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Through September 4， 2015， Guangdong Museum of Art is welcoming visitors to “China School in World Animation and Comic Art： An Exhibition of Chinese and Foreign Cartoon Art” jointly presented by the Committee of Animation Art under the Chinese Artists Association， the Organizing Committee of the China International Animation Festival， Guangdong Cartoon Artists Association， and Shanghai Animation Film Studio.
The concept of the “China School”evolved from literary circles in China and in terms of cartoons it was introduced along with the emergence of groundbreaking classic animated films produced by Shanghai Animation Film Studio during the 1950s.
With Jiao Ao De Jiang Jun （The Proud General） by Hua Junwu， a famous cartoonist， in 1956， the China School of cartoons arrived on the scene with characters and action based on the art of Peking Opera. In 1961， water-and-ink animation represented by Baby Tadpoles Look for Their Mother， based on the works of master painter Qi Baishi， introduced features of freehand brushwork of traditional Chinese painting to moving pictures. In 1964， the 114-minute Uproar in Heaven by the Wan brothers transformed Chinese animation movies from short to lengthy narrative motion pictures – the zenith of the China School.
Not only did these movies make Chinese animation break free of the tendency to learn from American animators and imitate Soviet cartoonists， but they established a basic framework for Chinese animation’s future independent development and wrote an irreplaceable chapter with national flavor in the world history of animation.
The animation art of the China School is notable for its visual language and strong national flavor not only in terms of subjects and artistic expression inspired by classical Chinese literature， drama and folk art， but also in establishing artistic characteristics incomparable to other ethnic visual languages. The school is driven by the pursuit of an atmosphere of passion and vivid scenery as well as an aesthetic spirit of“Writing conveys truth.”
In the 1980s， Chinese animation veered down a different path as it began probing national cultural characteristics and aesthetic values， firing back up after a 10-year hiatus during the “cultural revolution （1966-1976）.”
Original cartoons have been the cornerstone of the animation industries in Europe， America， and Japan since the start. The popularity of a new cartoon tests the market before anything else. Successful franchises begin generating complete industrial chains when the characters from television series and movies spawn other forms of products such as games and toys. Original cartoons remain the foundation of the pyramid that is the animation industry. The top priority for Chinese animation in the 21st Century should be to establish a perfect mechanism to survive and thrive via powerful originality and cutting-edge technology.
A China School renaissance remains in the minds of many of today’s Chinese animators as they turn back to the golden era and look forward to its development.
This exhibition places Chinese animation in a global context to pinpoint its cultural values and historical status along with its progress. It reflects on and presents Chinese animation’s development history while pondering the value and position of Chinese animation art and its influence on the world.
Based on the aspirations and development goals of Chinese animation， this exhibition displays more than 30 precious manuscripts and sculptures as well as over 100 classic animated films from home and abroad. It begins with comic strips printed just after the founding of New China and examines global animation of the last century academically in hopes of comprehensively tracing the basic morphology of the China School.
As far as cartoons are concerned， the exhibition presents a feast of masterpieces by well-known modern Chinese artists， including more than 10 works by Feng Zikai， Monkeys Grasp for the Moon， a classic comic strip drawn by Wan Suming during the 1950s， Peasant Takes a Wife by He Youzhi， and Zodiac by Liao Bingxiong， in addition to the works from Hong Kong and Taiwan that highlight the careers of Tsai Chih Chung， Wang Ze， Ao Youxiang， Chu Teh-yung， Wong Yuk-long， and Ma Wingshing. Alongside the original manuscript of Old Master Q， a comic strip popular among Chinese communities across the planet， are hand-made dolls. Also on display are some world-famous works such as The Adventure of Tintin， The Smurfs， Batman， and Spider-Man.
Many exhibits feature the original artwork and storyboard manuscripts of popular works such as Ne Zha Nao Hai（Nezha Conquers the Dragon King）， San Ge He Shang （Three Monks）， Heroic Little Sisters on the Grassland， and Mr. Black. Also featured are Feeling from Mountains and Waters， an animated video popular on the Chinese internet， and its 31 waterand-ink manuscripts， as well as cels from global masterpieces including One Piece， Doraemon， Astro Boy， and Slamdunk.
Some of the most eye-catching displays are original manuscripts of the cartoons and storyboards by Miyazaki Hayao， a great master of Japanese animation and the brain behind titles such as City of Sky， Totora， and Animal Treasure Island. These priceless artifacts are making their first trip to China’s mainland.
Importantly， many young artists emblematic of the future of Chinese animation， most notably Xia Da， Nie Jun， Ben Jieming， and Tango， will showcase works.
The exhibition was designed with special spaces to screen animation， where visitors can enjoy over 100 blockbusters. Great master artists and collectors from China will attend the exhibition and share their insights on the splendor of the China School through lectures and other ways of communication.
The organizers hoped to offer a platform for academic circles and aficionados alike to refresh their perspectives and deepen their understanding of the art of animation to call attention to the fact that such art is being marginalized in the art circles in China. At the same time they aim to enlighten young minds as to the possibilities of accelerating the development of the art of animation and its business in the country.
The concept of the “China School”evolved from literary circles in China and in terms of cartoons it was introduced along with the emergence of groundbreaking classic animated films produced by Shanghai Animation Film Studio during the 1950s.
With Jiao Ao De Jiang Jun （The Proud General） by Hua Junwu， a famous cartoonist， in 1956， the China School of cartoons arrived on the scene with characters and action based on the art of Peking Opera. In 1961， water-and-ink animation represented by Baby Tadpoles Look for Their Mother， based on the works of master painter Qi Baishi， introduced features of freehand brushwork of traditional Chinese painting to moving pictures. In 1964， the 114-minute Uproar in Heaven by the Wan brothers transformed Chinese animation movies from short to lengthy narrative motion pictures – the zenith of the China School.
Not only did these movies make Chinese animation break free of the tendency to learn from American animators and imitate Soviet cartoonists， but they established a basic framework for Chinese animation’s future independent development and wrote an irreplaceable chapter with national flavor in the world history of animation.
The animation art of the China School is notable for its visual language and strong national flavor not only in terms of subjects and artistic expression inspired by classical Chinese literature， drama and folk art， but also in establishing artistic characteristics incomparable to other ethnic visual languages. The school is driven by the pursuit of an atmosphere of passion and vivid scenery as well as an aesthetic spirit of“Writing conveys truth.”
In the 1980s， Chinese animation veered down a different path as it began probing national cultural characteristics and aesthetic values， firing back up after a 10-year hiatus during the “cultural revolution （1966-1976）.”
Original cartoons have been the cornerstone of the animation industries in Europe， America， and Japan since the start. The popularity of a new cartoon tests the market before anything else. Successful franchises begin generating complete industrial chains when the characters from television series and movies spawn other forms of products such as games and toys. Original cartoons remain the foundation of the pyramid that is the animation industry. The top priority for Chinese animation in the 21st Century should be to establish a perfect mechanism to survive and thrive via powerful originality and cutting-edge technology.
A China School renaissance remains in the minds of many of today’s Chinese animators as they turn back to the golden era and look forward to its development.
This exhibition places Chinese animation in a global context to pinpoint its cultural values and historical status along with its progress. It reflects on and presents Chinese animation’s development history while pondering the value and position of Chinese animation art and its influence on the world.
Based on the aspirations and development goals of Chinese animation， this exhibition displays more than 30 precious manuscripts and sculptures as well as over 100 classic animated films from home and abroad. It begins with comic strips printed just after the founding of New China and examines global animation of the last century academically in hopes of comprehensively tracing the basic morphology of the China School.
As far as cartoons are concerned， the exhibition presents a feast of masterpieces by well-known modern Chinese artists， including more than 10 works by Feng Zikai， Monkeys Grasp for the Moon， a classic comic strip drawn by Wan Suming during the 1950s， Peasant Takes a Wife by He Youzhi， and Zodiac by Liao Bingxiong， in addition to the works from Hong Kong and Taiwan that highlight the careers of Tsai Chih Chung， Wang Ze， Ao Youxiang， Chu Teh-yung， Wong Yuk-long， and Ma Wingshing. Alongside the original manuscript of Old Master Q， a comic strip popular among Chinese communities across the planet， are hand-made dolls. Also on display are some world-famous works such as The Adventure of Tintin， The Smurfs， Batman， and Spider-Man.
Many exhibits feature the original artwork and storyboard manuscripts of popular works such as Ne Zha Nao Hai（Nezha Conquers the Dragon King）， San Ge He Shang （Three Monks）， Heroic Little Sisters on the Grassland， and Mr. Black. Also featured are Feeling from Mountains and Waters， an animated video popular on the Chinese internet， and its 31 waterand-ink manuscripts， as well as cels from global masterpieces including One Piece， Doraemon， Astro Boy， and Slamdunk.
Some of the most eye-catching displays are original manuscripts of the cartoons and storyboards by Miyazaki Hayao， a great master of Japanese animation and the brain behind titles such as City of Sky， Totora， and Animal Treasure Island. These priceless artifacts are making their first trip to China’s mainland.
Importantly， many young artists emblematic of the future of Chinese animation， most notably Xia Da， Nie Jun， Ben Jieming， and Tango， will showcase works.
The exhibition was designed with special spaces to screen animation， where visitors can enjoy over 100 blockbusters. Great master artists and collectors from China will attend the exhibition and share their insights on the splendor of the China School through lectures and other ways of communication.
The organizers hoped to offer a platform for academic circles and aficionados alike to refresh their perspectives and deepen their understanding of the art of animation to call attention to the fact that such art is being marginalized in the art circles in China. At the same time they aim to enlighten young minds as to the possibilities of accelerating the development of the art of animation and its business in the country.