Gallery 11 | Admission Free

Qu Leilei: A Chinese Artist in Britain is a retrospective of the contemporary artist Qu Leilei on display at the Ashmolean Museum in Oxford until the 15th of April 2018. The exhibition curated by the former Christensen Fellow in Chinese Painting Dr Yan Liu includes works from the early 1980s up to recent works from 2016 demonstrating different artistic techniques such as calligraphic collage or an exploration of new ink language blending lively brushwork with western technique.

Stunning greater than life-size ink paintings of female nudes and hands are one of the highlights of the show demonstrating Qu Leilei’s mastering of traditional Western subjects and Chinese media. Several nude studies and sketchbooks from the last 30 years reveal his in-depth research of human anatomy. Other elements are more closely linked to Chinese history and culture such as philosophical inscriptions quoted on his collage works, or his ink paintings from the series A Thousand Years of Empire, started in 2011. Ink and watercolour drawings depicting motifs from his travels in Britain and abroad complete the exhibition and allow viewers to appreciate different facets of Leilei’s artistic production.

Qu Leilei in his Devonshire studio, August 2017  © Riad Nassar

Qu Leilei was born in 1951 in Northeast of China into an intellectual family; his father Qu Bo (1923–2002) was a famous writer. From an early age he was trained in Chinese calligraphy and traditional painting by friends of the family. During the Cultural Revolution Leilei painted propaganda material and worked as a barefoot doctor in the countryside. In the 1970s he moved to Beijing where he became a founding member of the Avant-Garde Group Stars and participated in their first show in 1989.

In the mid-1980s Leilei took the difficult decision to leave his home country to seek a life with more freedom in the UK. In London he studied at the Central College of Art under Cecil Collins (1908 – 1989), a painter of visionary subjects and in the early 1990s, met his wife Caroline Dean, a British painter. His art works from the late 1980s and 1990s are imbued with self-questioning about the future and with negotiating Chinese and British cultural influences.

In 2005, the Ashmolean displayed a series from his work cycle Everyone’s Life is an Epic showing portraits of people from different backgrounds ranging from close friends to complete strangers. The Ashmolean collection holds several portraits by the artist including those of the art historian Michael Sullivan (1916-2013) and of his wife Khoan (1919-2003). The artist and the pioneering Chinese art researcher were longstanding friends as illustrated in the painting Friendship from 2012, depicting Michael Sullivan holding Leilei’s wife’s hands. It is a great honour that Qu Leilei has decided to present the work along with others paintings included in the current exhibition to the Ashmolean.

Friendship, Ink on paper, 90 x 186 cm, 2012, collection of the artist © the artist

In March 2018 Qu Leilei demonstrated his collage and paintings techniques at the Museum. His collages on display, such as The Creator of Civilization from 1994, distinguish themselves through the insertion of self-written poems or philosophical texts and the seamless transition between the different layers of papers. The flatness he achieves by using traditional Chinese mounting techniques clearly differentiates his collages from early 20^th century European explorations with the medium by artists such as George Braque or Pablo Picasso. In order to better understand the technique and material Qu Leilei uses, he gave a full step by step demonstration of his collage mounting process.

The Creator of Civilization, ink and colour on paper, 117 x 99 cm, 1994, collection of the artist © the artist

Qu Leilei’s first step in the process is the selection of the paper and the creation of smaller pieces to reassemble. Leilei usually uses xuan or maobian paper which he colours or inscribes before tearing it into pieces. He then lays out the pieces of paper and adjusts them until he has achieved a visually satisfying new composition which he makes sure to document with a photo. Next, he damps each of the pieces of paper lightly with water before arranging them upside down in mirrored order on a waterproof surface.

Using a soft-bristled hand brush Leilei then applies the gluten free flour paste on the back of the paper which he has prepared beforehand. With expert hand movements Leilei ensures that the flour paste is evenly spread before he aligns the backing paper on top of the smaller pieces. He usually uses two layers of the quite strong mulberry bark paper to ensure it does not break when still wet. With a stiff-bristled hand brush he presses the pieces of the collage work against the backing paper trying as much as possible to avoid air bubbles and creases. Then he applies another layer of flour paste around the edges of the paper without covering the back of the image allowing to stretch the painting well.

The finished collage left on a board to dry. © the artist

He then gently lifts the work away from the surface using the help of a knife and places it on a vertically propped board. One last time Leilei brushes the edges to ensure the paste is fixed, making sure to blow a bit of air before closing the final corner ensuring that the actual collage will not stick to the board. The collage is then left on the board to stretch and dry for several days before it will be cut away.

Qu Leilei’s sketchbook with a nude study, 2009.

Qu Leilei’s techniques are based on mastering traditional techniques and on constant practice as he proved through demonstrating different types of calligraphic scripts and a colourful flower painting at the Ashmolean.  His ink nude paintings however require a different additional skillset as he uses subtle shadow and light effects to slowly sculpt real-life looking bodies. The thin paper does not allow for any mistakes and he has to carefully layer each colour patiently waiting for it to dry to be able to continue.

Reclining Nude, ink on paper, 92 x 170cm, 2016, collection of the artist © the artist

As he states: “When rendering with shadows one after the other, it requires more confident and skilful brush handling, as rice paper is very fragile and prone to tearing after multiple ink washes. To produce a good painting, we need to balance the relationship between simplicity and complexity, light and shadow, void and substance, softness and hardness.”[1] Achieving the right balance is key to Qu Leilei’s craftsmanship together with his curiosity pushing him to keep on exploring new subjects.

The Soldier, ink on paper, 170 x 90 cm, 2013, collection of the artist © the artist

Felicitas von Droste zu Hülshoff, Chinese Paintings Programme

Further reading:

Liu, Yan. Qu Leilei: A Chinese Artist in Britain. Oxford, 2017.

Qu, Leilei. The Simple Art of Chinese Brush Painting. London, 2004.

[1] Entry from Qu Leilei’s 2011 sketchbook translated by Yan Liu in the exhibition catalogue p. 25.

Visitors viewing Chinese New Year Prints at the Jameel Centre during the China Festival.  © Ian Wallman

Chinese New Year prints, or as they are called in Chinese “nianhua” are an important part of traditional Chinese New Year rituals. They are called New Year prints as the sales for these colourful inexpensive mass-produced single-sheet woodblock images peaked around New Years’ time, even if they were actually in use all year-round. In order to prepare for the arrival of the New Year, the most important celebration in China, it was crucial to clear the house of misfortune and to invoke the blessings of the gods. To that end images often depicting terrifying guardians, gods (they are also referred to as “Paper Gods”) or auspicious motifs such as images depicting children were placed outside and inside the house. These images would be kept in place and worshipped during the whole year in order to protect the home from evil spirits and to bring good fortune to the family.

Yueying Zhong (born 1960), Figure riding a lion dog, 2012, Bequeathed by Michael Sullivan, 2013. LI2022.266.c © The artist’s estate

The quality of New Year prints varies, some were intended only for ritual use and not for display at all. On New Year’s Day Paper Gods would be presented with offerings and each member of the family would pray to them, and later on the Gods would be burned. It was believed that by burning them the Paper Gods would be sent off to Heaven, where they would watch over the family and intercede on their behalf throughout the year. These types of prints were often bought in sets of several dozen gods representing the Chinese pantheon of deities.

Yueying Zhong (born 1960), Man and boy riding a qilin, 2012, Bequeathed by Michael Sullivan, 2013. LI2022.266.d © The artist’s estate

The fact that they were objects used for worship and not considered as works of art explains why despite their mass production only few have survived, often in bad conditions. Foreign travellers would bring them back home as curiosities and this is how they often found their way into Museum collections. The exact dating of the prints is difficult as the same woodblocks would often have been used for printing over an extensive period of time.

Visitors viewing Chinese New Year Prints at the Jameel Centre during the China Festival. © Ian Wallman

Door Gods (Menshen)

The Door Gods are one of the most common subjects for New Year prints. Worshipping Door Gods dates back to the Tang Dynasty (618-907AD) when the two loyal and brave generals, Qin Qiong (also known as Qin Shubao) and Yuchi Gong (EA1970.85.a+b), were watching over Emperor Taizhong’s sleep, finally enabling him to rest without being disturbed by ghosts and demons. To honour and relieve them from their duty the emperor painted their portraits on his door. The two generals can usually be identified by their respective weapons and face colour, Yuchi Gong has a darker face holding a steel whip or batons while Qin Qiong has a pale face and carries swords.

Military Door God Qin Qiong, Presented by Mrs Dubs, in memory of Professor Homer Dubs, 1970. EA1970.85.a

In general images of Door Gods always come in pairs and are pasted facing each other. Placing them back to back is considered to bring bad luck. They are placed to face the visitor when entering the house. Back entrances would equally be watched over by fierce looking Guardian Gods such as the popular demon queller Zhong Kui.

Guan Gong with sword, 19th – 20th century, Bequeathed by Michael Sullivan, 2013.

Another widespread Door God is the general Guan Yu (also called Guandi or Guan Gong) who lived during the era of the Three Kingdoms (3rd century AD). He played an important role in the establishment of a new dynasty under the warlord Liu Bei. His life has been fictionalised in one of the most famous Chinese historical novels, the Romance of the Three Kingdoms, dating back to the 14^th century. For his achievements as a general Guan Yu received the honorific title emperor – Di. Guan Yu is even today seen as an epitome of loyalty and righteousness. He is usually depicted wearing a green robe and often has a reddish face.

The deity Guan Gong, 19th – 20th century, Bequeathed by Michael Sullivan, 2013. LI2022.282.a

Other military door gods (generally recognisable from their orange coloured faces and heavy weapons) are depicted together with five children. The children represent the five talented sons of the scholar Dou Yujun, who lived during the Five Dynasties period (907–960 A.D.). In one the Ashmolean prints (LI2022.282.k) the child in the middle wears a civil official robe and rides a Qilin. This suggests the wish that a successful scholar should be bestowed upon the family by the mythical animal.

The Door God with five children, 19th – 20th century, Bequeathed by Michael Sullivan, 2013. LI2022.282.k

New Year prints would often depict a selection of gods from the vast pantheon of deities Chinese people believed in. This enabled families to obtain the favours of as many gods as possible at the same time. The supreme deity of Heaven, the Jade Emperor, generally occupies the most important position in the centre of the picture. He governs the enormous heavenly bureaucracy of gods often behaving in very human ways. The strict hierarchic organisation of the gods is influenced by Daoist and Confucian beliefs and includes influences from traditional folkloric religions.

Gods on an altar, 19th – 20th century, Bequeathed by Michael Sullivan, 2013. LI2022.282.i

The Star Gods (Sanxing)

Fu, Lu, and Shou are the gods of the three stars symbolising the three attributes of a good life: Prosperity (Fu), Status (Lu), and Longevity (Shou). The first depictions of the three Star Gods in human form are said to date back to the Ming dynasty. Each Star God can easily be recognised through an individual set of symbols. The God of Prosperity or good fortune holds a baby boy in his arms as male heirs were seen as a great blessing in Confucian culture. The God of Status stands tallest with his official cap, scholars robe and a ceremonial sceptre (ruyi) in his hands.

Three Star Gods: Fu, Lu, Shou (Prosperity, Status and Longevity) with children, 19th – 20th century, Bequeathed by Michael Sullivan, 2013. LI2022.282.h

The God of Longevity takes the form of an elderly immortal with an extended forehead and long white beard holding in one hand a staff and in the other hand a peach. The mythical peach is said to come from a fabulous tree which blossoms only once every three thousand years in Heaven. Eating the fruit is reserved for the gods as it brings immortality. The clothes of the God of Longevity are often decorated with the Chinese character Shou meaning longevity. Sometimes only one of the gods is represented in human form while the others would be symbolised by animals. The crane, because of its longlife expectancy, is a symbol of longevity. The bat (fu) is a homophone for good luck and the deer (lu) stands for status. The deer often carries in its mouth the mushroom of immortality (lingzhi) as it is renowned for finding the rare magical plant.

Yueying Zhong (b. 1960), The God of Longevity, 2012, Bequeathed by Michael Sullivan, 2013. LI2022.266.a © The artist’s estate

The Stove God

Stove God with five children, early 20th century, EA1975.15

Traditionally the preparations for the New Year would start with sending off the Stove God to Heaven on the 23rd day of the last month. It was believed that in Heaven he would report to the Jade Emperor on the behaviour of the family he observed in the kitchen from his place above the oven during the past year. Based on this report the supreme deity would then decide on how much prosperity he will give to the family in the coming year. In order to make sure the Stove God would deliver a positive report the family would bribe him with sweet treats before burning his image. Seven days after the old Stove God has been burned, a new image would be installed above the stove. Even if officially he is a lower rank god, the Stove God was one of the most popular gods which even poorer families would invest in buying.

Images of Children

Displaying pictures of chubby baby boys is believed to bring male offspring and abundance. The babies are often depicted holding the peach of immortality, surrounded by magpies and mandarin ducks, both symbols for joy and happiness. Often portrayed with pink cheeks and chubby torsos, this healthy-looking youth would symbolise a rosy future. The images of children in Chinese New Year prints were intended in particular for those who wished to accomplish the chief Confucian virtue of raising a large family.

Yueying Zhong (born 1960), Boy with a bird, 2012, Bequeathed by Michael Sullivan, 2013. LI2022.266.b © The artist’s estate

The immortals He and He

The image of the immortals He and He exemplifies the practice of depicting objects that are homophones of the desired result. This motif of the two immortals derives from the Daoist pantheon. One of the “He” is the immortal of harmony and the other “He” is the immortal of union. They are generally associated with a happy marriage. These prints symbolise double happiness or happy children and would be pasted on or near the bedroom door.

Children for conjugal blessing, 19th – 20th century, Bequeathed by Michael Sullivan, 2013. LI2022.282.c

Taohuawu Printing Workshops

The picture of a young round shaped boy is associated with the Taohuawu woodblock printing workshops in Suzhou. The roundness of the boy implies completion, perfection and harmony. The boy is wearing a lock, a common protective accessory worn by children to keep them away from harm. In this example from the Ashmolean print collection the boy is holding a banner stating that the embodiment of harmony brings good luck.

Chinese wooblock print , early 20th century, Presented by Mrs Dubs, in memory of Professor Homer Dubs in 1970, EA1970.84.b.

The production of New Year prints in China was particularly thriving in the late 19th and early 20th century and specialised workshops often with their own distinct style could be found all across China. Taohuawu is one of China’s most famous and oldest New Year Print production centres. It was already printing and distributing woodblock New Year Prints as early as the Ming dynasty. During its most productive period the annual production of Taohuawu New Year woodblock prints reached more than a million pieces which were distributed across the country. It enjoyed popularity equal to the Yangliuqing New Year Printing workshops in Tianjin. The two workshops were famous and often referred to in one breath: “Taohuawu in the South and Yangliuqing in the North of China”.

Within the printing workshops work was divided: the designer drew the motif; then the carver transferred that drawing to the woodblock; next the printer printed the black outlines and sometimes areas of colour as well. In some workshops stencils were used to colour the prints and additional details were painted on by hand.

New Nianhua

With the appearance of the more effective modern lithography studio technologies in the late 1920s many traditional workshops went out of business. However the technique was reviewed when the Chinese Communist Party, in an attempt to find a language to communicate its ideology to a wider population, identified New Year prints (nianhua) and other forms of folk art as a central component of its new arts and culture policy at the Yan’an forum in 1942. Consequently, the function and use of New Year Prints changed; they became effective vehicles of communist political messages and ideals. Their designs and technique became much more elaborate, often illustrating model behaviour. Their aim was to “emphasize labouring people’s new, happy and hard-fought lives and their appearance of health and heroism.” The new directives issued in 1949 by the Ministry of Culture stated that ostentation was to be avoided and costs should be kept down so that people could afford the pictures. Regarding the print circulations the old New Year print distribution networks such as incense shops, small book stands, or itinerant peddlers were to be used.

Ming Chu, artist, Weichen Shen, block cutter, Yanli Shen, block cutter, A Woman Transformed Into a New Person by Being in the Countryside, 1964, Bequeathed by Michael Sullivan, 2013. LI2022.466.a © The artist’s estate

Taohuawu Workshop, publisher
Changing the Appearance of Mountains and Rivers,  Suzhou, before 1965, Bequeathed by Michael Sullivan, 2013. LI2022.466.b © Taohuawu Workshop

The two prints entitled Changing the Appearance of Mountains and Rivers and A Woman Transformed Into a New Person by Being in the Countryside dating from the early 1960s demonstrate that the colourful images were meant to inspire behavioural change and praise the great achievements of the Communist Party visibly introducing modernity, such as electricity poles, into the landscapes.

Another major change was that prints were no longer the result of an anonymous production line, but they were carefully designed according to official propaganda by professional state artists. In 2006 the Ashmolean purchased a group of 12 colour woodblock New Year prints. This group was compiled by the National Art Workers Association of China in Beijing and distributed by Xin Hua Bookstore in1950.  The group of works includes prints by Jin Lang (1914 – 1998), Shi Zhan (1912 – 1993) or Zhang Ding (1917 – 2010), depicting scenes linked to the Chinese New Year such as in A Village Delegation Presents Comforts to the Troops on New Year’s Day or Greeting the New Year.

Jin Lang (1914 – 1998), artist Huabei University Art Workshop (active 1948 – 1949), printer New Rongbaozhai (established 1949), publisher International Bookstore (established 1949), retailer Greeting the New Year, EA2006.272  © The artist’s estate

Shi Zhan (1912 – 1993), New Rongbaozhai (established 1949), publisher International Bookstore (established 1949), retailer, A Village Delegation Presents Comforts to the Troops on New Year’s Day, EA2006.273 © The artist’s estate

Learn more about the Ashmolean Museum Chinese print collection on Eastern Art Online.

Felicitas von Droste zu Hülshoff, Chinese Paintings Programme