“Drink” created in 1940, stands as a tribute to the industrious working class, honouring their diligence, modesty, and robust health. Cai Ruohong, in his insightful commentary within his book “Barefoot People’s Paradise” expressed a particular fascination with this piece. Notably, “Drink” earned a prestigious place in the collection of the British Museum in London in 1999 and the Art Gallery of NSW Australia in 1995.
Crafted in 1940 “Listening to the Report” vividly praising the spirit of learning among the residents of Yan’an. Capturing the vibrant scenes that Li Qun experienced upon his arrival in Yan’an, this woodcut found its prestigious home in the National Gallery of Australia in Canberra during Li Qun’s “Retrospective Exhibition of Li Qun’s Prints” held in Sydney, Australia in 1995. Additionally, it was recently on loan from the British Museum to the Metropolitan Museum of Art in New York. The theme of a new kind of femininity and motherhood is revolutionary. While nursing her baby, the female soldier (Li Qun’s wife) clad in a uniform listens intently to something outside the picture frame and takes notes. As the title suggests, she is focused on a broadcast speech in Yan’an, the Communist power base in northwest China.
Li Qun’s 1939 woodcut captures the hardship and resilience of farmers facing the challenges of adverse weather. A shirtless farmer rushes in a storm, clutching his hat against the rain, symbolising the harsh realities of agricultural life. In the background, a woman hurries with a basket, emphasising the shared struggle among farmers. The attention to detail, especially in the raindrops, enhances the realism, evoking a sense of immediacy. Overall, the woodcut poignantly documents the perseverance of farmers amidst nature’s unpredictability.
The ox and cart symbolise agricultural labour and traditional practices, while the soldier following behind protects the cargo, reflecting the rural landscape of China at the time. Overall, the woodcut offers a commentary on societal structures and the hardships encountered during the political turmoil and conflict of 1930s China.
This imagery holds symbolic significance reflecting China’s socio-political context in the late 1930s, characterised by upheaval, foreign invasion, and economic challenges. Reflecting government efforts to boost agricultural productivity amidst food shortages and war against Japanese aggression, the woodcut emphasises the importance of increasing output through proper resource allocation and management. Additionally, it pays homage to women’s role in agriculture, with the pig symbolising fertility, prosperity, and abundance in Chinese culture. Overall, the artwork serves as a visual commentary on the necessity of collective effort to overcome the challenges of the era.
In October 1933, Cao Bai and Ye Luo were arrested for their roles in the Chinese Left-Wing Artists Alliance and founding the “Mu Ling Woodcuts Research Association”. They were released from prison in spring 1935. After his release, Li Qun, facing unemployment, focused on producing significant artworks like “Three Suffering Youths”.
“Defend the Motherland,” akin to Li Qun’s powerful creation “Anti Japanese War” resonates with bravery and patriotism. Just as “Anti Japanese War” portrayed the courage and determination of the Chinese people in resisting foreign invasion, “Defend the Motherland” captures a similar sentiment, emphasising the bravery of individuals defending their homeland against external threats.
The woodcut print by Li Qun titled “Children who pick up trash” depicts three children carrying rubbish baskets on their backs. Created in 1938, this artwork captures the poignant image of young individuals engaged in the task of collecting garbage. This portrayal serves as a reflection of societal circumstances during that period, highlighting the challenges faced by children at the time.
Li Qun’s powerful creation, “Anti Japanese War,” displayed in “Guo Feng Daily” on October 5, 1938, resonates with bravery and heroism. This masterpiece, presented to Li Qun by Comrade Zhou Kenan of the Shaanxi Provincial People’s Art Museum on June 6, 1990, documents unwavering dedication to artistic expression. With engravings depicting power and determination, Li Qun’s artworks encapsulate the indomitable spirit prevailing during the fight against invading forces and economic challenges.
Li Qun created the woodcut “Life of a Soldier” to offer a glimpse into the human side of military life during times of conflict. In the midst of war, soldiers often endure harsh conditions and face immense challenges. By portraying a soldier taking a moment of respite to read, Li Qun humanises the military experience and emphasises the intellectual and personal dimensions of soldiering. This woodcut may serve as a reminder that soldiers, despite their roles in warfare, are individuals with their own thoughts, emotions, and intellectual pursuits. Additionally, “Life of a Soldier” may aim to convey the importance of education, even in the midst of turmoil, as a source of solace and enlightenment for those serving on the frontlines.
Li Qun was a young artist during the creation of “Bird,” still exploring themes of natural beauty in animals. While his work often delved into social and political commentary, “Bird” may also represent his fascination with the intrinsic beauty of the avian form. Li Qun’s exploration of the bird motif could be interpreted as an early stage in his artistic journey, where he sought to capture the grace and majesty of the natural world. This youthful exploration of animal beauty adds depth to our understanding of his artistic development and provides insight into the multifaceted nature of his creative expression.
Li Qun created the woodcut “Refugees” depicting Chinese escaping the Japanese invasion of China to shed light on the plight of civilians affected by war and displacement. During the Japanese invasion of China, countless civilians were forced to flee their homes in search of safety and refuge. Li Qun’s woodcut captures the urgency and desperation of these refugees as they seek sanctuary from the horrors of war. By portraying this scene, Li Qun aimed to raise awareness about the human cost of conflict and to evoke empathy and solidarity for those impacted by the violence of war. “Refugees” serves as a poignant reminder of the resilience and suffering of individuals caught in the turmoil of war, while also highlighting the importance of compassion and support for those in need.
Li Qun created the woodcut “Going to the Fields” depicting two peasant women with baskets in their arms heading to the fields, to celebrate the camaraderie and social bonds among rural communities in China. This artwork captures the everyday scene of women engaging in agricultural labour while sharing in conversation. By portraying this moment of socialising amidst work, Li Qun highlights the importance of community and mutual support in the lives of rural workers. “Going to the Fields” serves as a tribute to the resilience and solidarity of individuals working together to sustain their livelihoods and foster connections within their community.
In 1936, Li Qun undertook a journey from Taiyuan to Shanghai via Beijing, with assistance from his friend Jin Zhaoye, who accompanied him to the Tianjin port. During their passage across a bridge in Tianjin, Li Qun observed a group of Japanese soldiers involved in what was termed as “Arms Smuggling”. Li Qun felt compelled to document this incident upon his arrival in Shanghai. Thus, he created the woodcut titled “Japanese Armed Smuggling” vividly portraying scenes from this event as a testament to the aggression and injustice perpetrated by the Japanese forces in China.
Li Qun created the woodcut “Harvest” as a celebration of unity and cooperation among rural communities in China during the tumultuous period of 1936. This artwork captures the spirit of collective effort and solidarity, showcasing the importance of collaboration in achieving common goals, such as bringing in the fruit harvest. Against the backdrop of economic challenges and social upheaval, “Harvest” serves as a symbol of resilience and communal strength, highlighting the power of working together to overcome obstacles and secure sustenance for the community.
Li Qun created the woodcut “Good Harvest” as a tribute to the resilience and hardworking nature of farmers during the 1930s in China. This artwork aimed to highlight the challenges faced by rural communities during that period, such as economic hardships and political unrest. By portraying the farmer carrying the harvest, Li Qun celebrated the dedication and perseverance of those working the land despite adversity. “Good Harvest” served as a symbol of hope and perseverance, emphasising the importance of agricultural labor in sustaining livelihoods and communities during difficult times.
Li Qun created the woodcut print Portrait of Lu Xun as a tribute to the writer and cultural icon, who was instrumental in inspiring the woodcut movement in China. Lu Xun, renowned for his literary works and advocacy for social change, recognised the power of woodcuts as a medium for conveying cultural and political messages to a wide audience. The print, measuring only 10 by 12 centimeters, captures Lu Xun in his prime, standing before a shelf full of books — a symbolic representation of his steadfast belief in the role of writing to expose societal darkness and promote reading as a means of enlightenment. Through this portrait, Li Qun honors Lu Xun’s influence on the woodcut movement and celebrates his contributions to Chinese literature and intellectual discourse. This work also serves as a testament to their meeting just months before Lu Xun’s passing, marking a meaningful connection between artist and muse.
Li Qun created the woodcut “Picking Leaves” as a reflection of everyday life and the ordinary activities of common people. This artwork aimed to capture the simplicity and tranquility of rural life in China, depicting a woman engaged in the mundane task of picking leaves off a tree. Through this depiction, Li Qun sought to celebrate the beauty found in simple moments and to evoke a sense of nostalgia for traditional ways of life.
“Resistance” is a woodcut created in 1935. Against the backdrop of turmoil following the “September 18th Incident” in 1931, where Japanese invading forces seized control of Northeast China and advanced southward, Kuomintang forces executed a strategic retreat. General Ji Hongchang‘s determined resistance faced continuous disruption and sabotage from within the Kuomintang, ultimately leading to his demise. The woodcut, titled “Resistance” serves as Li Qun’s tribute to General Ji Hongchang and articulates his and the people’s fervent desire to actively oppose the Japanese invasion.
“Disease” crafted in 1933, marks Li Qun’s first woodcut following his involvement in the “Mu Ling Woodcuts Research Association”. This piece aims to portray the compassionate scene of an elderly labourer being cared for by his wife during an illness. Inspired by 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”. It was part of the 1933 “Mu Ling Exhibition” in Hangzhou and “Mu Ling Woodcut Collection” gifted to Lu Xun.
In memory of Li Qun (1912-2012)
Our mission is to safeguard and champion Li Qun’s artistic legacy and literature for the benefit of future generations. This digital memorial stands as a tribute to Li Qun’s lifetime of artistic brilliance.
Our pledge is to meticulously document and categorise every piece of art created by Li Qun, creating a comprehensive resource for enthusiasts and scholars alike. Furthermore, we are committed to preserving his gallery, the Li Qun Art Gallery, and promoting Lingshi county, Taiyuan city and Shanxi province.
Delve into our extensive online catalogue, uncover the curated locations of Li Qun’s art, or visit the Li Qun Art Gallery located in the culturally rich Wang Jia Da Yuan. Set against the backdrop of the heritage-listed Wang’s Family Compound, a Qing Dynasty mansion, the gallery seamlessly blends art and tradition.
Explore the profound impact of Li Qun’s artistic journey, through both the visual realm and the literary dimensions of his work.
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. Positioned to the east of Fenhe River,
A fervent and spirited young man, deeply moved by the news of the “September 18th” 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, the young
Following the Marco Polo Bridge Incident on July 7th, a significant event unfolded in Shanghai known as the “August 13th” Anti-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
In Li Qun’s contemplation, Yan’an had long been the revered sanctuary he ardently sought. Communist Party members and numerous progressives within the “Wuhan Third Office” had already developed a certain level of “Yan’an Fever”. Although Li Qun was not yet a Communist Party member at that time, Guang Weiran had
In August 1945, following the Japanese surrender, Liqun bid farewell to Yan’an, where he had dedicated six years of work and life. He arrived in Xingxian 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
Following the inaugural national literary congress, Li Qun adhered to Comrade Zhou Yang’s directives and returned to Shanxi to collaboratively establish the Shanxi Federation of Literary and Art Circles with Comrade Gao Muhong. In December 1949, the first literary congress of Shanxi Province was successfully convened, electing Gao Muhong as
During the tumultuous period of the “Cultural Revolution,” Li Qun, like many writers and artists, faced severe hardships and endured humiliation. Initially transferred back to Shanxi in early 1966, the upheaval of the “Cultural Revolution” saw him forcefully returned to Beijing, labeled as part of the “gangster” team of “reactionary
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 beside the “sinking boat” and the “ailing tree” during a time of tremendous possibilities.
Determining precisely when Li Qun entered old age proves challenging, given the considerable gap between his vitality and chronological age. As mentioned earlier, even in his 70s during the reform and opening up era, he exhibited a spirit that belied his years. Approaching 80, on the cusp of the new
The pure and lively sensibilities of children, influenced by nature, the memorable and relatable people encountered during youth, and the longing of young minds for life and his emotional reflections. These themes permeate the work of the acclaimed woodcuts artist Li Qun. In this book, Li Qun skilfully intertwines literature
In the remote mountain village of Shanxi Province, Guilian grows up without her mother’s love, facing her father’s bitterness and the superstitions that label her unlucky. Despite harsh circumstances, she finds solace in nature and solitude. As she matures, Guilian’s resilience becomes her strength, defying her father’s attempts to sell
Li Qun the renowned woodcuts artist from Shanxi has weathered numerous challenges and remained committed to self-improvement, guided by unwavering beliefs and relentless determination. His journey from rural origins to urban landscapes, from the city to Yan’an, reflects his resilience and perseverance amidst life’s trials. This book not only chronicles
An autobiography penned by the renowned Chinese woodcuts artist Li Qun. Through a blend of documentary techniques, Li Qun vividly recounts the twists and turns of his career, tracing his creative journey and artistic evolution over the past century. This captivating autobiography immerses readers in the rich tapestry of historical
Li Qun renowned woodcuts artist who has been engaged in artistic creation for nearly 60 years. He persists in both printmaking and literary creation, and is also involved in Chinese painting. Additionally, he is a well-known art critic. His prints are characterised by their simplicity, clarity, and lyrical colours, reflecting
“Selected Poems of Li Qun,” compiled by the artist himself, finding its verses rich in sincerity, vivid imagery, and melodious rhythms. Divided into three volumes with a total of 88 poems, the collection showcases Li Qun’s deep emotions, artistic vision, and linguistic precision. Each poem resonates deeply, ranging from tranquil
Li Qun, born on December 25, 1912, in Haogia Village, Shanxi Province, has been involved in art for nearly 60 years. He grew up in a rural environment, which greatly influenced his woodcut creations and writings. Li Qun studied at the National Hangzhou Art Specialized School and later joined the
Li Qun, known primarily as a woodcuts artist showcases his literary talents alongside his passion for painting in an anthology spanning novels, essays, and critiques. The collection starts with “The Story of the Wild Girl,” a moving novel, followed by serene prose pieces like “My Paradise” and “Hua Orchid.” His
In December 1994, Li Qun embarked on a five-month journey to Australia, chronicling his experiences in “Diary of living in Australia.” Through daily entries, he contrasts the climate, environment, and cultural interests of Australia with the mainland. Sydney’s wildlife, especially the playful parrots, captivated him, as shared in his letter
The “Afterglow Collection” signifies the culmination of Li Qun’s literary journey following the “Sunset Collection”. Within its 34 articles, each holds significance. Particularly noteworthy is “The Eternal Navigation Lighthouse,” detailing the “Yan’an Forum on Literature and Art” exploring its historical impact and contemporary interpretation. “My Creative Path” delves into personal
Congratulations – To Mr. Li Qun, a renowned Chinese printmaker, writer, literary critic, and local luminary. Respected Mr. Li Qun: Today marks your 97th birthday. First and foremost, please allow us, on behalf of the Ling Shi County Committee, Government, People’s Congress, Political Consultative Conference, and all 240,000 residents of
The forthcoming “Picture Biography of Li Qun” provides an in-depth look into the life and artistic journey of this revered figure. From his humble beginnings in Shanxi to becoming a pioneering force in China’s woodcuts and printmaking movement. Li Qun’s unwavering commitment to his craft endured personal and political challenges.
Li Qun, in my view, is a remarkable figure of his generation. Decades ago, I came across his woodblock prints in the “Jin Sui Daily,” and they truly captivated me. He had connections with the cultural giant of China, Mr. Lu Xun, as early as the 1930s. He was the
“The Complete Works of Li Qun” is a comprehensive nine-volume collection that showcases Mr. Li Qun’s dedication and creative accomplishments across various fields such as woodcut paintings, essays, novels, and literary critiques. Each volume stands as a complete entity, offering readers a glimpse into Mr. Li Qun’s artistic evolution from
Li Qun is a prominent figure in the emerging woodcut printmaking movement in China and embodies the poetical spirit of the “Yan’an School.” He has had a significant influence on the development of modern printmaking in China. From a young age, he dedicated his art to the great cause of
The text discusses an art exhibition held by Comrade Li Qun in Beijing’s Beihai Park, showcasing 26 pieces of his work, mostly new except for those from 1941. Despite facing challenges during various political movements over 39 years, Li Qun’s diligence shines through in his diverse and vibrant artworks. His
Li Qun, a native of Lingshi, Shanxi is a prominent figure in the realms of Chinese woodcuts and literary criticism. His artistic journey began at the National Hangzhou Art College (now the China Academy of Art) in 1931, a time when the influence of Lu Xun spurred a flourishing interest
Li Qun, influenced by masters like Pan Tianshou and Li Kuchan, honed his Chinese painting skills at the National Hangzhou Art College. Combining this foundation with decades of printmaking experience, he crafts captivating works exhibited worldwide. His paintings, infused with spirit and form, resonate deeply, offering viewers a harmonious blend
Li Qun emerges as a key figure, serving both as a witness and participant in the emerging art movement. Despite facing personal and societal challenges, Li Qun’s early works reflect influences from artists like Bouguereau and Mucha, as well as Soviet realism. Teaching at the Lu Xun Academy of Arts
The “20th Century Special Incentive Scheme of National Art Collections and Donations” is a significant cultural initiative in China aimed at recognising artists’ contributions to 20th-century art. Started in 2004 under the Ministry of Culture’s leadership, it established the Shangguan Art Museum, praised by veteran artists who generously donated their
Titled “Li Qun’s 100-Year-Old Painting Collection,” this anthology celebrates the artist’s journey in Chinese painting, coinciding with his 99th birthday in December 2011. Tracing back to his education at the National Hangzhou Art College under revered mentors Pan Tianshou and Li Kutan, Li Qun initially pursued woodcarving. However, as age
Mr. Li Qun, a respected figure in the Chinese art world, has been known nationwide for decades. Due to my love for art, I had the privilege of meeting him years ago. Despite the distance, our connection remained strong. In 2004, Mr. Li invited me to his solo exhibition, showcasing
A collection of works donated to the Taiyuan Art Museum with the support of Li Qun’s family. The Li Qun Woodcuts Art Museum serves as a hub for collecting, preserving, and promoting his legacy. Located in Exhibition Hall 7 on the third floor of the Taiyuan Art Museum, the museum
Mr. Li Qun, renowned for his woodcuts printmaking, left behind a collection of sketches that offer profound insights into his artistic journey. These sketches, discovered after his passing, span various subjects and scenes, reflecting the artist’s emotions and serving as source material. Despite their simplicity, they resonate deeply with viewers.
A comprehensive exploration of Li Qun Woodcuts spanning a remarkable 100-year chronicle that meticulously documents the life and career of this esteemed artist.
Gain insight into key events that shaped Li Qun’s trajectory, from his formative years in early 20th-century China to his influential presence in contemporary art. Discover the evolution of Li Qun’s craft as it intersects with major historical milestones, such as China’s Japanese invasion, Cultural Revolution and the modernisation era.
This chronicle provides a factual and detailed account of Li Qun’s journey, offering a unique lens into the socio-political landscape that has shaped both Li Qun and his iconic woodcut creations. Delve into the specifics of his chronicles to uncover the factual intricacies of a century-long artistic legacy.
We offer a range of services from sourcing Li Qun’s art for purchase, but more importantly documenting artworks in public collections globally.
If you have Li Qun’s art work, we would like to keep a record of your collection. this is to help the future validations of Li Qun’s art work.
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This website is managed by Li Qun’s family to preserve his legacy, and to connect with curators, historians, collectors, artists, fans and admires across the globe.
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