Childhood 1912-1930
A village childhood Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six
Entering Society 1931-1935
A fervent and spirited young man, deeply moved by the news of the “September 18th Mukden incident“, found himself compelled to resist the aggressive incursions of Japanese imperialism on Chinese soil. Unwilling to acquiesce to a policy of non-resistance before aggressors or to tolerate any actions undermining national prestige, Li Qun as a young man, along with like-minded individuals, rejected traitorous speeches and behaviours that supported the Japanese occupation.
Naturally gravitating toward sympathy for the broad masses of working people, he aligned himself with progressive young minds, fervently rising to voice his agreements, praises, oppositions, resistances, and support for causes he deemed just. Under the banner of Lu Xun (鲁迅), he took a principled stand, organising the “Mu Ling (木铃 Wooden Chime) Woodcuts Research Association” with fellow progressives. Their collaborative efforts resulted in wood carvings such as “Disease” and active participation in the “Chinese Left-wing Artists Alliance“.
Despite facing imprisonment for a year and a half by authorities at the time that were less supportive of left-wing socialist ideology, due to his involvement with the “Mu Ling Woodcuts Research Association” his inner fire remained unquenched, harbouring no regrets. Upon release, he tenaciously continued his pursuit, unwaveringly fighting for truth. In 1936, passing through Beijing, he fearlessly joined the “June 13” demonstration of Beijing students, demanding a united front against Japanese aggression, even when friends cautioned against the potential risks.
Upon his return to Shanghai, on the anniversary of September 18th, he participated in a public demonstration advocating for an end to the civil war and a joint anti-Japanese war. The word “revolution” had firmly taken root in his heart, showcasing its potential to thrive.
After his release from prison, he journeyed from Shanghai to Taiyuan, and then back to Shanghai. Amidst the challenges of seeking survival and employment, he created impactful works such as “Three Suffering Youths“, “Spring Night“, “Children Picking Up Trash“, “Scavengers on a Cold Night” and woodcut pieces like “Strike”, “Resistance“, “Refugees“, “Japanese Arms Smuggling” and “Portrait of Lu Xun” These works vividly reflected his heroic spirit, unafraid to wield the carving knife as a metaphorical sword.
In a poignant tribute to Lu Xun, who passed away on October 19, 1936, he personally visited the scene to draw a portrait, a testament to his enduring commitment to the revolutionary spirit.
In 1931, Li Qun embarked on a significant chapter in his academic journey by gaining admission to the prestigious National Hangzhou Art College (China Academy of Art). His lifelong passion for art, cultivated since childhood, found new vigour and confidence within the confines of the technical class. A glimpse into this period is captured in a 1932 group photograph featuring Li Qun alongside his classmates at the Art School. Notably, Cao Bai (曹白) – future brother-in-law and fellow renowned woodcuts artist, frequently mentioned in Lu Xun’s collected works, stands second from the right, with Li Qun positioned in the front row.
During the autumn of 1932, while studying at the Hangzhou Art College, Li Qun enjoyed a reunion with his close friend Yan Lichuan, who had traveled from the “Xinhua Art College” in Shanghai for sketching sessions in Gushan Zhongshan Park. The camaraderie is depicted in a photograph featuring Li Qun, Ye Hanyu (叶寒玉), Yan Lichuan (阎丽川), Lin Qiong (林琼), and Liu Xinwen (刘新文) – Fellow students.
A group photo taken in Beijing showcases Li Qun and his friends from Lingshi (Li Qun’s home town) in the summer of 1931. In this historic image, Li Qun is joined by progressive young men Pei Mengfei 裴孟飞 (formerly known as Pei Hongchang) and Li Xu (李旭). Noteworthy achievements in their post-revolutionary careers include Pei Mengfei serving as Secretary of the Shandong Provincial Party Committee and Deputy Secretary of the Gansu Provincial Party Committee, while Li Xu held the position of Deputy Director of the Shanxi Provincial Department of Chemical Industry. The photo, presented to Li Qun by Pei Mengfei’s wife Shi Yi in Lanzhou in 1978, serves as a cherished record of Li Qun’s initial steps on the road to revolution. These valuable images, stored in a high cabinet in Li Qun’s studio, are accompanied by Li Qun’s own notes, underscoring their significance in preserving the history of his revolutionary journey.
In 1933, during Li Qun’s enrolment at the “Hangzhou Art College” he and a group of progressive peers founded the “Mu Ling Woodcuts Research Society“. Their collaborative efforts culminated in an exhibition held in Hangzhou that year, complemented by the publication of the “Mu Ling Woodcuts Collection”.
However, an unexpected turn of events unfolded as a divine calamity, leading to the arrest of Li Qun, his friends Liu Pingruo (曹白 Artist name: Cao Bai), and Ye Naifen (叶洛 Artist name Ye Luo) on the morning of October 10. This orchestrated action was carried out under the planning of the school’s education director. It wasn’t until early 1935 that they were released on bail, marking their exit from incarceration. The accompanying image depicts the cover of the “Mu Ling Woodcuts Collection” from that period. In 1932, while studying at the National Hangzhou Art College, Li Qun engaged in plaster sketching of the human body. Furthermore, watercolour paintings created by Li Qun in the same year during his tenure at the National Hangzhou Art College is showcased, reflecting his artistic endeavours during this period.
Embarking on Social Engagement through Art: Li Qun’s Solo Exhibition. The solo exhibition featuring Li Qun’s artistic creations took place at the Taiyuan Association in Zhongshan Park on December 21, 1933.
This event provided a unique opportunity to appreciate the works of Li Qun, who, alongside Cao Bai (曹白) and Ye Luo (叶洛), faced arrest in October 1933 for their involvement in the Chinese Left-Wing Artists Alliance and the establishment of the “Mu Ling Woodcuts Research Association”. Their release from prison occurred in the spring of 1935. Following his period of unemployment post-release, Li Qun delved into creating impactful works such as “Three Suffering Youths” and “Spring”. Upon his return to Taiyuan in the autumn of that year, he continued his artistic journey with pieces like “Children Picking Up Trash” and “Scavengers on a Cold Night”.
The “Li Qun Solo Exhibition” held at the “Taiyuan Guild” in Zhongshan Park showcased a diverse collection of 73 artworks, including woodcuts, watercolours, pencil drawings, charcoal paintings, and Chinese paintings. The exhibition is a testament to Li Qun’s multifaceted artistic talent and his enduring commitment to artistic expression. The accompanying poster provides a glimpse into the visual richness awaiting attendees.
Additionally, a historic photograph from the winter of 1935 captures Li Qun alongside fellow progressive individuals in Taiyuan, with Li Qun positioned as the second person from the right in the image. This snapshot offers a glimpse into Li Qun’s connection with the vibrant intellectual and artistic community during that period.
The central photograph captures a portrait of Li Qun’s father-in-law, while flanking images feature Li Qun and his wife, Liu Pingdu (刘萍杜). In May 1936, Li Qun and Liu Pingdu embarked on a journey to Taiyuan, thereby delineating a pivotal moment in their individual and shared personal histories.
In 1936, at the age of 24, Li Qun made significant contributions to the realm of woodcut art with notable works such as “Picking Leaves“, “Bird“, “Still Life”, “Strike” and “Resistance“. During June of the same year, as he traversed from Taiyuan to Shanghai via Beijing, Li Qun actively participated in the “June 13” demonstration organised by students in Beijing. The event fervently called for unified anti-Japanese resistance. The accompanying photograph captures a moment at Taiyuan Railway Station during this period.
In October 1936, Li Qun found himself in Shanghai. During this time, when his wife, Liu Pingdu 刘萍杜, made the journey from Lingshi to Shanghai via Taiyuan, Li Qun’s friends, the progressive individuals Yan Lichuan and Wen Yizhai, diligently looked after her. The photograph captures Liu Pingdu, Yan Lichuan 阎丽川 (left), Wen Yizhai 温一斋 (right).
Post-1949, Yan Lichuan assumed positions such as the dean of Tianjin Academy of Fine Arts, while Wen Yizhai, also known as Wen Chunhou and later renamed Liu Yun, served as the deputy secretary-general of the Xikang Provincial Party Committee, secretary of the Sichuan Ganzi Autonomous Prefecture Party Committee, and secretary of the Party Committee of Southwest University for Nationalities.
In early 1935, after Li Qun’s release from prison, he joined the Shanghai Jingyi Advertising Company. However, due to the company’s subsequent collapse, he returned to Taiyuan in July and worked under Du Renzhi (杜任之) at the “Art News Agency”. The following year witnessed the disbandment of Du Renzhi’s “Northwest Drama Society” and “Art News Agency” due to the cessation of funds provided by Yan Xishan (阎锡山). Consequently, Li Qun found himself compelled to return to Shanghai.
During his journey to Shanghai in June 1936, he passed through Beijing, where he actively participated in the “June 13th Student Movement”. Li Qun contributed to the organisation of the demonstration, which called for an end to the civil war and unity against Japan. Subsequently, he sent a letter to his friend Wen Yizhai in Taiyuan, vividly describing the intense atmosphere of the demonstration and expressing his fervent commitment to the cause. 
In another letter, Li Qun recounted his involvement in the Shanghai people’s “September 18th” demonstration in 1936. The demonstration demanded an end to the civil war and a united front against Japanese aggression. Li Qun’s letters provide poignant insights into his active engagement in the socio-political landscape of the time.
1936 Lu Xun with pioneering woodcut artists at the Second National Traveling Woodcut Exhibition.
(Left) Front row from left to right: Ikeda Sachiko, Mr. and Mrs. Shikichi from Japan, back row: Lin Fu (林夫), Huang Xinbo (黄新波), Chen Yanqiao (陈烟桥), Bai Wei (白危), Li Qun.
(Right) From left to right: Lu Xun (鲁迅), Lin Fu (林夫), Cao Bai (曹白), Bai Wei (白危), Chen Yanqiao (陈烟桥).
On October 19, 1936, the esteemed figure Lu Xun (鲁迅) breathed his last. In a letter dated October 29 to Wen Yizhai (温一斋), Li Qun recounted the somber events: “On the morning of the 19th, I just got up, not having put on my socks or brushed my teeth, when I saw a silver-grey car parked at my door. A panicked knock followed. I thought a friend was in trouble, but it was Hirakata and Ms. Sachiko Ikeda, bearing grave news that Lu Xun had passed away at 5:25am. I rushed to Lu Xun’s house and found our mentor peacefully asleep.
The house was enveloped in sorrow. Li Qun detailed the scene, including the presence of mourning friends and the emotional atmosphere.
As the years passed, the whereabouts of the sketch of “Portrait of Lu Xun” remained uncertain. It wasn’t until 1977 that Li Qun’s eldest son, A Ming, stumbled upon a “Collection of Paintings of Mr. Lu Xun” in Hong Kong. A Ming promptly sent the painting to his father, who then replicated it.
The poignant sketches and the emotional recollections captured in Li Qun’s letter provide a glimpse into the profound impact of Lu Xun’s passing on the artist’s life and work.
Capturing Lu Xun’s Legacy:
This photograph, originally taken by Mr. Sha Fei (沙飞), a trailblazer in China’s revolutionary photography community, depicts Lu Xun’s remains. As Li Qun had painted Lu Xun’s posthumous portrait, Comrade Chen Jianhua of the Sha Fei Photography Academic Research Association presented this photo to Li Qun in 1989. Chen Jianhua, Sha Fei’s comrade-in-arms, emphasised the significance of the portrait.
Comrade Chen Jianhua 陈建华 stated on September 20, 1989, that the portrait photo of Lu Xun was given to him as a personal gift by Sha Fei.
The Shanghai Aviation News reported on Lu Xun’s funeral in October 1936. It vividly described the somber atmosphere and the presence of prominent figures, including Zhou Ling 周玲. The funeral procession, a solemn affair, moved through Tazhou Road and Jing’an Temple Road, attracting thousands.
The procession, a testament to Lu Xun’s impact, featured various dignitaries, such as Ba Jin (巴金), Zhang Tianqian (张天翼), Yao Ke (姚克) and others. The report highlighted the emotional scenes, with Mrs. Jianren (简任 Lu Xun’s wife) and her daughters visibly moved.
Fei Yi’s notable work captured key moments during the funeral, including the participation of prominent figures like Cai Yuanpei (蔡元培) and the powerful speeches that echoed Lu Xun’s ideals. Li Qun, deeply affected by the loss, contributed to the proceedings by writing heartfelt words in remembrance of Lu Xun.
International Acknowledgment:
Messages poured in from various quarters, with Nivensky, the president of the United Nations Society, expressing condolences. He acknowledged Lu Xun’s profound influence and emphasised the enduring impact of his literary legacy.
The article concludes with a Shanghai newspaper report on Lu Xun’s funeral, attached to a letter from Li Qun to Wen Yizhai on October 29, providing a poignant glimpse into the collective grief and societal recognition of Lu Xun’s unparalleled contributions.
This historical account reflects the intersection of individual tributes, societal acknowledgment, and international recognition during a crucial period in China’s cultural history.
In 1936, Li Qun relocated from Taiyuan to Shanghai, taking residence in Xinya Middle School, where Cao Bai (曹白) served as a teacher. This period marked a prolific phase for Li Qun, resulting in the creation of numerous woodcut pieces. Among them, “Portrait of Lu Xun” was sent by Cao Bai as a tribute to Lu Xun. In his response, Lu Xun, while expressing gratitude for the portrait pointed out concerns regarding the current state of China’s woodcut movement, emphasising the need for more vivid character portrayals and cohesiveness in compositions. Despite acknowledging Li Qun’s work as devoid of such shortcomings, Lu Xun advised against undue influence from the exhibition.
Subsequently, “Portrait of Lu Xun” found its place in the prestigious Shanghai monthly publication “Writer” and gained international recognition when the Japanese included it in their “Complete Collection of World Art”.
Li Qun’s notable achievements in the realm of woodcuts can be attributed to the foundational teachings received from Mr. Lu Xun, a debt of gratitude he openly acknowledged.
(Left) “Disease” Crafted in 1933. Stands as Li Qun’s inaugural woodcut following his involvement in the “Mu Ling Woodcuts Research Association” in 1933. This piece aims to depict the compassionate scene of an elderly labourer being cared for by his wife during an illness. Drawing inspiration from Lu Xun’s 1930 German woodcarver’s work “The Picture of the Minsters of Mayfield” though the original piece is no longer extant, “Disease” was meticulously reproduced from the “Lu Xun Collection of Chinese Modern Woodcut Collection” part of the “Mu Ling Exhibition” and “Mu Ling Woodcut Collection” gifted to Lu Xun.
(Right) “Resistance” 1935. Amidst the turmoil following the “September 18th Incident” in 1931, the Japanese invading forces seized control of Northeast China and continued their march southward. Concurrently, Kuomintang forces executed a strategic retreat. General Ji Hongchang’s (吉鸿昌) resolute resistance faced continuous disruption and sabotage from the capitulation faction within the Kuomintang, eventually leading to Ji Hongchang’s demise. The woodcut titled “Resistance” not only serves as Li Qun’s tribute to General Ji Hongchang, but also articulates his and the people’s fervent desire to actively oppose the Japanese invasion.
On October 10, 1933, Li Qun, Cao Bai, and Ye Luo found themselves arrested and detained by the Kuomintang Nationalist Party at the Hangzhou Art College for their involvement in the “Mu Ling Woodcuts Research Association”. Following their release in 1935, Li Qun channeled his experiences into the creation of the painting “Three Suffering Youths” capturing the essence of humiliation and resentment.
In 1936, Li Qun embarked on a journey from Taiyuan to Shanghai via Beijing, facilitated by his friend Jin Zhaoye (金肇野), who escorted him to the Tianjin port. While crossing a bridge in Tianjin, Li Qun witnessed a group of Japanese soldiers transporting goods, engaging in what was described as “armed smuggling” to evade Chinese customs inspections and tariffs. Inspired by this incident, Li Qun penned “Japanese Armed Smuggling” upon reaching Shanghai, vividly documenting scenes from Japan’s invasion of China.
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.
