1961-1970

Li Qun crafted the woodcut print titled “Watering Wheat Amidst Drought” in 1965 to depict a scene of farmers amidst a drought, where they are shown with carrying poles fetching water from a nearby water hole. The artwork captures the struggle of farmers as they work together to irrigate their wheat farms during dry conditions. It highlights the resilience and resourcefulness of rural communities in the face of environmental challenges, showcasing their determination to ensure the survival of their crops despite adverse conditions.

Li Qun crafted the woodcut print titled “New Seedlings” in 1963, portraying lush green rice paddies with trees in the background. This artwork captures the vibrant atmosphere of newly planted seedlings in the fields, symbolising the promise of growth and abundance. The rich greenery evokes a sense of vitality and renewal, showcasing the beauty of agricultural landscapes.

Li Qun crafted the woodcut print titled “Lotus Aroma in Evening Breeze” in 1963, using only three colours: green, white, and black. In this artwork, Li Qun depicts a scene at the lotus pond, where people are seen in the distance under the Chinese garden pergolas, enjoying the evening breeze and the aroma of lotus flowers.

“Autumn Song” a woodcut print by Li Qun from 1962, depicts the serene beauty of autumn with two birds perched on branches, one singing with its beak open. This artwork captures the tranquil atmosphere and the harmony of nature during the autumn season. Through meticulous detail, Li Qun portrays the resilience and adaptability of life amidst seasonal changes. The print invites viewers to appreciate the simple pleasures of autumn and the melodious tunes of birdsong, evoking a sense of nostalgia and emotional resonance with the changing seasons.

Featuring a black and white print of a happy young boy herding both black and white goats through the forest. The artwork aimed to portray the harmonious relationship between humans and animals in a natural setting. The detail of birds flying and perched on branches adds to the sense of a vibrant and lively forest scene.

“By the Stream” depicting wild shrubs by the stream with a dragonfly hovering in the background. This artwork aimed to capture the tranquility and beauty of nature along a stream. The presence of wild shrubs suggests the untouched and natural environment, while the dragonfly adds a sense of movement and life to the scene.

Li Qun crafted the woodcut print “Spring Arrives in the Mountains” in 1962, depicting a mountain village road bustling with activity. This artwork aimed to celebrate the arrival of spring and the rejuvenation of life in the mountainous regions. The depiction of farmers, oxen, and carts are the beginning of agricultural activities and the preparation for planting season. The blooming flowers on trees everywhere is an awakening of nature and the beauty of springtime.

Li Qun crafted the woodcut print “February” in 1962. This artwork likely aimed to depict the activities and scenery typical of February in rural areas. The presence of willow trees and the transition from winter to spring, as willows are often associated with the renewal of life. The depiction of farmers with their donkeys and carts signifies agricultural activities and preparation for the upcoming planting season.

Li Qun crafted the woodcut print “Portrait of a Young Female” in 1962, featuring a female with rosy cheeks and a single hair braid wearing a red jumper. This artwork aimed to capture the innocence and beauty of youth. The portrayal of the young woman with rosy cheeks and a simple hairstyle evokes a sense of purity and simplicity. Overall, “Portrait of a Young Female” reflects Li Qun’s appreciation for the natural beauty and charm of young women, portraying them with warmth and sensitivity.

Li Qun crafted the woodcut print “Mountain Grapes” in 1962, using blue and red colours. This artwork aimed to celebrate the beauty and abundance of mountain grapes, emphasising their significance in local culture or agriculture. The choice of blue and red colours could carry symbolic meanings, such as representing the sky, earth, or vitality, adding depth and vibrancy to the depiction of the grapes. Additionally, the use of vibrant colours may evoke a sense of joy and richness associated with the harvest season. Overall, “Mountain Grapes” reflects Li Qun’s appreciation for nature’s bounty and his skill in capturing its vibrancy through meticulous detail and colour choice.

In 1962, Li Qun crafted the woodcut print “Rice Season,” depicting a young female tending to the harvest. This artwork aimed to celebrate the significance of rice cultivation in agricultural communities. By highlighting the role of a young woman in the harvest, it sought to emphasise the importance of labour and the contributions of women to agricultural production. Additionally, the portrayal of the rice season captures the essence of rural life and the cycle of agriculture, symbolising abundance, sustenance, and the rhythms of nature. Overall, “Rice Season” reflects Li Qun’s appreciation for agricultural traditions and the hard work of individuals, particularly women, in sustaining communities.

Li Qun crafted the woodcut print “Spring Night” featuring snow-covered tree branches and roofs, bicycles parked outside dusted with snow, and lights on in the house where a meeting is taking place. This iconic artwork captures the essence of a tranquil spring night juxtaposed with the unexpected presence of snow. The snow-covered scene, illuminated by the crescent moon and lights from the house, creates a sense of depth and ambiance. The contrast between the warmth of the indoor gathering and the cold exterior adds layers of meaning to the composition. Overall, “Spring Night” showcases Li Qun’s skill in capturing the atmosphere and evoking emotions through meticulous detail and composition.

The woodcut print “Columbine Echoes Along the Yellow River Banks” by Li Qun in 1962 depicts a scene along the Yellow River with two cyclists in the foreground and two farmers plowing fields in the far background, interspersed with trees. It captures the harmony between human activity and nature in the region, celebrating both modern transportation and traditional agricultural practices. The title suggests a sense of nostalgia or cultural resonance with the area’s history. Overall, the artwork celebrates the landscape, human activity, and cultural richness along the Yellow River, highlighting the interplay between tradition and modernity.

Li Qun crafted the woodcut print “Spring in Ningxia” in 1962, depicting two workers labouring on tasks. This artwork aimed to celebrate the spirit of labour and productivity during the spring season in Ningxia, a region in China. It was created as a tribute to the hard work and dedication of workers in the agricultural or industrial sectors, showcasing their contribution to the region’s development and prosperity.