Childhood 1912-1930
A village childhood Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six
Journey Along Jinsui 1946-1948
In August 1945, following the Japanese surrender, Li Qun bid farewell to Yan’an, where he had dedicated six years of work and life. He arrived in Xing County, Shanxi Province, which served as the political and cultural hub of the Shanxi-Suiyuan Border Region. There, he assumed the role of chief editor at Sui People’s Pictorial.
Post the Yan’an Forum on Literature and Art, he ardently embraced Chairman Mao’s guidance, immersing himself in grassroots engagement and aligning with workers, peasants, and soldiers. His keen interest was in promoting art for the rural masses. Now, with a broader perspective, he ventured into Shanxi and Suizhou, quickly immersing himself in the vibrant life of the newly liberated areas like Lingshi, Xiaoyi, and Fenyang in central Shanxi. He seamlessly connected with grassroots cadres and farmers, subsequently spending an extended period in Nao County in northern Shanxi (present-day Land reform in Yuanping City). This phase refined his political ideology, enriched his experiences, and fortified him for more impactful future endeavours. His future work involved efficient collaboration with the prevailing situation, serving the central cause, advocating for the masses, popularising Chinese New Year pictures, and enhancing work efficiency. He received substantial leadership recognition, garnered public acclaim, and produced notable woodcut works such as “Paying homage to Comrade Guan Xiangying“, “Portrait of Commander-in-Chief Zhu” “Portrait of Comrade He Long” “Portrait of Stalin” “Giving Horses“, “Wang Gui and Li Xiangxiang” illustrations, and New Year pictures including “Election Picture” and “Making Military Shoes”. He also collaborated with rural women on paper-cut art titled “Weaving“.
Additionally, to broaden his understanding of life and enhance his creative prowess, during the later stages of land reform, he achieved the short-term goal of completing 100 portrait sketches according to the established plan. In his spare time, he contributed commentaries such as The Rhymes of Li Youcai by Zhao Shuli.
Similar to Qiaoergou, where Yan’an’s “Lu Yi” was situated, Gaojia Village in Xing County, the location of the Jinsui People’s Pictorial Agency, held significant resonance during the war years, leaving an indelible mark on Li Qun’s life.
In July 1949, prior to the establishment of the People’s Republic of China, the inaugural national literary congress took place in Beijing. As a member of the northwest delegation, Li Qun actively participated and was elected as a presidium member and a member of the China Federation of Literary and Art Circles. Subsequently, he attended the founding meeting of the All-China Artists Association, securing the position of executive director of the National Council.
The photograph captures Gaojia Village, Yuxing County, with figures like Hu Zheng and Xirong in the middle row, alongside the statue of Comrade Long. Li Qun, in this snapshot, joins comrades from the Jinsui press literary and art circles. During this period, he crafted significant woodcuts such as “Paying homage to Comrade Guan Xiangying” and “Portrait of Commander-in-Chief Zhu“. Additionally, he collaborated with women, including Shi Guiying, on the paper-cut “Weaving“. Upon his return to Xingxian County, he assumed the role of deputy director of Jinsui County.
In 1946, Li Qun, accompanied by his wife and their eldest son A Ming, as well as their third son A Qiang, left indelible footprints in Xing County, Shanxi Province.
In 1947, alongside Marshal He Long (first from the left), Li Qun (second from the left) embarked on a journey to Caijiaya in Xing County.
Accompanied by Marshal He Long, a prominent military leader of the Communist Party of China. This journey held profound symbolic and strategic importance during the Chinese Civil War. At that time, He Long, as a key figure in the Red Army, was actively engaged in coordinating military and political efforts to strengthen the Communist forces against the Nationalist troops.
Li Qun, a respected artist known for his woodcut prints, was drawn to this historical moment, not just as an artist, but as a participant in the revolutionary effort. The trip to Caijiaya was more than just a physical journey—it was a deeply symbolic act of solidarity with the Communist cause. Li Qun’s presence on this mission was a testament to the role that artists played in the revolution, supporting the dissemination of revolutionary ideals and furthering the unity between the military and the cultural front.
By accompanying He Long, Li Qun not only had the opportunity to witness and document the resilience of the revolutionary forces but also to capture the spirit of the time in his artwork. This journey reinforced the intertwining of art and politics, with Li Qun’s work becoming an integral part of the movement, reflecting both the struggles and triumphs of the era. Through his artwork, Li Qun continued to contribute to the revolution, using his craft to document and communicate the vision and ideals of the Communist Party.
Positioned at the back right, he is joined by Feng Shuwei, Su Guang, Xirong, Hu Zheng, and Li Shaoyan in a group photo taken in Gaojia Village, Xing County. Niu Wen, seen on the left in the picture, was among the literary and art workers who participated. The image captures the camaraderie of the group, showcasing their shared commitment to publications like “Niu Wen and Masui Daily”, “Jinsui Dazhong Daily” and “Jinsui People’s Pictorial”.
In that autumn, Li Qun, along with his creation of woodcuts like “Election Picture” and “Making Military Shoes” also penned “Three Talks” (Li You). Notably, he crafted the woodcut “Giving Horses” and contributed illustrations and New Year pictures, leaving an enduring mark in 1948. In 2008, after his involvement in the land reform in Nao County, Li Qun returned to Xingxian County.
In September 2008, the curator of this “Pictorial Biography” undertook a visit to Gaojia Village, Xing County, Shanxi, the former site of the Shanxi-Sui Federation of Literary and Art Circles and “Jin-Sui People’s Pictorial”. Bai Zhenfa, aged 73, and local officials guided us through the remnants that have transitioned into historical artefacts. The ruins of cave dwellings and courtyards (Right Photos) bear witness to stories known to those who lived there. In the courtyard from Bai Zhenfa’s childhood (Left Photo), cave dwellings stands where staff from the “Jinsui People’s Pictorial” and “Jinsui Daily” once resided. Bai Zhenfa shared that he had witnessed the development of this very space.
In 1946, during Li Qun’s rural sojourn in Xiaoyi County, he encountered Shi Guiying, an expert in textiles and paper-cutting, in Dongxiaojing Village. Li Qun provided an outline of a weaving pattern and enlisted Shi Guiying’s expertise to transform it into window grilles. While respecting the original design, Shi Guiying enhanced the overall composition and decorative elements. For instance, by adjusting the perspective, she revealed both legs, lending greater beauty to the image. The intricate details on the clothing and hairpins reflected a keen sense of personality, capturing the essence of life and artistic flair. This collaborative paper-cut, titled “Weaving” holds a special place for Li Qun, serving as a cherished memento of his initial experiences in the newly liberated areas and a delightful memory of his collaborative ventures over the years.
For reasons unknown, “Weaving” was later featured in a “Chinese Print Collection” published in Germany alongside Chinese woodcuts. While Shi Guiying may not have been aware of this international recognition, her name resonates with Chinese and foreign admirers.
Comrade Guan Xiangying, hailing from Dalian City, Liaoning Province, was a Red Army veteran who served as the political commissar of the 120th Division of the Eighth Route Army and secretary of the Shanxi-Sui Branch of the CPC Central Committee. Following his demise due to illness in Yan’an in 1946, the military and civilians of the Shanxi-Suiyuan Border Region organised a grand public memorial ceremony in his honour. Li Qun actively participated in this public tribute and crafted the woodcut, “Paying homage to Comrade Guan Xiangying” as a commemorative piece.
The content of the pictorial primarily consisted of serialised comics because comics can illustrate the process of development, serving as the most effective artistic form to promote the party’s policies and educate the masses through storytelling. Initially published twice a month with a print run of three thousand copies per month, the pictorial gained popularity among farmers. Before its discontinuation, each issue increased to four thousand copies, and Li Qun considered this a meaningful endeavour. Due to staffing constraints related to land reform work, “Jin Sui People’s Pictorial” ceased publication in May 1947. From its founding in January 1946 to its discontinuation in May 1947, a total of 32 issues were published. Although the pictorial existed for only a year and four months, its impact and influence were significant. It was a testament of Li Qun and his comrades, providing accountability to the people and showcasing their brilliance in just over a year.
Representing the will of the people, Li Qun actively participated in the land reform movement in Chu County (now Yuanping City) within the Shanxi-Sui Border Region in 1947. Upon returning to Xing County, he crafted the “People’s Representatives Election” in 1948, featuring characters who played a role in the “Land Reform” in Guo County, reflecting the involvement of the masses. Following lithography, the artwork was published in the supplement of “Tianjin Daily” and received acclaim from a female painter at the Central Academy of Fine Arts. During the twelfth lunar month of that year, Li Qun set up a street stall in Renyi Ancient Town during the Spring Festival, selling the “People’s Representatives Election” picture to gauge the reception among the masses. The overwhelming success, with all the New Year pictures selling out, reaffirmed the deep appreciation of farmers for his works and bolstered his determination to engage with rural communities.
Woodcut “Giving Horses” created in 1948, addressed Commander He Long‘s call to donate surplus horses to poor military martyrs. This initiative aimed to help them overcome production challenges. Initially, the woodcut depicted an elderly individual, prompting criticisms from painters Niu Wen and Su Guang for its portrayal. Acknowledging the validity of the critique, Li Qun later re-engraved the piece, emphasising the strength of the military martyrs, earning widespread praise.
During the inaugural National Literary Congress in 1949, “Giving Horses” featured in the first National Art Exhibition. Subsequently, it was selected for inclusion in the “New China Print Collection” published by Shanghai Chenguang Publishing Company.
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.
