1941-1950

Li Qun crafted the woodcut print of “Engaging Li Shunda in the Creation of Production Strategies” in 1951 as a form of propaganda during the early years of the People’s Republic of China. Li Shunda was depicted as a model worker representing the dedication of the labour force to the nation’s industrial and agricultural development. The woodcut aimed to promote the idea of collective effort and participation in economic planning, emphasising the importance of workers and experts in shaping production strategies for the nation’s development under communist leadership.

The woodcut “Giving Horses,” created in 1948, responded to Commander He Long‘s call to donate surplus horses to aid impoverished military martyrs. Initially criticised for its portrayal of an elderly individual, Li Qun re-engraved the piece to emphasise the strength of the martyrs, earning widespread praise. It was exhibited at the inaugural National Literary Congress in 1949 and later included in the “New China Print Collection” by Shanghai Chenguang Publishing Company.

In 1947, Li Qun actively participated in the land reform movement in Chu County. Upon returning to Xing County in 1948, he created the “People’s Representatives Election” reflecting mass involvement in the reform. Published in the “Tianjin Daily” supplement, it gained acclaim from the Central Academy of Fine Arts. During the Spring Festival that year, Li Qun sold the pictures in Renyi Ancient Town, with overwhelming success. The sold-out pictures affirmed farmers’ appreciation for his work, strengthening his resolve to engage with rural communities.

Li Qun crafted the woodcut illustrations for the book “Wang Gui and Li Xiangxiang” in 1948 to add visual elements to the narrative. The book tells the story of Wang Gui and Li Xiangxiang, and the woodcut illustrations provide readers with vivid visual depictions, enhancing their understanding of the story’s plot and characters. Such illustrations also help attract readers, increasing the book’s appeal and interest.

Comrade Guan Xiangying, a Red Army veteran from Dalian City, Liaoning Province, held significant roles as the political commissar of the 120th Division of the Eighth Route Army and secretary of the Shanxi-Sui Branch of the CCP Central Committee. Following his passing 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 tribute and created the woodcut, “Paying Homage to Comrade Guan Xiangying” as a commemorative piece.

Li Qun created the woodcut “Portrait of Comrade He Long” in 1946, predating his meeting with He Long in 1947. Despite creating the artwork before their encounter, the woodcut serves as a tribute to He Long’s significance and contributions, capturing his essence through Li Qun’s artistic interpretation and based on public knowledge or reputation at the time.

Li Qun crafted the woodcut print of Commander-in-Chief Zhu in 1946 as a form of propaganda during the Chinese Civil War. Zhu De was a prominent military leader in the Communist Party of China, and his image was used to rally support for the communist cause. Woodcut prints were a common form of mass communication and were widely distributed among the population to promote revolutionary ideals and garner support for the Communist Party’s efforts against the Kuomintang (Nationalist) forces. Such prints often depicted party leaders as heroic figures, reinforcing their leadership and inspiring loyalty among the populace.

In 1946, during Li Qun’s rural stay in Xiaoyi County, he collaborated with Shi Guiying, an expert in textiles and paper-cutting. They transformed Li Qun’s weaving pattern into window grilles, enhancing the design while preserving its essence. Titled “Weaving,” this collaborative paper-cut holds sentimental value for Li Qun, symbolising his experiences in the newly liberated areas and collaborative ventures. Despite unknown to Shi Guiying, their work gained international recognition when featured in a “Chinese Print Collection” published in Germany, resonating with admirers worldwide.

“Teacher Liu Baotang” a woodcut by Li Qun from 1945, depicts Model Teacher Liu Baotang teaching locals. This artwork signifies the dedication and influence of educators like Liu Baotang in educating and empowering local communities. It highlights the importance of education in uplifting society and fostering knowledge and skills among the populace. Through this woodcut, Li Qun celebrates the noble role of teachers in shaping the minds and futures of their students, promoting education as a means of progress and enlightenment in society.

“Preparing the Classroom” a woodcut print by Li Qun from 1945, depicts a scene where three children are seen cleaning up the schoolyard while a teacher is rendering the outside wall of the classroom. This artwork symbolises the collective effort and responsibility of both students and teachers in maintaining and preparing the classroom environment. It highlights themes of cooperation, diligence, and care for one’s learning environment, emphasising the importance of a clean and orderly space for education.

“The Labour Force Team Before Departure” a woodcut print by Li Qun from 1945, depicts a group of workers about to depart for work, listening attentively to their leader before heading off. This artwork captures the sense of unity, determination, and purpose among the workers as they prepare for their task. It symbolises the collective effort and cooperation necessary for accomplishing goals, highlighting the importance of teamwork and leadership in achieving success in labour-related endeavours.

“Planting Trees” a woodcut print created by Li Qun in 1945, depicts a family planting a tree together. The scene shows the mother pouring water, the father filling the soil, and the son holding the tree in place, symbolising their collaborative effort in tree planting. This artwork reflects themes of family unity, environmental stewardship, and the importance of collective action in nurturing the environment.

After 1944, Yan’an hosted model worker conferences and cultural gatherings. Faculty and students from “Lu Yi” were mobilised to create paintings featuring heroic figures for these events. Li Qun actively participated in painting and organising exhibitions. “Helping People Repair Spinning Wheels,” originating from one of his comic strips, depicts cultural hero Tao Duanyu, a teacher at Yangjialing Primary School, highlighting his commitment to serving the people. The piece also celebrates rural women and the new life emerging in liberated areas.

After the Yan’an Literature and Art Forum, there was a surge of interest in folk art within Yan’an literary and art circles. In response, the “Lu Yi” Lu Xun Art Department encouraged the artists to create New Year’s paintings. Li Qun meticulously engraved “Abundant of Food and Clothing” drawing inspiration from his New Year painting manuscript. As the Spring Festival (Chinese New Year) approaches, the artwork captures the spirit of the people in northern Shaanxi as they work to build a better life, fostering joy and tranquility within their households. Collected by the Art Gallery of NSW Australia.

“Model Worker Zhao Zhankui” is a woodcut print created by Li Qun in 1943. This portrait depicts Zhao Zhankui, a renowned figure celebrated for his contributions to labour. Li Qun’s woodcut captures the essence of Zhao’s heroism and dedication to his work, highlighting his significance within the context of Chinese society during that period.

During the Yan’an Forum on Literature and Art, Li Qun created the “Portrait of Comrade Mao Zedong” with sincerity. Impressed by its quality, teachers suggested presenting it to Mao. Li Qun handed it to Mao’s secretary with respect during a visit to Yangjialing. Weeks later, Mao inquired about the portrait during a play, but Li Qun was absent. The original painting was later brightened after the forum.

Li Qun’s 1941 woodcut “Portrait of Chernyshevsky” is a significant piece influenced by socialism, depicting the Russian revolutionary and philosopher Nikolai Chernyshevsky. It symbolised socialist ideals and unity between China and the Soviet Union. Like his portrayal of Mayakovsky, Li Qun’s depiction of Chernyshevsky reflects socialist realism, aiming to illustrate the struggles and values of the working class. By featuring Chernyshevsky, Li Qun communicates themes of global solidarity and shared socialist objectives. Overall, this artwork exemplifies the socialist influence in Chinese art during the early 20th century, emphasising unity and collaboration among socialist nations.

Li Qun’s woodcut “Portrait of the poet Mayakovsky” from 1941 reflects socialist influence by depicting the Russian poet Vladimir Mayakovsky, a champion of socialist ideals. This artwork documents the solidarity between China and the Soviet Union, showcasing socialist ideology. Influenced by socialist realism, Li Qun aimed to portray the struggles and aspirations of the working class. By featuring Mayakovsky, a revered figure in the Soviet Union, Li Qun highlights themes of international solidarity and shared socialist goals. Overall, the woodcut exemplifies the prevalent socialist influence in Chinese art of the early 20th century, emphasising cooperation among socialist nations.

Li Qun created a woodcut portrait in 1941 that drew inspiration from the work or style of the French painter Gustave Courbet. Courbet was known for his realistic and often politically charged paintings, and his work have served as inspiration for Li Qun’s own artistic endeavours.

“Northern Shaanxi Girl” is a renowned woodcut print by Chinese artist Li Qun from 1941. It portrays a young woman from Shaanxi province’s northern region using the traditional woodcut printing technique. The artwork is acclaimed for its representation of the resilience and beauty of Shaanxi women, capturing the essence of rural life and the simplicity of daily existence in the region. Li Qun, known for his focus on rural life and social themes in his woodcut prints, created this piece as a symbol of the spirit and character of the people of Shaanxi province.

“Northern Shaanxi Elder” is a portrait by Chinese artist Li Qun from 1941, featuring an elderly man from the northern regions of Shaanxi province. As a portrait, it seeks to convey the subject’s likeness, character, and cultural significance. Such portraits often serve to memorialise individuals and reflect aspects of their identity, such as age, experiences, and social context. By focusing on an elderly figure from this specific region, the artwork provides insights into Shaanxi’s culture, traditions, and way of life during that era. It showcases Li Qun’s interest in representing the diversity of Chinese society and underscores the dignity and wisdom associated with old age. Despite potential limitations in specific details, the portrait contributes to preserving the visual history of Shaanxi province and its people during the early 20th century.

“Women” A portrait of Li Qun’s wife Liu Pingdu 1941. This portrait offers insight into Li Qun’s artistic style and the love of his life Liu Pingdu.

The “Worker” woodcut print crafted by Chinese artist Li Qun in 1941, depicting weathered male face amidst the hardships of a turbulent era in China. Woodcut printing, an ancient Chinese art form, involves carving images onto wooden blocks for printing on various surfaces. Throughout the early 20th century, China experienced significant social and political unrest, including Japanese invasion during World War II. Artists such as Li Qun used their work to spotlight the struggles of common people, particularly labourers facing adverse conditions. This print portraying the rugged faces of a worker, symbolising their resilience and determination amid adversity, serving as poignant representations of the working class’s challenges during this period.

“Transporting Charcoal” a 1941 woodcut by Li Qun portrays civilian workers in China loading charcoal onto donkey carts, documenting the hardships of the time. The woodcut highlights the labour-intensive nature of charcoal production and transportation, emphasising manual labour and collective effort. Symbolically, it reflects themes of resilience and perseverance, shedding light on the challenges faced by workers in industries like charcoal production. The use of donkey carts underscores reliance on traditional transportation methods, revealing the lack of modern infrastructure. Overall, “Transporting Charcoal” serves as a testament to the resilience of civilian workers, offering insight into the realities of life in China during the 1940s.

“Rest” a 1941 woodcut by Li Qun, depicts a farmer seated on a straw bale with a calf sniffing grass from his hand, while a bull observes in the distance. This serene image documents the importance of rest and harmony with nature in rural life. It portrays the farmer’s tranquility and connection with the environment, emphasising the symbiotic relationship between humans and animals. Overall, “Rest” conveys themes of nurturing, care, and appreciation for the simple pleasures of agricultural life, serving as a poignant reminder of the beauty found in moments of respite amidst the demands of farming and China’s unrest at the time.

“Radish Peeling” a 1941 woodcut by Li Qun depicts a man peeling a radish in the fields documenting rural life and sustenance in China. It highlights the self-sufficiency of individuals reliant on agriculture for sustenance. The act underscores the value of locally grown produce and the satisfaction of simple pleasures. The woodcut evokes nostalgia for traditional agricultural practices and celebrates the connection between humans and nature.

In Yan’an, Li Qun resided in a cave dwelling ‘Yaodong’ in Chinese dwellings common in the Loess Plateau, like many others in the area. These simple earthen abodes, crafted in harmony with the local terrain, provided warmth in winter and coolness in summer. Despite being subjected to bombings by Japanese planes, these resilient structures showcased the unique architectural advantages of the region. Li Qun’s 1940 creation, “Cave Dwelling Build” pays homage to the migrant workers who built these caves and commemorates their resilience during challenging times. The woodcut depicts the labour-intensive process of constructing traditional Chinese cave dwellings, reflecting rural life and architectural practices of the time. It symbolises the ingenuity of Chinese people in adapting to their environment and the importance of communal effort in traditional society. Overall, “Cave Dwelling Build” offers insight into rural China’s architectural heritage and communal spirit, highlighting the resilience and adaptability of its inhabitants.

“Weeding Resistant Species” a 1941 woodcut print by Li Qun, portrays farmers meticulously removing weeds from fields to protect soil and crops. The artwork signifies the significance of agricultural practices and the resilience of farmers. It emphasises weed management’s importance for crop health and productivity, showcasing farmers’ dedication to maintaining fertile soil. Overall, the woodcut celebrates farmers’ hard work, highlighting their crucial role in food production and to ensure future food security.

Originally serving as a location for Spanish Catholic priests to preach, the site of the “Lu Yi” school in Yan’an underwent a significant transformation with the arrival of the Red Army in northern Shaanxi. Following the departure of the priests, the premises evolved into the esteemed “Lu Xun Academy of Fine Arts“. In 1941, Li Qun carved “Yan’an Lu Yi School” initially titled “Yesterday’s Church”. This woodcut masterpiece garnered considerable acclaim when exhibited at the Yan’an Military Club. Poet Ai Qing, in a review article for the “Liberation Daily” hailed it as the finest among all works, praising its “most commendable painting” and “the most vivid expression technique”.

“Logging,” a woodcut created by Li Qun in 1941, portrays two men engaged in the process of cutting down trees. One man wields an axe, while the other prepares to push over a felled tree. Symbolising labour and industry, the woodcut highlights the physical exertion and manual labour required in logging. It reflects the hardworking nature of the people of China during that time. Overall, “Logging” by Li Qun serves as a depiction of the industriousness and dedication of workers in the logging industry.