Childhood 1912-1930
A village childhood Li Qun’s roots trace back to a quaint mountain village, an enclave characterised by a mere six
War of Resistance to Japan 1936-1938
Following the Marco Polo Bridge Incident on July 7th, a significant event unfolded in Shanghai known by the Chinese as the “August 13th” Anti-Japanese War (Second Sino-Japanese War). It marked a critical juncture for the Chinese nation, prompting a collective response from those unwilling to endure subjugation. The call to action resonated with the spirit of unity, urging individuals to metaphorically construct a “New Great Wall” with their unwavering resolve.
Li Qun, alongside numerous progressive young individuals, seized the opportunity to contribute to the resistance efforts. Assessing his circumstances, he promptly enlisted in the “Shanghai National Salvation Drama Troupe Sixth Team” engaging in activities across Zhejiang, including Jiaxing, Wuxing, Wuzhen, Nanxun, and Huzhou. Through lectures, performances, and creative expressions like the square drama “Put Down Your Whip” Li Qun actively promoted crucial wartime knowledge such as air defence, virus prevention, vigilance against traitors, and the fight against enemy forces.
In quick succession, he secured a position at the Anhui Provincial No. 1 People’s Education Center, assuming the role of editor-in-chief for the newspaper “Everyone Read Daily” and establishing the woodcut illustrated magazine “Iron Army”. Despite grappling with illness, he maintained a resilient spirit, creating impactful woodcut works like “Anti-Japanese War“, “Suffering Compatriots”, “Clothes for the Soldiers” and “The Life of a Soldier” among others.
By the spring of 1938, the closure of the “Popular Education Center” due to war setbacks prompted Li Qun to align with revolutionary patriots and travel to Wuhan. In this vibrant hub, Li Qun collaborated with prominent figures such as Comrade Zhou Enlai (周恩来), Guo Moruo (郭沫若), Tian Han (田汉), and Xu Beihong (徐悲鸿). After Li Qun arrived in Wuhan, he first co-founded the “Woodcut Artists Association” with artists such as Mada, organising woodcut training classes. Later, he also joined the Fine Arts Department of Santi Hall, working together with painters such as Li Keran (李可染), Wang Shikuo (王式廓), Ye Qianyu (叶浅予), Lai Shaoqi (赖少其), Wang Qi (王琦), Luo Gongliu (罗工柳), and others. He played a pivotal role in establishing the “Woodcarver Association” conducting woodcarving training, and joining the Art Department of the Third Hall. Notably, he contributed to the formation of the “All-China Art Circles Anti-Enemy Association” and the “All-China Woodcut Circle Anti-Enemy Association” becoming the executive director of the latter—the first national organisation initiated by China’s Emerging Woodcuts since 1931.
During this period, Li Qun authored essays and woodcut works, including “Defending the Motherland” and the “Anti-Japanese War“. His commitment extended to compiling and publishing the “National Woodcut Anthology” and contributing essays to the “July” magazine edited by Hu Feng (胡风). In a strategic move, Li Qun joined the drama department organised by Guang Weiran (光未然) to conduct publicity in various theatres.
In anticipation of Wuhan’s impending fall on September 9, 1938, Li Qun, fuelled by a sense of duty, registered and departed for the Second War Zone and Yan’an with the third drama team, affirming his dedication to the resistance cause.
In September of the same year, Li Qun further expanded his involvement by joining the “Third Troupe of the Anti-Enemy Drama Troupe” an initiative led by the Political Department of the Military Commission under the guidance of the Communist Party. This theatrical endeavour took him to performances in Shanxi and Yan’an. The accompanying image captures a group photograph featuring Li Qun alongside comrades from the San Ting Art Department during their time in Wuhan. In the front row are figures like Luo Gongliu (罗工柳), and on the right Liu Pingdu (刘萍杜 Li Qun’s wife). Positioned second from the right in the back row is Li Qun.
In the early days of the Anti-Japanese War in 1938, Li Qun’s engagements evolved in response to the unfolding circumstances, with a notable inclination to traverse regions both north and south. During the spring of that year, he made a journey from Taihu County, Anhui Province, to Wuhan, where he assumed a role in the Art Section of the Art Department within the Third Department of the Political Department of the Military Commission of the National Government.
In collaboration with fellow activists such as Ma Da and Liu Jian’an, he actively contributed to the groundwork for establishing the “China National Woodcarving Association to Resist the Enemy”. By June, the association had been formally established, and Li Qun was elected as its executive director. Concurrently, he played a pivotal role in the founding meeting of the “All-China Art Circles Anti-Enemy Association” where he secured a position as a director.
This snapshot, taken in Wuhan in 1938, includes notable figures such as Ma Da (马达), Wang Wenqiu (王文秋 Ke Lan’s 柯蓝 wife), Li Yang (力杨), Li Qun, Li Keran (李可染), Lu Hongji (卢鸿基), and Liu Pingdu (刘萍杜), signifying a collective commitment to the Party’s lofty mission in the challenging landscape of anti-Japanese resistance.
(Left) In 1938, Li Qun embarked on a journey northward to Wuchang, not merely as a traveler but as an observer of the landscape, deeply moved by the unfolding destiny of the nation. In the centre of a poignant moment stands Li Qun, flanked by Liu Pingdu on the left and An Lin (安林) on the right.
(Right) The profound significance of this encounter prompted the desire to immortalise the occasion through a group photograph—a moment considered invaluable. As their paths converged briefly, conversations flowed freely, fuelled by the shared aspiration to pursue studies at Yan’an Shaanbei Public School. Following a brief sojourn in Wuhan, Li Qun found himself integrated into the third team of the Anti-Enemy Drama Troupe, while Liu Pingdu prepared to embark on a northern journey dedicated to anti-Japanese propaganda efforts.
In the year 1938, Li Qun, along with his elder sister, Li Ying (力英), and second sister, Li Ni (力妮), actively participated in the resistance against Japan. Both Li Ying and Li Ni served as soldiers in the Second Column of the Shanxi Anti-Japanese New Army. A fortuitous encounter unfolded in the winter of that year when the three siblings crossed paths in Quanziping Village (泉子坪村) , Xi County, Shanxi Province. During this momentous occasion, Comrade Peng Hourong (彭厚嵘), a member of the third team of the Anti-Enemy Theatre Troupe to which Li Qun belonged, captured a photograph of the siblings.
Following the political changes post-1949, Quanziping Village fell under the jurisdiction of Liangjiazeng Township, Lingshi County.
Li Qun’s artistic creation, “After the Enemy Plane Leaves” (left), gained prominence when published in “Guo Feng Daily Newspaper” on October 3, 1938. This treasured newspaper clipping, presented to Li Qun by Comrade Zhou Kenan (周克难) of the Shaanxi Provincial Mass Art Museum on June 6, 1990, stands as a testament to Li Qun’s enduring commitment.
The adjacent article, titled “Growing Up in War” authored by Mr. Guang Weiran, accompanies Li Qun’s artwork. The convergence of these pieces reflects a profound narrative of growth and resilience during challenging times.
Additionally, Li Qun’s poignant creation, “The War of Resistance” showcased in “Guo Feng Daily” on October 5, 1938, echoes the spirit of bravery and heroism. This masterpiece, bestowed upon Li Qun by Comrade Zhou Kenan of the Shaanxi Provincial People’s Art Museum on June 6, 1990, remains a symbol of unwavering dedication to artistic expression.
Sealed with the engraving of power and determination, Li Qun’s artworks encapsulate the indomitable spirit prevailing during the fight against the invading forces and economic challenges.
(Left Photo) Li Qun and Liu Ping Du in 1939. (Right Photo) Wuhan in 1938, features Li Qun positioned second from the left, with Liu Ping Du positioned front left.
In 1939, Li Qun accompanied the third team of the Anti-Enemy Theater Troupe on their journey to Yan’an. Upon reaching Yan’an, he assumed the role of director of the art department at the “National Revolutionary Art Academy” in Yichuan. During this time, Li Qun actively engaged in creating woodcut works such as “People in the Storm“, “Transport” and “Intensifying Production“.
During the anti-Japanese war in 1938, the third team of the Anti-Enemy Theatre Troupe embarked on a journey from Wuhan to Xi’an, then continued to Shanxi, and finally reached Yan’an. This dedicated group of intellectuals displayed fervour and determination, steadfastly contributing their efforts to the ultimate victory of the Anti-Japanese War. In the provided photograph, Li Qun is the second from the right. Each member, including him, wore military uniforms with a dignified posture.
In 1939, Li Qun participated in a group photograph with comrades at the “National Revolutionary Art Academy” in Yichuan, Shaanxi Province. The occasion was a farewell gathering for Comrade Zhuang Yan (庄言), who was returning to the Anti-Enemy Theatre Troupe. Notably, Zhuang Yan sits first from the left in the second row, Li Qun sits second from the left, and An Lin (安林) stands third from the left in the second row. Liu Ping Du is situated second from the left in the third row. (Photograph captured by An Lin)
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.
