On March 1904 and 17, Shanghai Alarm Daily published a cartoon in the column of "Current Affairs Comics", which was the first time that the name of "Comic" appeared in a newspaper in China. Unfortunately, this kind of appearance is only a flash in the pan, and the title of "comic book" has been useless for more than 20 years.
It was not until 1925 that Literature Weekly marked the word "comic" under Feng Zikai's paintings that the title was rediscovered. Then, Zikai comics were published on 1926, and two years later, Shanghai Comics Weekly, edited by Shanghai Comics Association, was officially published. Since then, the name of the painting "Comic" has finally been unified, and it has spread in the society and is still in use today.
As can be seen from the above, it is not accurate to say that the name of comics began with Feng Zikai, but Zikai comics and Shanghai comics have played a historical role in the unification and popularization of comic names, but they cannot be ignored. China's 5,000-year-old civilization is constantly developing and updating. At the same time, the seemingly long-standing content of ancient culture has been continuously excavated into new mineral deposits, bringing people one surprise after another. So is chinese comic. Although from ancient times to the Ming and Qing Dynasties, the name of comics has not been determined, but if we look at the satirical and humorous artistic features of comics, we can find that there are already artistic treasures with comic characteristics in ancient China.
For example, from Xia Jie, a stone statue in the Han Dynasty, to The Jade Dynasty Picture by Shi Ke, the first satirist who appeared in the Five Dynasties and Ten Kingdoms, to The Harmony Picture by Ming Xianzong in the Ming and Qing Dynasties (expressing the idea of harmony), and Luo Liangfeng's Funny Picture of Ghosts (describing people with ghosts), all of them have contained comic features with exaggerated images and profound implications. In addition, in China's ancient traditional ink paintings, such as Zhu Da, a native of Badashan Mountain in the late Ming Dynasty, the Eight Eccentrics in Yangzhou in the Qing Dynasty dared to despise the ancients and challenged the traditional frankness in painting, such as Shi Tao's metaphor of "Bitter Melon Monk". These literati freehand brushwork paintings reflect the author's cynical attitude towards life, strong personality and inner feelings, as well as their implied hints and ironic styles. Although there is still a certain gap between them and comics in the modern sense, we can really see the clue of chinese comic's development.
China's ancient "cartoons" embody the allegorical characteristics of "warning", and have also undergone great changes due to the change of dynasties and social system. For example, from the Han Dynasty to the heyday of the feudal society of the Five Dynasties and Ten Kingdoms, the magnificent sculpture style and the painting language with lines as the modeling backbone have been basically established, and the expression techniques and artistic skills have become increasingly mature. The development of art has influenced the cultural policy of the rulers. At this time, the more open cultural atmosphere makes the allegory in painting creation sharper and more direct; During the hundreds of years from the Five Chaos to the unification of the Tang Dynasty, to the exchange of power between China and foreign countries in the Yuan Dynasty, and the feudal rulers did not hesitate to suppress the freedom of cultural and artistic expression in order to maintain political power, the enthusiasm of literati for politics cooled down, and painting creation became a means for literati painters to express their personal temperament and express their thoughts. Therefore, the theme of seclusion and indifference is not uncommon, and the painter emphasizes the understanding and expression of the verve of things and the embodiment of cultural accomplishment in his creation, which makes the irony in Song Yuanming's paintings more taboo.
Later, the corruption of the late Qing regime and the wave of people's anti-imperialism and anti-feudalism prompted "comics" (not called comics at that time) to come everywhere.
Significance of ancient comics
"Confucius' Family Language" contains: "Confucius sees four halls, which have the appearance of Yao and Shun, the image of Jie and Zhou, each with its own shape of good and evil, and it is unclear whether it is good or bad. "Ancient people have learned to use painting as a weapon to expose evil and promote goodness. Mr. Deng Tuo believes that "the painting with the theme of the contrast between good and evil can be regarded as one of the manifestations of ancient' cartoons' in China". That is to say, painting for satire and criticism began to appear as early as the Spring and Autumn Period, which was the predecessor and foundation of chinese comic.
China, which has just entered the feudal society, has distinct classes and strict hierarchies. The appearance of Shi Xiajie, a portrait of Han Dynasty, can be regarded as an example of satirizing the present. The cruel image of Xia Jie in the portrait is in sharp contrast with the bullied slaves, which effectively exposes the darkness of ancient slavery and implies that contemporary rulers should implement a benevolent policy. In addition, exaggerated expressions were widely used in pottery figurines and sculptures in the Han Dynasty.
In the Wei and Jin Dynasties, the feudal social system was further consolidated. Paintings in this period often used satire and exhortation to publicize feudal moral standards and norms, which is very similar to the fable characteristics of cartoons. For example, in Wei, Jin, Southern and Northern Dynasties, Gu Kaizhi's A History of Women is an example.
During the Five Dynasties and Ten Kingdoms period after the Tang Dynasty, the history of China once again entered the era of separatism. In this period of chaos and destruction, there are tyrants and cruel officials all over the world, and there is fierce competition between rulers, wars continue, and social, economic, cultural and artistic development changes dramatically. Especially at this time, West Shu appeared (pre-Shu, 907-925 AD; Houshu (934-965 AD) and Nantang (937-975 AD) are two cultural centers (frequent wars in the Five Dynasties, less wars in the South, and social stability). In addition, the monarchs of Western Shu and Southern Tang Dynasty were elegant in literary talent and proficient in temperament, so the cultural atmosphere was strong. ) Promote realistic painting and landscape painting to have a brand-new style. Painters in this period advocated forgetting fame and fortune, getting rid of miscellaneous desires, enriching their own spirit and subliming their own lives. Shi Ke and Kai Liang of Houshu expressed their melancholy in an ironic way, which is quite close to the meaning of comics.
Song and Yuan Dynasties satirized the present with the ancient.
During the Southern Song Dynasty, Jin Bing invaded, ethnic conflicts were fierce, and people's enthusiasm for resisting Jin was high, while the Southern Song Dynasty court was weak and incompetent. At this time, painters can only express their political opinions and patriotism with paintings and unique ideas to satirize the ancient people's political situation at that time. For example, Li Tang, a painter of the Southern Song Dynasty, went south to Lin 'an (now Hangzhou) after his death in the Southern Song Dynasty, and created many works, "aiming at canon". For example, his "Flowers of Picking the EU" shows the scene that Boyi and Shu Qi resolutely refused to be Zhou Chen, preferring to die rather than eat Zhou Su and avoiding picking wild vegetables to satisfy their hunger in shouyangshan. Li Tang painted with this content in order to satirize the dog who bent his knees and rebelled; The Restoration Map of Jin Wengong expresses his strong desire to restore the country. It can be seen that it is an obvious feature of the satirical paintings in the Southern Song Dynasty to satirize the present through the ancient times, criticize the current politics implicitly and tortuous, and express the political views of the painter.
The irony of painting in the Yuan Dynasty is more direct than that in the Southern Song Dynasty, which is mainly manifested in the fact that the author of the Yuan Dynasty dared to face the abuses of the imperial court and sharply exposed the dark reality of society. For example, "Two Horses" written by Ren Renfa, a famous water conservancy expert in the Yuan Dynasty, uses horses of different sizes to compare corrupt officials and honest officials, and vividly satirizes corrupt officials as "fat but not born".
In addition, it is worth mentioning that the image of officials in the Northern Song Dynasty ("Porcelain Painting Official Map") painted on the dual-system porcelain pots unearthed in Mongolia is vivid and humorous, but full of irony, which makes people dumbfounded, smiling and full of modern comic expressions.
Metaphorical satire in Ming and Qing Dynasties
During the Ming and Qing Dynasties, feudal rule reached its acme. The spy system of the East-West Factory in the Ming Dynasty and the literary inquisition in the Qing Dynasty forced folk painters not to directly criticize the social reality at that time, nor to boldly expose their shortcomings. As a result, some painters chose more subtle forms of expression and expressed their dissatisfaction with the social reality at that time by metaphor or analogy. For example, Eight Mountains, born in the imperial clan of the Ming Dynasty, were extremely dissatisfied with the rule of the Qing Dynasty. He faces the world with a laughing and cursing attitude, so the flowers, birds, trees and stones and landscape figures in his works are abnormal images to vent his inner resentment. Because of his special identity and unbalanced psychology, coupled with his hatred of the Qing Dynasty, he distorted everything in the objective world. Although this is not entirely correct, his satirical painting art is innovative. In his Peony Peacock, the peacock shows off in front, but shows its ugly ass in the back, satirizing the flattery bureaucrats.
In addition, there is Luo Liangfeng, one of the eight eccentrics in Yangzhou. His "Ghost Fun Map" is also a representative work with allegorical meaning in Qing Dynasty.
In addition, it is worth mentioning that Ming Xianzong's "A Harmony Map" is also quite comic, but there is no irony in the theme, but it has the flavor of praising comics, which is quite special. Chinese comic's characteristics were conceived in the long and heavy history and the development of painting art, and stood out in the late Qing Dynasty and the early Republic of China. With the appearance of newspapers and periodicals, the intuitive satire of cartoons and the bitter criticism of social power have become a special "weapon" and developed into an independent painting.
After the Opium War, China entered a semi-colonial and semi-feudal society. At the end of 19, European lithograph technology was introduced to China. In order to publicize their political opinions, various political factions have used lithographs and founded a large number of newspapers and pictorial. During this period, a large number of pictorial and newspapers boldly reflected various contradictions in social life and exposed the corruption and atrocities of the Qing government. Their propaganda means are not limited to words and slogans, but also use cartoons to express their patriotism and national salvation, such as Russian News and China Pictorial. Newspapers such as Current Affairs Pictorial in Guangzhou published many cartoons against the invasion of foreign powers and the feudal rule of the Qing government. This large number of cartoons satirizing current affairs, anti-feudalism and anti-imperialist aggression developed rapidly, which promoted the establishment of cartoons before and after the Revolution of 1911.
If we count from the Situation Map written by Xie Zutai in the 24th year of Guangxu in Qing Dynasty (1898) and the anti-imperialist cartoons written by the Boxer Rebellion in the 26th year of Guangxu in Qing Dynasty (1900), it can be said that chinese comic's independent development has run through the whole 20th century. Among them, the establishment of People's Republic of China (PRC) 1949+00 was the watershed, and the development of comics in the late 20th century 19 19 June May 4th Patriotic Movement 1965438 June May 30th Movement 1925 June 30th Movement. Contemporary cartoons in the late 20th century (50s-90s after the founding of New China) inherited the revolutionary fighting tradition in the past, developed in step with the changes of the times and the fate of China society, survived the cartoon disaster during the Cultural Revolution (many cartoons were criticized as "poisonous weeds" and became the evidence of critics), and opened up new horizons in social functions, themes, forms and styles.
In a word, following closely the historical situation and social changes in China, chinese comic experienced earth-shaking ups and downs in the 20th century from 65438 to 000 in China, forming a unique cartoon tradition and history in China.
Late Qing dynasty and early Republic of China
From the late Qing Dynasty to the early Republic of China, the name of "comics" has not been formally used, and most of them are still called "allegorical paintings" and "allegorical paintings", but this does not affect the rapid development of comics. The international and domestic political situation is the fundamental reason for the large-scale development of comics and the final formation of independent painting. With the wanton invasion of foreign powers and the collapse of the Qing government, the bourgeois democratic revolution is surging, and the complexity and chaos of China society is immeasurable. These cartoons, which criticize the malpractice of the times, are directed at imperialism and feudalism, exposing their ugly faces of greedy occupation of China. Of course, the introduction and application of modern printing technology makes newspapers and pictorial rise rapidly, and also provides technical conditions for the creation and circulation of comics.
China's comedies in this period were closely related to current events and real life, and were very sensitive to the social and political situation. Cartoons, while reflecting the rapidly changing social reality, use their fable function to arouse people's awareness of resisting imperialism and saving the country, and become a powerful weapon for political struggle and ideological struggle in the democratic revolutionary movement. As the "base" of these cartoons, comic newspapers such as Russian News and Current Affairs Pictorial have played an important role.
Compared with the obscure ancient fable paintings, in order to express the propaganda content more clearly, the cartoons in the late Qing Dynasty and the early Republic of China are not only based on major social problems in reality, but also easy to understand, straightforward and sharp in artistic expression, which makes people see at a glance. Even the metaphors commonly used in cartoons are often compared with the common phenomena in life, so that more people can accept and understand them.
In terms of subject matter, due to the complicated situation of many forces and factions in the period of social unrest, the selection of comics is very wide. From exposing the invasion of the great powers to attacking the traitors of the Qing government; From satirizing the hypocrisy and corruption of officialdom to the feudal superstition against the people, there are excellent works to reflect it. For example, cartoons such as "The Whole Situation" and "Seeing All Dreams in the World" point to the crux of the problem, expose the ambition of big countries to carve up China, and satirize the numbness of some people.
May Fourth Movement
With the signing of one unequal treaty after another, the people of China who have been oppressed for a long time can no longer submit to humiliation, and the domestic anti-imperialist and anti-feudal sentiment is getting higher and higher, which finally led to the outbreak of the May 4th Movement in 19 19. While the patriotic movement was in full swing, cartoons in this period closely cooperated with the revolutionary movement and became an unprecedented active art form. At that time, besides many influential cartoonists (such as Shen and erysipelas), the cartoon leaflets spontaneously drawn by the revolutionary masses were also a special form of cartoons during the May 4th Movement, and they were even more powerful weapons in the anti-imperialist and anti-feudal movements, vividly expressing the revolutionary movements and people's thoughts.
Excellent works frequently appear in comic leaflets, such as "Ethnic Comrades Don't Be Laughed at by Japanese Slaves", calling on the people of China to take "boycotting Japanese goods" as a "weapon to save the country" and overthrow the Japanese who hold the flags of "Secret Agreement" and "Qingdao". The cartoon leaflet "Look at the current tragic situation in North Korea" reflects the scene of the Korean people oppressed by the Japanese army being slaughtered and buried alive, and criticizes the bloody crimes of the Japanese army. They vividly show that once China becomes a colony of Japanese imperialism, the people of China will face the same tragic situation as North Korea, so as to inspire the people of the whole country to resist imperialism and patriotism and mobilize everyone to rise up against the Japanese aggressors.
19 19 There is a cartoon leaflet in the book A Record of the Shanghai Strike published in June, which depicts two fierce armed police holding an arrested demonstrator. Although the arrested person was handcuffed and shackled, he was still upright, holding his head high and shouting slogans, and never gave in. The inscription in the painting reads: "What do you think he should do? To save his country. Isn't his country our country? He is willing to suffer for his country. What should we do? " Passionate words and pictures together give people great encouragement and strong incitement.
Although the authors of these cartoon leaflets are unknown, and the works themselves are difficult to be preserved by printing or publishing, they are undoubtedly an important part of the history of chinese comic. Comic leaflets during the May 4th Revolution have specific objects and goals, which fully shows the power of comic art in criticizing satire.
During this period, masterpieces of famous cartoonists abound, including Shen's "harmony effect of the people" when engineering businessmen defeated Cao, Lu and Zhang. In addition, Uichiro Niwa's "National Shame Map" is the earliest cartoonist's personal painting collection in China. 19 18, Shanghai Poker, founded by Shen, was the earliest professional comic book publication in China.
The twenties
Then, the May 30th Movement in 1925 and the great historical turning point of state-to-state cooperation in 1926 injected a shot in the arm into the literary and art circles, and artists' patriotic revolutionary enthusiasm was once again ignited. Comics played a pioneering role in the revolutionary propaganda movement initiated by the literary and art circles, satirizing and attacking imperial power and feudal warlords became the main content of comics in the 1920s. During this period, not only the earliest comic group was established, but also a group of comic masters appeared, which laid a solid foundation for the prosperity of comics in the 1930s.
1925, after the May 30th tragedy that shocked China and foreign countries broke out, people's patriotic enthusiasm was widely aroused. Workers, students and businessmen went on strike, and the masses spontaneously organized revolutionary movements, forming a nationwide anti-imperialist wave. Intellectuals in the literary and art circles also cheered up from their sad and depressed emotions and actively participated in the anti-imperialist and patriotic movement. In the vigorous movement, cartoons became a powerful propaganda tool and cultural weapon for workers, peasants and intellectuals to attack imperialism and satirize reactionary warlords. They were published in newspapers or posted in the market, which greatly aroused the people's enthusiasm for revolutionary struggle.
1926, the state cooperated with * * to carry out the northern expedition, which pushed the struggle against imperialism and feudal warlords to a new climax. Cartoonists in the literary and art circles put on military uniforms one after another, and brought the propaganda function of comics to the extreme in the battle. Huang Wennong, Ye, Lu and others all joined the Northern Expedition and became the backbone of cartoon creation in this period. At the same time, with the publication of Zi Yue Comics by Feng Zikai in Literature Weekly, China officially began to use the name "Comics" widely. Feng Zikai is loved by people because of his unique style of children's cartoons and lyric cartoons, full of kindness and interest in life.
1927, Ding Quan, Zhang Guangyu and others initiated the establishment of the Shanghai Comic Society, the earliest comic group in China. On 1928, the magazine "Shanghai Comics" was published, which united and trained a group of cartoonists and played a connecting role in the history of chinese comic.
the thirties
In 1930s, chinese comic reached a new climax, which was not only rich in quantity, but also rich in form and style. From1September, 934 to1June, 937, in just two and a half years, about 20 periodicals focusing on comics were published in Shanghai alone, among which Time Comics and Comic Life are the most representative. At the same time, 1936 the first national comic book exhibition was successfully held in Shanghai, with more than 200 authors, which was a great figure at that time and wrote an important page for the history of chinese comic. At the same time, in the revolutionary base areas of the Soviet area, the mass cartoon propaganda activities are also very active and prominent in opposing the Kuomintang military encirclement and suppression.
In 1930s, China just experienced the "April 12th coup" of 1927, and white terror enveloped the whole country. Kuomintang Rightists used cultural and military "encirclement and suppression" methods to deal with revolutionary forces; In contrast, the anti-cultural "encirclement and suppression" of the left-wing movement and the anti-military "encirclement and suppression" of the revolutionary base areas in the Soviet area also began. 193 1 After the "September 18th Incident", the Japanese Empire's aggression against China intensified, and a puppet Manchukuo was established in the northeast.
The national disaster is at the forefront, the patriotic enthusiasm of the people is unprecedentedly high, and people in the cartoon industry are ghostwriting with paintings, and comic creation is unprecedentedly prosperous. 1932 The battle of Songhu triggered an angry expression in patriotic magazines. Existing magazines have published a large number of essays and cartoons criticizing state affairs, and new magazines have been founded one after another. Therefore, 1933 and 1944 are called "magazine year". With the intensification of Japanese aggression, people's concern for the fate of the country has made essays and cartoons expressing personal views and positive thoughts widely welcomed; This period is also called "the age of prose and comics".
During this period, a large number of comic books appeared in Shanghai. From 1934 to 1937, there are 19 comic publications such as Time Comics, Comic Life, Indie Comics, Shanghai Comics and Comic World in Shanghai alone. Many cartoonists are committed to creating cartoons against aggression and encirclement and suppression, such as the works of Zhang Wei and Cai Ruohong. In addition, the publication of comic books reached its peak in the 1930s. According to statistics, there are more than 20 known cartoons. The comic book Grand View edited by Ye was a masterpiece at that time. This comic book collection *** 184 works, most of which are published in Shanghai Comics, can be said to be an abbreviated version of Shanghai Comics and a summary of comic achievements in a period. Ye's long comic books "Mr. Wang" and "Overseas History in Jinghai" also have great influence in society. Lu Times comics have also made outstanding contributions in uniting cartoonists and cultivating new cartoonists.
War of Resistance against Japanese Aggression
In the eight-year hard War of Resistance against Japanese Aggression from 1937 to 1945, cartoons not only became a wake-up call for China people to rise up and save the country, but also indirectly achieved a feat of resisting Japanese aggression.
After the "Lugouqiao Incident" on July 7th, when the soldiers in front were struggling to the death with the Japanese aggressors, the patriots in the cartoon circle also devoted themselves to the propaganda front of saving the nation, giving full play to the militancy of cartoons and making great contributions to War of Resistance against Japanese Aggression.
In August of the same year, the Japanese attacked Shanghai. As the center of the comic movement, under the banner of resisting Japan and saving the country, Shanghai cartoonists set up the Shanghai Comics Saving the Country Association and began to publish the magazine Saving the Country Comics. At the same time, the Comic National Salvation Association sent a comic propaganda team to work in various places at the end of August. The main members of the comic propaganda team are Ye, Zhang Leping, Tewei and others. They set out from Shanghai and went to Nanjing, Wuhan, Changsha, Guilin, Chongqing, Guangdong and Xi 'an to actively carry out cartoon propaganda activities to resist Japan and save the country. After the cartoon propaganda team arrived in Wuhan, it was led by the Third Hall of the Military Commission of the National Government and worked under the guidance of Zhou Enlai and Guo Moruo. Then, after the Comic Book of Saving the Nation, the Comic Book of Anti-Japanese War came out.
During the period of 1938, Wuhan established the wartime working committee of the National Comic Writers Association (later renamed the All-China Comic Writers' Anti-Enemy Association), formulated and published the wartime working outline of the National Comic Writers Association, and called on cartoonists to carry out anti-Japanese and national salvation propaganda in various forms. Cartoonists launched a cartoon war to win the final victory in the war of resistance against Japan. Comic creators scattered all over the country use woodcut instead of printing equipment; If there is no newspaper, it will be sent to the people from door to door; If there is a shortage of talents, hold training courses to train new comic fighters; It also edits pictorial, holds exhibitions and puts up posters.
In the late period of the Anti-Japanese War, the propaganda of cartoons was oppressed and restricted by the authorities. However, under extremely difficult conditions, cartoonists still exposed the dark reality of "tight before tight" and expressed the voices of the masses. For example, Ye and others' eight-person comic joint exhibition, and The Journey to the West and Liao's "The Spring and Autumn of Cat Country" and other special exhibitions. At the same time, cartoonists in China and other liberated areas also pointed their finger at the Japanese army and the passive anti-Japanese Kuomintang.
The obvious characteristics of anti-Japanese comic works are: clear theme, hit the nail on the head, concise and eye-catching. These cartoons, together with essays, have undertaken the important task of propagating public opinion in War of Resistance against Japanese Aggression's national democratic revolution for eight years.
* * * Civil War.
After eight years of arduous victory in War of Resistance against Japanese Aggression, three years of civil war began. The establishment of19491kloc-0/People's Republic of China (PRC) opened a new era in the history of China, and China society entered a socialist society from a semi-colonial and semi-feudal society in the Opium War.
Comics in this period cooperated with the war of liberation, and took the region as the boundary, and formed their own comic works in the liberated areas and the national government areas. Comics in the liberated areas became an artistic weapon, which cooperated with the people's struggle in the liberated areas. Cartoonists still create a large number of excellent works with both national characteristics and popularity under extremely difficult material living conditions. For example, Cai Ruohong's Where the Bitterness Comes from, King's Flag for City Head, political satirist Hua's Sharpen the Knife, Against the Counter-revolutionary Background, etc. In the field of national government, comic works are in the same strain as the democratic movements against civil war, hunger and persecution, which embodies a distinct theme.
Mi Gu, who mainly lived in Shanghai, was a representative political satirist at that time, and Ding Cong's Map of Reality was also an important work during the Civil War. At the same time, the cartoon engineering group led by Shen Tongheng, combined with the student movement, exhibited cartoons such as "Dream of Spring" and "Mourning Songs" in Shanghai. The comic books created by Zhang Leping at this time outlined the life in an unequal society. This set of cartoons was not only very popular at that time, but also had a wide social impact on later cartoon creation. In addition, a number of comic propaganda materials have appeared in student movements all over the country.
The fifties and seventies
1 949 65438+1October1,People's Republic of China (PRC) was finally established, and the people of China no longer have to be displaced by the war, but can live and work in peace and contentment. The end of the bitter war brought a new climax to the cartoon creation in the early 1950s. Cartoonists all over the world have returned to their hometown and started a new comic business.
In the early days of the founding of New China, everyone rejoiced. In addition to the vigorous development of anti-American and praise cartoons, cartoons reflecting contradictions among the people have also risen rapidly. The original content of comics is mainly to expose and criticize the enemy, and the new content is mainly to reflect on the people. For a time, comics almost became an indispensable part of newspapers and periodicals.
1950, comic monthly, with Mi Gu as editor. Founded ten years ago, the magazine has published countless excellent comic works, and is committed to improving the ideological expression and artistic level of comics and cultivating young comic writers. Since the 1950s, chinese comic's families have been active in this period: Hua, Fang Cheng, Mi Gu, Liao, Zhang Leping, Li Binsheng, Zhu Xuanxian, Fan Jiang, Wei Qimei, Zhan Tong and Bi Ke Guan. From 65438 to 0957, with the development of the "anti-rightist" movement, some comic writers were wrongly classified as "Rightists", and comic creation once fell into a trough. At the end of 1960s, the decade-long "Cultural Revolution" began, and many comic writers were persecuted and criticized, so comic creation could not be carried out.
After 1976, cartoons played a unique role in the struggle to crush the Gang of Four. Subsequently, comics developed rapidly and a new situation appeared.
Transition from the old to the new
1978, the producer of China * * * held the Third Plenary Session of the Eleventh Central Committee, and literature and art finally had a broad space for development, and chinese comic entered another prosperous period. Cartoon writers in this period paid great attention to positioning and their own tasks, so a large number of comic works praised the progress of contemporary reform and opening up and modernization, so that comics still maintained the role of public opinion supervision in the era of reform and opening up. At this time, the whole comic creation atmosphere presents a diversified development trend.
From 65438 to 0979, Satire and Humor, the comic supplement of People's Daily, was published, and comic newspapers and periodicals all over the country came out one after another. At the same time, comic clubs and research societies have been established in various places. 1982, the second national cartoon exhibition, held more than ten years after the first exhibition. From 65438 to 0984, comics participated in the Sixth National Art Exhibition as an independent painting, which marked the independence and maturity of this art form in the new period.
In addition, with the deepening of reform and opening up, Chinese mainland, Hong Kong, Macao and foreign countries' comic exchanges have increased year by year, and great achievements have been made in the theoretical research of comic books, and the development trend is becoming more and more mature and detailed.
Since 1990s, comics have entered a stage of diversified development. In addition to the inherent functions of satire and praise, it also has the functions of education and knowledge cognition, and at the same time strengthens the entertainment and temperament cultivation of comics; Humor comics, science comics, world comics, advertising comics, etc. Have been developed and welcomed by readers. In addition, cartoons have a wider range of materials, and began to explore the theme from many aspects and angles, no longer limited to class struggle, showing a rich and diverse face.
2 1 century
Chinese comic in 2 1 century mainly spread on the internet. Due to the shortage of cartoon talents in the 2 1 century and some complicated reasons, chinese comic is in a bottleneck period. Chinese comic in 2 1 century mainly imitated the style of Japanese cartoons, which also shows that chinese comic is struggling to explore, but today, there are still very good cartoons, including Ao's Wulongyuan, Zhang Xiaohe's series, Mao Xiaole's Four Cats and Dogs, Yan Longzixu's Little Detective and so on. On the Internet, Mo's Biography of Brother Chun Pleasant Goat and Hair with Big Big Wolf are the most famous. Today, chinese comic is experiencing a talent shortage, and one day, chinese comic will revive. General introduction
Comics are rooted in people and grow in life. Social and political current events and people's real life are the basis of the existence of comics. Comics take political current affairs, social phenomena and real life as themes, and often choose events that cause themselves, or create unfair themes for some phenomena. Therefore, cartoonists cultivate keen sensibility and the ideological ability to analyze reality from observing society and life.
Phenomena in social life, whether beautiful or ugly, right or wrong, can be seen at any time. Comics reproduce life like a wide-angle lens, covering as much as photography and prose. Comics have many functions, and caring about social progress, national development and people's well-being is regarded as the primary duty by cartoonists. Therefore, for various phenomena in current politics and life, cartoonists always use brushes instead of words to express their voices or grievances. Of course, no matter from what point of view, comics are humorous first, and strive to make people feel something in laughter.
For * * * Ming, the cartoonist's expression may be enthusiastic praise or passionate lyric; For public opinion, cartoonists not only make bitter satire, but also severely attack and mercilessly expose it to show the world and show their position. Therefore, in view of the different contents and themes, comics are also divided into many types. Such as news cartoons, satirical cartoons, casual cartoons, family cartoons, portrait cartoons, lyric cartoons, science cartoons, humorous cartoons and children's cartoons. If classified by length, there are also single comics, comic books and long comic books.