middle School.
On October 8, 1929, another moment was etched into the annals of Li Qun’s schooling, as he posed in front of the dormitory at Chengcheng High School in Taiyuan. A visual journey through time awaits with the exterior and teaching building of Chengcheng High School.
The roots of Chengcheng High School delve into the significance of maturity, with “Chengcheng” translating to “having become an adult”. The school’s guiding philosophy, encapsulated in the motto “Being enlightened with virtue and understanding, becoming an adult” reflects the aspirations fostered within its halls.
Originally located at No. 8, Balingqiao South Street, Taiyuan, Chengcheng Middle School underwent a transformative period during the early days of the Anti-Japanese War. The site became the official headquarters of the “National Revolutionary Army Eighth Route Army Taiyuan Office” led by Peng Xuefeng. Unfortunately, the school site succumbed to demolition during the Japanese occupation.
Among Li Qun’s cherished memories of Chengcheng Middle School, his fervent pursuit of sketching and watercolour painting under the guidance of art teacher Zhao Zuanzhi holds a special place. This artistic initiation would go on to lay the foundation for Li Qun’s future path in the realm of art.
Li Qun’s association with Chengcheng Middle School is emblematic of a nurturing experience that left an indelible mark on his life. Throughout the years, his footsteps and heartfelt imprints have illuminated a splendid journey shaped by the invaluable influence of Chengcheng Middle School.
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.
