Information about Chinese Cartoons

Ding Creeper, with the character Muqin, was a native of Jiashan, Zhejiang Province. Since he was a child, Ding Creeper studied painting, and laid a solid foundation in Western painting, drawing and Chinese painting. At the end of the Qing Dynasty, Ding began to create cartoons, the content of which mostly reflected the current political situation. During the May 4th period, he was particularly active in his creation, such as "The Jackal is in the Way", "Seal on the Lock", "China's Recent Pessimism" and so on. His masterpiece The People of Shanghai in June of the Ninth Year of the Republic of China depicts the lives of citizens struggling with hunger. He also painted an arrow on the abdomen of the people in the painting, thus pointing out the shriveled bellies of the commoners due to hunger. Because he specialized in Chinese painting in his later years, Ding's caricatures were mostly white drawings with brushstrokes, which were concise and figurative.

After the May Fourth Movement, several of the major creators of cartoons died or changed careers, while Ding mainly devoted himself to teaching. As a contemporary of Shen Pochen, Ding was a great caretaker of young cartoonists, and his hospitality often allowed young people to gather at his home to talk about cartoons. Under his and Zhang Guangyu's presidency, the Shanghai Cartoon Society was founded in 1928, and the sign of the Society was hung in front of his house. The older Ding Creepy naturally became the leader of the Society, and with him and Zhang Guangyu at the center, they united a group of young and passionate cartoonists. Some of these people, such as Zhang Zhengyu, Ye Qianyu, Lu Shaofei, Huang Wennong, and Wang Dunqing, became indispensable backbones in the later twenties and thirties when comics flourished. These fledgling young people had no jobs, could not make ends meet, and lived on a meager income. However, with their love of cartooning and the help of their "big brothers" Ding Chuan and Zhang Guangyu, they persevered on the path of cartoon creation.

If there was no unity and organization of Ding Creeper, this group of future cartoonists might have been forced by life to run to the west and east, and seek their own way out, so that not only there was no development of Chinese cartoons, let alone the brilliant "achievements" of Chinese cartoons in the 1930s.

Shen Pochen (1889-1920) was born in Tongxiang, Zhejiang Province. Although he died young, he was one of the cartoonists with the most outstanding achievements in cartooning in the early years of the Republic of China and the May Fourth Period. According to statistics, he created more than a thousand cartoons. Before and after the May Fourth Movement, Shen Pochen created the famous "Industrial Merchants Overthrowing Cao, Lu, and Zhang", which swept away the image of the weak and helpless Chinese people in the cartoons of the late Qing Dynasty and the early Republic of China, and let the people's huge and powerful fists appeared in the picture, which completely overpowered the lewd traitors and demonstrated the strong power of the laborers.

As an influential cartoonist, Shen Pochen's outstanding contribution also lies in the fact that he founded China's first specialized cartoon publication--Shanghai Puck. Because the word "punk" comes from the Western word punch, meaning "witty and good banter", Shanghai Punch was also known as Po Dust Funny Pictorial. This specialized cartoon publication was founded in September 1918, but only published four issues, due to the death of the founder of Shen Pochen ceased publication, it is really regrettable. The vast majority of the work of this publication is from Shen Pochen's hand, his cartoons have always been centered on the "three steps of responsibility" put forward at the time of the founding of "Shanghai Puck".

But Du Yu (1896-1972), whose name was Juanwu and whose character Du Yu, loved drawing since childhood. In addition to creating a large number of patriotic cartoons, he published China's first personal cartoon collection, "National Shame Drawings" in 1919. This collection of cartoons reflects the author's political attitude and patriotic feelings in the face of the national crisis, the survival of the country and various social phenomena at that time, and each cartoon embodies the determination of Du Yu to use cartoons as a weapon of resistance.

Cartoons that counter the Japanese invaders and expose the traitors and sellers of the country are an important content of "National Shame Drawings". For example, "Woo Hoo Lu Min, Woo Hoo Holy Land", which depicts a Shandong man wearing a sun yoke symbolizing Japan, exposes Japan's control over the sovereignty of Shandong, China; "Introducing Ghosts to the Gate" exposes the sinful collusion between the pro-Japanese faction and the Japanese invaders; and "Concealed Treats, Delicacies and Miscellaneous Stuff", which uses the popularly familiar story of the treacherous Cao Cao and his characters as an analogy to expose the scandalous look of the flattering traitor and sellout of the pro-Japanese faction.

Cartoons reflecting the anti-imperialist and patriotic struggles of the Chinese people are also numerous in National Shame Drawings. For example, the cartoon "Gluttony of a small dog, death is not worthy of pity" shows the representative of the "government" sending Qingdao into the mouth of a small dog which is a metaphor for Japan, while the hand of "boycott of Japanese goods" pinches the neck of the small dog and forbids it to swallow, which vividly reflects the complexity of the issue of Qingdao between the Japanese imperialists, the government and the Chinese people. This vividly reflects the complex relationship between the Japanese imperialists, the government and the Chinese people over the Qingdao issue, which is simple, clear and easy to understand, and expresses the complex political situation of the time through the unique artistic language of the cartoon.

In addition to the satirical cartoons, the National Shame Picture Book also collects some sketches and sketches reflecting the reports of the May Fourth Patriotic Movement. For example, "Schoolgirls' Mourning for Martyr Guo", "Shanghai after the Strike", "Shanghai Jiangnan Dockyard after the Strike", etc., all of them are the real portrayal of the mass movement at that time, which is undoubtedly a precious art material of the May Fourth period.

The National Shame Painting was welcomed and loved by the public for its patriotic and upright subject content, easy-to-understand expression and vivid depiction of characters. It inspired the patriotic fervor of the masses, which is the value of this cartoon monograph.

The value of Zikai's cartoons also lies in its unique content and style. The caricatures are mostly based on children's interests, life interests and ancient poems and new paintings, which can be said to be novel and unique in theme and chic in approach. This collection of cartoons appeared at a time when it was on the eve of the May 30th Movement, the literary and artistic circles were filled with a sentimental and bitter mood, and most of the works in the art world were detached from reality and vulgar; while Feng Zikai seized many small things in life that were full of interest, and expressed people's familiar and warm slice of life and interesting children's interest, which was refreshing to readers and made them feel extraordinarily friendly. Therefore, Feng Zikai is the founder of the school of "lyrical cartoons". Such as "A Bao two feet, stool four feet", "peanut rice is not satisfied", etc., frank and lively, showing the innocent children's fun; "buy rice dumplings", "the city of spring" is the ordinary daily depiction of social life, but full of a strong sense of humor, as Zheng Zhenduo's evaluation said, such works make people look at the "can forget the reality of life's misery for the time being. " These cartoons are not only refreshing, but also give people a healthy feeling. "Ancient Poems and New Paintings" is also a unique type of cartoon by Feng Zikai. His paintings such as "A Hooked Crescent Moon and the Sky is Like Water" express his feelings through ancient poems, but the paintings are of modern characters, and often with just a few strokes, he sketches out a mood that is rich in originality.

The Zikai Cartoons are rich in poetic flavor and contain deep philosophical meanings, which are intriguing. Feng Zikai said of the cartoons, "Ambiguity of meaning is a characteristic of cartoons, and a cartoon that is clear at a glance has no flavor. However, ambiguity is never meant to be unintelligible, but rather seems to be dark and clear, so that people can realize something after pondering." As a result, his paintings are philosophical but approachable, and are loved by people of all ages and classes.

Zhang Guangyu (1900-1964) was a native of Wuxi, Jiangsu Province. He never went to art school, and after graduating from elementary school, he painted sets with Zhang Yuguang at the New Stage in Shanghai. He later worked as an editor at the World Pictorial and as a draftsman at the British American Tobacco Company.

Zhang Guangyu's wide-ranging interests include not only Peking Opera and folk art, but also folk woodcutting, paper-cutting, and ancient patterns, giving him a deep knowledge of traditional art. At the same time, living in the open Shanghai, Zhang Guangyu also consciously drew on the creative experience of modern Western art, such as the German Bauhaus school, Mexican murals, German Expressionism, etc., all of which had a profound influence on him. Zhang Guangyu blended foreign art with his deep cultivation of national art, so that his cartoons, in addition to exaggeration, also have a unique, decorative artistic style. Whether it is the early Guangyu Satirical Paintings or the large-scale comic strip "Journey to the West" created in the 1940s, this decorative style is clearly reflected. Therefore, Zhang Guangyu can be regarded as the founder of the decorative school of Chinese cartooning. His "Journey to the West" borrows the form and characters from the classical masterpiece "Journey to the West" and uses 60 consecutive color images to attack the corruption of those in power. The painting method used in them is decorative, with strong but harmonious tones and strong, smooth lines, making them unique masterpieces in terms of both content and form.

However, what Zhang Guangyu is most recognized for is his contribution to the development and growth of Chinese comics as a whole. Zhang Guangyu played an important role in the establishment of the Shanghai Cartoon Society. He was enthusiastic in organizing and caring for talents, provided material and financial resources for the Comics Association, and founded a large-scale color pictorial magazine Shanghai Comics, which cultivated the backbone for the development of comics in the 30's. In 1934, Zhang Guangyu founded Times Comics for the cause of comics. In the following year, he gave up his lucrative salary and left the British American Tobacco Company, and founded the Independent Comics, which was edited by himself, out of a sense of patriotism.

Zhang Guangyu's dedication to the development of Chinese comics was so respected by his peers and descendants that he was invited to design the inaugural and commemorative issues of Shanghai Comics and Times Comics. Until today, Zhang Guangyu is still affectionately known as the "big brother" of the cartoon industry.

There were many other cartoonists who were active in the 1930s, and most of them did not specialize in art or cartoon creation, but came from all walks of life. They were Tao Mouji, Chen Yifan (1908-1995), Shen Yichian (b. 1908, disappeared in Chongqing in 1944), Dou Zonggam, Dou Zongluo, Sun Zhijun, Chen Haoxiong, Chen Juanyin, Jiang Dongliang, Li Fanfu (1906-1967), Huang Shiying (one of the founders of Cartoon Life), Ai Zhongxin, Chen Huiling, Ding Shen, Huang Jiayin, Ji Yehou, Yan Zuixi, Lin Zai, Jiang Yan, Cuba, Zhang Da Ren, Xuan Wenjie, and Zhang Daren. Zhang Da Ren, Xuan Wenjie, Huang Weiqiang, Lao Ji, Huang Renzhi, Jiang Yuki, Tian Wushi, Xu Ruoming, Xu Chaoran, and others. The earliest cartoon anthology

In 1909 (the first year of the Xuantong era), the Shanghai-based Times Newspaper edited and published a set of "Wushen Annual Pictorials," *** counting 36 volumes. The 20th volume was called "Allegorical Paintings", which is what is called cartoons today. This is the earliest collection of cartoons ever found. The works in the book were created and published between 1907 and 1908, and there are more than eighty works in the book. Famous ones include Two Faces of Internal and External Affairs, The So-Called Good Ministers of Today, and Examining Constitutionalism. This collection of paintings actively publicized patriotic ideas and indirectly propagated the idea of democracy and freedom.

The earliest cartoon publication

In September 1918, the earliest cartoon publication in China, Shanghai Puck, was born in Shanghai. The name "Punch" comes from the English word punch, meaning "witty and good banter". Because its founder was Shen Pochen, a pioneer of cartooning, the publication was also known as "Pochen Funny Pictorial". The style of this publication is serious, the content is concise, the arrangement is generous, from the content to the form are very careful. Its works not only aimed at imperialism and feudal warlords, but also called for a strict ban on opium and attacked the collusion of bureaucracy and capitalism to the detriment of the country and its people. This special issue of cartoons was of great significance in inspiring the awakening of the Chinese people, developing the art of cartooning and giving full play to the power of cartoons.

The earliest cartoon group

In the autumn of 1927, Shanghai cartoon enthusiasts spontaneously set up a cartoon club, with Ding Creeper and Zhang Guangyu as the main organizers, which was the first folk cartoon group in China. The biggest contribution of the Comics Association was to unite and cultivate a group of Shanghai's comics talents, such as Lu Shaofei and Ye Qianyu; they played a leading role in the comics industry in the subsequent 1930s and the Anti-Japanese War period, and set up more comics publications, becoming the backbone of comics creation and making valuable contributions to the prosperity of comics. The Cartoon Society assembled the works of its members and published a series of books. 1927 saw the publication of Wen Nong Satirical Drawings, which became a valuable source of information in the history of Chinese cartooning. 1928 saw the publication of the weekly Shanghai Cartoon, which became a fruitful cartoon publication in the 1920s.

The earliest cartoon exhibition

On November 4, 1936, the first national cartoon exhibition was held at Daxin Company on Nanjing Road in Shanghai. The exhibition was initiated by the editors of Times Cartoon and Shanghai Cartoon, and received a warm response from cartoonists from all over the country and overseas. The more than 600 cartoons in the exhibition reflected the real life of the society, and were closely related to the social and political situation at that time. This cartoon exhibition was a summary and a beginning for the history of Chinese cartoons. It organized and united more cartoonists for the cause of cartooning, and laid the foundation for cartooning to exert its power in the battle in the future. At the same time, the National Association of Cartoonists was thus established.

The Earliest Theory of Cartooning

In 1938, Liu Pillow-Qing's An Introduction to Cartooning was published, which became the first monograph on cartooning theory in China. The book was devoted to the origins, types, functions, characteristics, and development of comics, and also provided a demonstration of comic statues (i.e., the creation of comic statues) and drawing methods.