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, found himself advancing into a new chapter in the aftermath of the storm, standing on the edge of a “sinking boat” and in front of an “ailing tree” metaphor for the arts that was almost nonexistent during the ‘”Gang of Four” era, but now with tremendous possibilities.

In early 1977, after returning to Taiyuan from his hometown, Li Qun, despite being sixty-five, continued to serve as the Vice Chairman of the Provincial Federation of Literary and Art Circles and a member of the Standing Committee of the Provincial CPPCC. Subsequently, he assumed the presidency of the Shanxi Painting Academy and the honorary presidency of the Shanxi Academy of Fine Arts. His active involvement continued, with his participation in the 4th National Congress of Literary and Art Circles in 1979, where he was elected as a member of the All-China Federation of Literary and Art Circles and an executive director at the third member representative conference of the National Artists Association.

In 1980, he played a pivotal role in the establishment of the National Woodcuts and Printmakers Association, assuming the positions of vice chairman and editor-in-chief of Woodcuts and Printmaking magazine. Even at the age of 83 in 1995, he was honoured as the elected honorary chairman.

Post-1977, Li Qun was frequently invited to give lectures, conduct woodcuts and printmaking training classes, judge art competitions, or simply engage in leisurely pursuits like sightseeing. His travels spanned the northwest, northeast, southwest, Jiangnan, Hainan, and even overseas destinations. He explored places he had long yearned to see as a painter, including Northern Xinjiang, Southern Xinjiang, Daxinganling, Xishuangbanna, “Ends of the World”, Dunhuang, Daqing, Lushan, Terracotta Warriors, Huangguoshu, Hong Kong, Macao, and revisited his alma mater, now the China Academy of Art, formerly National Hangzhou Art College.

Inspired by apricot blossoms in spring rain, river maples, and fishing fires, Li Qun found creative inspiration everywhere he went. He absorbed the vitality of Cangshan Mountain, reflecting on the past and present, refining and summarising, recording and sketching. His life was significantly enriched by the beautiful water of Lingyan, giving rise to numerous works such as “Portrait of Premier Zhou“, “Landscape of the Yangtze River“, “Clear Spring“, “In the Forest“, “Deer Park“, “Goldfish“, “Spring Breeze“, “Tianshan Summer“, “New Trend in Sight“, “Summer Breeze“, “Early Spring“, “Early Spring in the Northland“, “Spring Arrives in Dongting Lake”, “Red Panda“, “Raising Lulu Flowers“, “Lakeside“, “Heilongjiang Autumn“, “Platanus”, “Coveting“, “Early Spring“, “Returning Late on a Spring Evening“, “Farm Guard” and many others, representing the fruitful results of a renewed “spring breeze”.

Moreover, since 1983, Li Qun produced a collection of innovative Chinese flower and bird paintings. His artworks were showcased in solo or group exhibitions across Taiyuan, Beijing, Shenyang, Changchun, Harbin, Guangzhou, Dalian, Qingdao, Yantai, Hong Kong, Taiwan, and his hometown, Lingshi County. They were also featured in exhibitions, selections, collections, acquisitions, and displays in the United Kingdom, the United States, France, Japan, Russia, Denmark, Yugoslavia, Singapore, Australia, Tanzania, Ghana, and other African countries.

In parallel with his artistic achievements, his collection of art essays, “The Fragrance of Plum Blossoms Comes from the Bitter Cold” was officially published, and “Selected Prints of Li Qun” received official publication status. His literary works, including “My Paradise”, “Ma Lanhua”, “The Story of the Wild Girl” and “My Artistic Career” were officially released, with “My Paradise” earning awards in Shanghai and Shanxi. Additionally, his scattered articles in various domestic newspapers and periodicals, along with the influential controversy stemming from “My Dialogue with Writers” highlighted his role as a responsible member of the Chinese Writers Association.

In recognition of his immense contributions, Li Qun was honoured with the “Outstanding Contribution Award for China’s Emerging Woodcuts and Printmaking” from the Chinese Artists Association and the Chinese Woodcuts and Printmakers Association. The Shanxi Provincial Party Committee and the Provincial Government bestowed upon him the title of “People’s Artist” and he was granted a special allowance by the State Council. The Japan-China Art Exchange Center awarded him the “Gold Award for Contribution”.

The era of reform and opening up infused China with vitality, ensuring Li Qun remained robust and full of life well into ancient times. Truly, it can be said that “the dragon still reigns at dusk, and the old trees bloom even more in spring”.

In 1979, Li Qun and his children (from right to left: Hao Tian, Hao Ming, Hao Lan, Hao Hong, Li Qun, Hao Li, Hao Xia, Hao Xiang, Hao Qiang).

In the aftermath of dismantling the “Gang of Four” Li Qun returned to Taiyuan from his hometown, Hao Jia Zhang Village in Lingshi, in 1977. He assumed the role of Vice Chairman of the Shanxi Federation of Literary and Art Circles and became a member of the Standing Committee of the Provincial Committee of the Chinese People’s Political Consultative Conference.

Initially, Li Qun faced challenges stemming from lingering factional interference from the “Cultural Revolution” hindering the smooth progress of his work. However, the unwavering enthusiasm of his family members consistently provided him with a sense of warmth. A poignant moment was captured in the autumn of 1979 when the entire family posed for a group photograph at the Taiyuan South Cultural Palace.

After returning to Taiyuan in 1977, Li Qun initially resided in the South Cultural Palace before relocating to the modest quarters at the Qiaodong Xiugan Office of the Provincial Party Committee. This remained his residence until his move to Beijing in 2001. The image captures Li Qun’s former abode at the Xiu Gansuo residence of the Provincial Party Committee on Jinsong Road, Taiyuan, taken by Zhang Yingkang in 2008.

In 1984 This family photograph with New Zealand born grandchildren visiting China for the first time was taken during their stay at the residence of Xiu Gansuo, the Provincial Committee of the Communist Party of China, Jinsong Road, Taiyuan. This period marked the commencement of a new chapter in the opening calendar year.

In the inaugural year of the calendar in 1978, Li Qun received an invitation to deliver lectures and conduct woodcuts and printmaking training sessions in Ili, Xinjiang. He also took part in a symposium in Urumqi during a joint exhibition featuring printmaking from the five northwest provinces. A group photo taken after the symposium depicts Li Qun in the fifth position from the right in the front row, with Chang Shuhong in the seventh position from the right in the same row.

In 1979, Li Qun embarked on a journey to Hangzhou, accompanied by Jiang Feng in the middle.

In the autumn of 1978, Niu Wen (second from the left), Li Qun (fourth from the left), and Song Kejun (first from the left) visited the hometown of Qiu Shaoyun in Tongliang County.

In the inaugural month of the open calendar year, Li Qun saw significant developments in his career. Following the conclusion of the “Cultural Revolution” he achieved notable recognition by being elected as a member of the China Federation of Literary and Art Circles and appointed as an executive director of the Chinese Artists Association at the Fourth National Congress of Literary and Art Circles held in 1979. In the period surrounding these events, Li Qun crafted the black and white woodcuts “Portrait of Premier Zhou” and “Landscape of the Yangtze River“. In December of the same year, he actively participated in the editorial board meeting for “An Anthology of Fifty Years of Emerging Chinese Woodcuts and Printmaking” held in Shanghai. A group photo from the conference captures Li Qun alongside Gu Yuan (second from the left) and other editorial board members.

Additionally, Li Qun played a role in the editorial board meeting for “Selected Works of Li Shusheng, Yan Han, Lu Meng, Li Qun, Wang Qi, Jiang Feng, Yang Keyang, and Li Nian”. During this meeting, editorial board members gathered for a group photo and signed their names. Notably, on December 20, 1979, Li Qun took part in the “50th China Emerging Woodcuts and Printmaking Exhibition” in Shanghai.

(Left) In the opening month of the calendar year, Li Qun achieved success in a lecture series. The image above captures Li Qun’s demeanour during his previous speeches, showcasing his engagement in discussions. The lectures delved into the theory and practical aspects of spiritual civilisation and cultural construction, emphasising literary and artistic creation.

(Right) In the image below the Yan’An pagoda, the transformation in the literary and art symposium in Lingshi is portrayed, reflecting Li Qun’s personal reflections on his participation. This narrative is interwoven with intricate details about Jingshi. Around 1980, Li Qun received numerous invitations to deliver talks in various locations, where he shared compelling stories from Yan’an.

In the inaugural year of Wanju’s trendy brand, 1980 marked a significant period for Li Qun, who, at the age of 68, continued his artistic endeavours by creating several impactful black and white woodcuts, including “Clear Spring“, “In the Forest“, “Deer Park“, “Goldfish” as well as coloured woodcuts such as “Spring Breeze“, “Tianshan Summer” and “New Trend in Sight“. Concurrently, he assumed the role of President at the Shanxi Painting Academy. In the accompanying images, Li Qun is seen actively engaged in his creative process. On the left, he carves the colour woodcut “A Trend is in Sight” and on the right, he meticulously drafts the artwork “Clear Spring”.

April 19, 1980, witnessed the official establishment of the Chinese Woodcuts and Printmaking Artists Association. The photograph captures participating artists during the conference in Huangshan. Seated in the front row are prominent figures such as Li Shaoyan, Li Qun, Hua Junwu, Cao Bai, Li Hua, Yan Han, and Wang Qi, joined by Gu Yuan, among others.

During the inaugural year of the national calendar, Li Qun played a significant role in the establishment of the Chinese Woodcuts and Printmakers Association. At the founding meeting held in Huangshan on April 19, 1980, he was elected as the vice chairman of the Woodcuts and Printmakers Association and assumed the position of editor-in-chief for Printmaking magazine.

Li Qun alongside fellow woodcuts artists and printmakers attending the conference. In the front row, notable figures include Li Qun, Li Shaoyan, Niu Wen, Gu Yuan, and Yan Han.

During the inaugural year of the national calendar, Li Qun played a significant role in the establishment of the Chinese Woodcuts and Printmakers Association.

At the founding meeting held in Huangshan on April 19, 1980, he was elected as the vice chairman of the Woodcuts and Printmakers Association and assumed the position of editor-in-chief for Printmaking magazine.

(Right) Li Qun alongside fellow printmakers and art scholars attending the conference. In the front row, notable figures include Li Qun, Ai Wei Wei’s father Ai Qing and mother Gao Ying, Li Shaoyan, Niu Wen, Gu Yuan, and Yan Han.

(Left) On May 10, 1980, amidst the “Li Qun Woodcuts Exhibition” at Beihai Park in Beijing, Li Qun shared a memorable moment by posing for a group photo with foreign students visiting from the Woodcuts and Printmaking Department of the Central Academy of Fine Arts.

(Centre) On September 10, 1980, during the showcase of the “Li Qun Woodcuts Exhibition” at Heilongjiang Art Museum, Li Qun seized the opportunity to capture another group photo, this time alongside woodcuts artist and printmaker Du Hongnian and other colleagues.

(Right) Maintaining his artistic discipline, Li Qun continued to carry a sketchbook wherever he went, adhering to his enduring habits. In 1981, during a lecture in Hunan, he visited the zoo and sketched red pandas, showcasing his commitment to capturing interesting moments. Notable works from this period include black and white woodcuts such as “Summer Breeze” and “Early Spring” along with colour woodcuts like “Early Spring in the Northland”, “Spring Arrives at Dongting Lake” and “Red Panda”.

In the pursuit of artistic expression, numerous themes demand portrayal as artworks. Amidst the rugged loess plateau, Li Qun consistently sensed the untold stories waiting to be unveiled. For an extended period, Linxian County remained part of the Shanxi-Sui Border Region, constituting a region of significant interest for Li Qun.

In 1982, amidst the Shanxi Art Work Conference, he captured poignant images in Linxian, marking a chapter in his artistic exploration.

In 1983, Li Qun, surpassing the age of seventy, maintained his unwavering commitment and diligence. During this year, he crafted five woodcut illustrations for Ma Feng’s novel anthology and produced 31 woodcut illustrations for his essay collection, “My Paradise“. Additionally, he created the colour woodcut “Lakeside” and initiated the compilation of his personal collection of art critiques, titled “The Fragrance of Plum Blossoms Comes from the Bitter Cold” and “Selected Prints of Li Qun”.

Towards the end of the year, the “Li Qun and Niu Wen Painting Exhibition” adorned the new structure of the Lingshi County Cultural Center in his hometown. The accompanying image captures him alongside key figures from the province, prefecture, and county, offering a behind-the-scenes glimpse of the exhibition. Noteworthy attendees included Su Guang (fifth from left) and Hu Zheng (sixth from left), as well as the event’s organisers.

Commemoration of the “Li Qun Niu Art Exhibition”. During the inauguration of the Li Qun and Niu Wen painting exhibition at the new Lingshi Cultural Center building, Su Guang (right), then chairman of the Shanxi Artists Association, and Yang Dachun (left), then secretary of the Lingshi County Party Committee, participated in the ribbon-cutting ceremony. (December 10, 1983)

(Left) One day in 1982, Li Qun was painting in Taiyuan South Cultural Palace. (Centre) Together with painters Yang Lizhou and Wang Yingchun in Jinan (1985). (Right) In 1983, he visited Xiaoxitian in Xi County.

In 1989, Li Qun, accompanied by woodcuts artist printmaker Dong Zhongzhi, embarked on a meaningful pilgrimage to the hometown of Zhao Shuli in Qinshui County, Shanxi Province. The purpose was to pay respects at the tomb of Zhao Shuli, a revered figure in Li Qun’s life. The individual standing on the right in the photograph is Zhao Sanhu, the son of Zhao Shuli.

Reflecting on a separate occasion in 1988, Li Qun exuded vitality on the tennis court in Taiyuan during the sweltering summer, showcasing his enduring energy even at the age of 76.

(Left) The Dry Gallery Sketch Art Exhibition marked a significant moment in Li Qun’s artistic journey, capturing the essence of his creative prowess. In attendance were Li Qun, accompanied by the esteemed Cao Bai couple, with Hao Xiang, the fourth son of Li Qun, pictured on the right.

(Centre) He also participated in the opening ceremony of Yan Han’s painting exhibition, sharing the frame with Mrs. Wang Qi, Wang Qi, and Yan Han.

(Right) Additionally, a momentous encounter is documented as Li Qun engages with Liu Xun, the Chairman of the Beijing Artists Association.

(Left) Another notable event was the opening ceremony of Wang Shikuo’s Sketch Art Exhibition, where Li Qun held a prominent position, standing fourth from the right. (Right) Even at the age of 80 in 1991, Li Qun continued to radiate enthusiasm and dedication to his craft. A photo captures his joy during a visit to Yinchuan.

(Left) From December 4th to 10th, 1992, the Shanxi Provincial Art Delegation, under the invitation of Mr. Yoichi Mei from the Japanese Artists Association of Saitama Prefecture, Japan, engaged in a cultural exchange visit. Chinese and Japanese artists participated in extensive artistic dialogues during this period. The attached photograph captures a group moment after one such symposium. Li Qun is positioned second from the right in the front row, beside him is Dong Zhongzhi on the first left, and Yao Tianmu on the first right.

(Right) In commemorating Li Qun’s 60th anniversary of his artistic career and 80th birthday, a celebration was jointly organised by the Lingshi County Party Committee, the county government, and the Shanxi Federation of Literary and Art Circles on December 25, 1991, at the Taiyuan Lingshi Office. Following the event, Li Qun and his wife were photographed with leaders and key individuals from the Lingshi County Party Committee, County Government, and Jinzhong Federation of Literary and Art Circles.

On November 17, 1992, the Chinese Artists Association, in collaboration with the Shanxi Federation of Literary and Art Circles and Shanxi Artists Association, jointly organised the “Academic Symposium on Comrade Li Qun’s 60 Years of Art Creation and 80th Birthday Celebration” in Taiyuan. Preceding this event, the September edition of “Spark” a literary monthly sponsored by the Shanxi Federation of Literary and Art Circles, featured articles by Ai Qing, Hu Zheng, Dong Zhongzhong, and Han Huimin, titled “Commemorating Li Qun’s 60 Years of Artistic Career” as the leading column. The image below displays the cover of this particular issue of “Sparks” featuring Li Qun’s woodcut, “Spring Arrives at Dongting Lake“.

Contents of the September 1992 issue of “Spark”. Poet Ai Qing’s article “Lyric Poems on Woodblocks”. Writer Hu Zheng’s article “The morning glow and sunset are all brilliant”. Woodcuts artist and printmaker Dong Qiqi’s article “An Old Artist’s Road to Success”

In August 1989, after attending the National Publishers Association Executive Council in Shandong, a photograph was taken in Qufu. From left to right: Jiang Bibo, Xie Niu, Li Xiqin, Wang Qi, Gu Yuan, Li Qun, Niu Wen, and Song Yuanwen.

During the period of China’s reform and opening up, a selected work emerged – “Portrait of Premier Zhou” painted in 1979.

In 1979, Li Qun, who had traversed the regions along the Yangtze River for several years, meticulously depicted the “Yangtze River Landscape“. His affinity for diverse architectural styles is evident in his work. This masterpiece was subsequently featured in the “Sixth National Woodcuts and Printmaking Exhibition” held at the National Art Museum of China on November 8 of the same year.

Inspired by the poetic and artistic sight of willow silk gently swaying in the cold wind outside his window, Li Qun sketched and created “Spring Breeze“. Although the Fen River in the artwork hasn’t fully thawed, the presence of white clouds, chirping birds, and the overall atmosphere signify the arrival of spring. Li Qun aptly named this woodcut, crafted in 1980, “Spring Breeze”. Astute observers can’t help but be transported into the warm spring ambiance depicted within the houses and people of the painting.

“In the Forest” crafted by Li Qun at the age of 69, gained widespread popularity. The squirrel featured in the artwork, affectionately known in Chinese as “Maogeli” in Li Qun’s hometown, held a special place in his heart since childhood. Even in his later years, he kept a squirrel in a cage. In late autumn 1978, while passing through Maiji Mountain upon his return from Xinjiang, Li Qun witnessed several squirrels frolicking on a tree with all its leaves—an enduring image. However, when he later sketched the scene, his youngest daughter A Xia remarked that it lacked cuteness. Reflecting on her observation, Li Qun realised it might have been too realistic. During the revision, he focused on enhancing facial expressions and introduced moderate exaggerations in the body. This adjustment garnered approval, and he carved it in a single session.

In March 1980, during the “Li Qun Woodcuts and Printmaking Exhibition” organised by the Shanxi Artists Association to commemorate the 50th anniversary of the left-wing cultural movement, “In the Forest” emerged as a crowd favourite. In April of the same year, at the founding ceremony of the China Woodcuts and Printmakers Association in Huangshan, spectators praised “In the Forest” affirming that “Li Qun never grows old”.

In 1983, “In the Forest” found a place in the National Library of France’s collection, subsequently being exhibited in six countries, including Tanzania and Ghana.

In 1978, Li Qun was invited to deliver lectures and provide guidance in woodcuts and printmaking training classes in Ili, Xinjiang. Seizing the opportunity, he collected ideas and produced numerous sketches and woodcut drafts. Crafted in 1980, the colour-blocked woodcut “A New Trend in Sight” portrays two Uyghur girls surveying and mapping on the rooftop of a house. Evidently, a new planning and design initiative is underway, heralding the anticipated construction of a new city.

During the initial stages of reform and opening up, a pervasive sense of optimism and hope for change permeated society. The vibrant depiction of potential prosperity in the artwork evoked a collective yearning for a better future.

“Tianshan Summer” crafted by Li Qun in 1980 upon his return to Taiyuan, draws inspiration from sketches executed in the forests of the Xinyuan Forest Farm in Ili, Xinjiang. The painting deviates from a faithful representation of colours, opting instead for a bold approach using the hues found in the caisson patterns of the Dunhuang Grottoes. Ultramarine blue adorns the shrubs, while the sky is painted in refreshing greens, resulting in an extraordinary and captivating colour palette.

The artwork portrays towering pine trees, crystal-clear waterfalls, deer quenching their thirst nearby, and a distant corner of a tent. Concealed within the lush and vibrant scenery are the endeavours of forestry workers. Despite the midsummer setting, the painting imparts a sensation of coolness and beauty to its observers.

“Clear Spring” conceived by Jiu Yi and painted in 1980, exemplifies a distinct Chinese woodcut style. In 1981, the artwork was featured in the “50th Anniversary Exhibition of Emerging Woodcuts in China” held by the “French-China Friendship Association” at the Grenopol City Cultural Center. Li Qun’s “Clear Spring” adorned the exhibition poster, and the album cover released concurrently showcased “Clear Spring” with a 4/5 layout.

Traditionally, it was believed that the prevalence of black patches in woodcut images characterised Western woodcuts. In an effort to adhere to a national style and align with Chinese aesthetic preferences, woodcut images were technically crafted with minimal black patches, employing more positive lines. Li Qun’s evolving understanding, influenced by traditional Chinese calligraphy, various calligraphy rubbings, and picture rubbings, led him to question why Chinese prints couldn’t be rendered against a black background.

With this revelation, “Clear Spring” boldly embraced a significant black area to enhance the depiction of flowing spring water. Water plants, swayed by the breeze, were delicately scattered along the water’s edge. The result was a vivid portrayal exuding a distinctive Chinese spirit. Unsurprisingly, “Clear Spring” received acclaim both in China and abroad, with one watercolour painter expressing that, having seen it at an exhibition in Guangzhou, “Clear Spring” surpassed even “In the Forest”.

The creation of “Red Panda” originated in Changsha, Hunan. In 1981, during a lecture tour in Hunan, Li Qun visited Changsha Zoo and sketched his beloved red panda. Additionally, in the hotel courtyard during this period, he captured the essence of a rare northern French plane tree on canvas. Upon returning to Taiyuan, he transformed his sketches into the artwork “Red Panda” which went on to participate in the “Chinese Printmaking Exhibition” held in Denmark in 1983.

“Early Spring in the Northland” crafted in 1981, is widely regarded as one of Li Qun’s masterpieces from the 1980s. This painting made an appearance at the 1982 Art Exhibition in Paris, specifically at the Spring Salon Exhibition. In 1980, Li Qun, alongside printmaker Du Hongnian, journeyed to Heilongjiang, where they sketched various scenes, including one along the Huma River depicting red willow bushes in the swamp—later becoming the basis for “Early Spring in the Northland” a piece showcased in the 1982 Paris exhibition.

In 1980, Li Qun and printmaker Du Hongnian embarked on a journey to the Heilongjiang River. The mid-autumn scene unfolded with birches and poplars along the shore bathed in golden hues. Set against the distant blue mountains, the spectacle was breathtaking and left a lasting impression on Li Qun. Upon returning to Taiyuan, he recreated the enchanting scenery in the painting “Heilongjiang Autumn“.

Across the Heilongjiang River stood the Soviet Union’s “Observation Pavilion”. In an era marked by uneasy Sino-Soviet relations, did the elements within the artwork echo a call for peace or serve as a warning? The painting, with its subtle nuances, leaves room for readers to interpret and ponder.

North Wudang Mountain, known as “Zhenwu Mountain” and “Dragon King Mountain” in ancient times, is situated in Fangshan County within the Luliang Mountains of Shanxi Province. It stands as one of the Taoist sacred sites in northern China, designated as a national key scenic spot. In 1991, Li Qun visited this serene locale, spending a night in the grotto beneath the Zhenwu Temple before ascending to the temple the following day. During his descent, he sketched the Zhenwu Temple from Guisheling, capturing the essence of the scene and later creating “North Wudang Mountain“. The painting exudes nobility and elegance, seamlessly blending movement and stillness, while a magpie gracefully enters the frame, imparting an ethereal quality to North Wudang.

The Dawn of a New Era 1977-1997

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