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A Panorama of Chinese Comic Strips - Connected Images from Abroad

  • Categories:Exhibitions
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  • Time of issue:2021-03-08 11:37
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(Summary description)Brussels: 2018.02.13-2018.09.09

A Panorama of Chinese Comic Strips - Connected Images from Abroad

(Summary description)Brussels: 2018.02.13-2018.09.09

  • Categories:Exhibitions
  • Author:
  • Origin:
  • Time of issue:2021-03-08 11:37
  • Views:


Brussels, Belgium


Exhibition time




Ministry of Culture of the People's Republic of China

National Art Museum of China

China Foreign Culture Group Corporation

Belgian Comics Museum



Guangzhou Federation of Literary and Art Circles

China Animation Golden Dragon Award Organizing Committee

Guangdong Animation Industry Alliance

Guangzhou Animation Artists Association

Guangzhou Animation Industry Association

School of Visual Art and Design, Guangzhou Academy of Fine Arts


Academic Chairperson

Wu Weishan (Director of National Art Museum of China)



Luo Yiping (China)

Jean Claude Delaware (Belgium)


Curatorial consultant




Xinhua News Agency, Xinhua Net, People's Daily Online, China Daily Chinese Net, China News Net


Exhibited works in this hall

"White Light", "Great Changes in the Countryside" (He Youzhi), "Man to Middle Age" (You Jindong),

"Sanmao Wanderings" (Zhang Leping), "My Human World April Day" (Jincheng),

"Oranges" (Benjamin), "Flowers in the Air" (Yao Wei),

"Standing on Tiptoe and Looking at Time" (A Geng and Ji Di), "Sunflower Boy" (Nie Jun),

Nearly 150 works including "Snow Coconut" (Yan Kai) are exhibited.




Preface 1: A panoramic view of Chinese cartoons-China's time stories and cultural memories in the 20th century


Wen Luo Yiping (Chinese curator)


Supported by the Ministry of Culture of the People’s Republic of China, and co-sponsored by the National Art Museum of China, China International Culture Group Corporation and the Belgian Comics Museum, "Panorama of Chinese Comics—Stories of Chinese in the 20th Century in Comics" is a very distinctive project. The exhibition is organized by the Chinese side. Co-planned with curators, for example, the most representative comics in China will be used to show European audiences the development process of Chinese comics from the 20th century to the present and the stories of the Chinese behind the comics.

As early as three years ago, the Belgian Comics Museum started the preparations for the Chinese Comics Exhibition with the title "Panorama of Chinese Comics—Uninterrupted Images from Foreign Countries", and carried out detailed research on the development of Chinese comics. The curator has visited China several times and communicated many times with related comic collection departments and private collectors. On this basis, he has formed an academically powerful plan draft. The Belgian Comics Museum wants to make this exhibition the most complete display of the development of Chinese comics since the 20th century and the most authoritative research project. It invites the Ministry of Culture of the People's Republic of China to co-sponsor the project.

The Ministry of Culture appointed me as the Chinese curator.

I inspected the venue at the Belgian Comics Museum and communicated with the curator Jean Oshje and the curator Jean Claude de la Valle. Formed a Chinese curatorial plan. The plan was affirmed and highly recognized by the Ministry of Culture, for example, and became the final plan of the exhibition.

In the final curatorial plan, for example, the title "Panorama of Chinese Comics—Uninterrupted Images from a Foreign Country" has "panorama", "foreign", "uninterrupted", and "image" as keywords, and "panoramic view" is used to present the comics. A panoramic story of China in the 20th century. Behind the cartoon images are the stories of the Chinese in the 20th century; "Foreign" is to tell the Chinese stories in the eyes of Westerners—national civilization, Chinese humor, century revolution, human emotions, and eastern cities; "Uninterrupted" is to tell the panoramic story of Chinese history in the 20th century. Through comic works, we can revitalize the well-known comic stories of Chinese countries in different eras, those Chinese comic works and cartoonists who have led the history of China and the world in different periods; "images" are It is necessary to make the comic works exhibited become an image of the modernization process of China in the 20th century.

As a result, I changed the linear pattern of vertical expansion for example, to a pattern in which five large sections are arranged side by side, and each section is expanded vertically in historical time sequence.

The first section, "The History of Comics": Take the curatorial plan for example as the main body, supplement on this basis, and present the development of Chinese comics for 5000 years, especially the history of Chinese comics development from the 20th century to the present, in the form of historical documents. Unlike Chinese comics scholars who usually trace the origins of ancient Chinese comics to the narrative inscriptions on the bronzes of the Pre-Qin Dynasty and the portrait bricks of the Han Dynasty to tell ethical stories and myths and legends through allegorical, symbolic, and metaphorical methods, for example, curators regard Chinese characters as Chinese. The ancestors of comics, from the "pictograms" and "knowledge" in the six Chinese characters to the narrative paintings of Han portrait bricks, Han tomb murals, Buddhist art, etc., outline the outline of 5,000 years of Chinese comics. The first story picture series published in the supplementary issue "Dianshizhai Pictorial" began, telling the century-old development history of modern and contemporary Chinese comics in the 20th century.

The second section, "Cultural Inheritance": It consists of three major series: Chinese ancient mythology series, Chinese fables series, and literary classics series, with comic stories as the main body, retelling the charm of ancient culture. Chinese traditional culture has a long history. Starting from the remote rock art era, the Chinese began to unfold the story elegantly in the form of pictures. The classics in the history of five thousand years of civilization are mostly retelled in comics. The cartoons condensed the love of the Chinese people who have gone back and forth; it interprets a nation’s understanding of heroes and deeply depicts the unremitting pursuit of Chinese culture for an ideal society. It allows us to see the love and hate of the Chinese people and understand the Chinese people. Ethics of value. Comics retell the cultural classics, and the cartoonists give the story new actions and expressions deep in the soul. These cartoons that inherit classics and tell ancient and modern stories have to a large extent become the dream epic of modern Chinese, constructing a splendid picture of national history for the times.

The third section, "Revolutionary Images": It is composed of comics and comics in the first half of the 20th century, and comics and comics in the second half of the 20th century. The “Revolutionary Image” section retains to a certain extent the “foreign” vision of defining China as “red and revolutionary” in the curatorial plan, but has transformed the meaning of “revolution” into the meaning of “revolution” in China. The image is a presentation of the history of the country and the world, and the revolutionary values ​​are patriotic freedom and equality.

The 20th century was the most turbulent century for China’s development and transformation. China began a revolution from a traditional social form to a modern form. Chinese cartoons accompany the whole process of Chinese social transformation and revolution. Revolutionary events and characters have almost become the masters of Chinese art. Theme of. Chinese cartoonists’ strong family and country sentiments have enabled every revolutionary event and social movement to be deeply reflected in their cartoons: whether it is the liberation of individuals or the salvation of the country, at the moment of life and death of the country, cartoons They can resist aggression with their unique humor, witty, and satirical language, and arouse the nation’s sense of crisis and social mission; in the process of social change, cartoonists have used popular forms to describe the Chinese people’s pursuit of modernization. On the road, the difficult, tortuous and fulfilling steps used his talents to place the image of the revolution in a specific historical space, and use the stories that are well-known and familiar to the people to convey and express the principles of the revolution in a popular way. The comics, comic strips, and animation works of the Chinese revolution in the 20th century constitute the epic of Chinese comic art in the 20th century with a broad social background and agitation historical facts.

The fourth section, "Chinese Humor": Humor is the crystallization of national culture. For hundreds of years, Chinese cartoonists have endowed the unique national personality to comic creation, forming the unique "Chinese humor" of Chinese cartoons. These cartoons, which are extremely happy and friendly to the Chinese, show the interest of Eastern culture in both the conceptual design and the imagery. The "Chinese humor" of Chinese comics does not pursue physical crowding, nor does it approve of cheap gags. Instead, it focuses on expressing unique perceptions and feelings of life, as well as passion and conscience for society, in humor, witty, and ironic language. Chinese humor is self-confident and open-minded, and it is the sublimation of emotion. It is the meaningful expression of cartoonists who deeply dig out the connotation of historical culture and real culture with their brilliant language. "Chinese humor" is the affectionate expression of Chinese people's rich inner world and self-contained wisdom in comics.

The fifth section, "Contemporary Comics": Contemporary Chinese comics present a rich and diverse outlook. Young cartoonists use their youthful dreams to create stories that belong to today’s China. Their figures are active in major comic festivals around the world. With Chinese vision, Chinese emotions, and Chinese picture sentiment, they have begun to have a presence in Europe. Fixed readers. In China today, the circulation of many comic magazines is in the hundreds of millions, and comic websites and mobile comics are in the ascendant. Various comic forms and peripheral derivatives have become brands in the commercial market. In the omnimedia era, cultural products extended by comics are becoming more and more popular in China. Contemporary Chinese comics take root in China and walk with the world with a broader perspective. Whether it is social influence or market share, Chinese contemporary comics have been reborn and revived on the basis of history, thus surpassing the limitations of regional culture and becoming the common cultural wealth of mankind.

The five major sections form the academic framework of the exhibition "Panorama of Chinese Comics—Stories of Chinese in the 20th Century in Comics" held at the Belgian Comics Museum from February 13, 2018 to September 9, 2018. This framework, with both academic and cultural features, is displayed through classic comics and classic comics, and through dozens of classic comics and animation movies, it is read in 10 ipad entire books, and classic animation movies and comic comics are displayed in series. Extend the historical depth of the exhibition with precious animation documents, and fully display those cartoon images that are well-known in China and those Chinese cartoonists who lead the history of China and the world. Let Western audiences read Eastern stories happily and enjoy classic, Chinese, humorous, and interesting Chinese comics.

I sincerely thank the Foreign Affairs Bureau and the Western Europe Office of the Ministry of Culture for their trust and support. Thanks to the Belgian Comics Museum for its love of Chinese comics. Thank you, for example, the curator Jean Claude De Lavayer for his in-depth and detailed research work and planning draft of Chinese cartoons. This academically important planning draft has laid a solid foundation for the success of the project exhibition. Thanks to China International Culture Group Corporation, they have done a lot of meticulous and effective work for the smooth completion of the project. Thanks to all the members of my curatorial team, especially Mr. Jin Cheng, the founder of the China Animation Golden Dragon Award and "Manyou" magazine, and Mr. Zhou Zheng, the director of the animation department of Guangzhou University. Mr. Jin Cheng has made outstanding contributions to the development of Chinese comics in the past 20 years. His profound comic accumulation has laid a solid foundation for the success of this comic exhibition; Mr. Zhou Zheng has knowledge and insights in comic theory and comic history. Reliable academic support was given to the curatorial plan and document collection of this project.

Supported by the Ministry of Culture of the People’s Republic of China and jointly sponsored by the National Art Museum of China, China International Culture Group Corporation, and the Belgian Comics Museum, the "Panorama of Chinese Comics—Stories of Chinese in the 20th Century" comics exhibition not only reflects on the content It reflects the rich social reality of China, and also shows distinctive Chinese cultural characteristics in aesthetic style. I believe that the successful holding of the exhibition will definitely deepen the understanding and friendship between the peoples of China and Belgium, and will definitely promote the cultural exchanges between China and Belgium more effectively and in depth.




Preface 2: Comics from afar


Wen Jean Claude Delavayer (for example, curator)


Whether it is comic books, animations, picture books, or satirical cartoons in newspapers, in China, all narrative pictures are collectively referred to as "comics". Exploring Chinese comics is a journey of rediscovery of graphic art, and this art is far more than an invention and creation of the West.

As early as 868, China's first picture book was presented in the form of woodcuts, long before Gutenberg invented movable type printing in the West. Some key date coincidences are surprising: China’s first comic book hero, Mr. Wang and Ding Ding, also appeared in 1929. San Mao, the most famous cartoon character in China, was born in 1935. It was in this year that Ding Ding's adventure story in China-"Blue Lotus" came out.

Chinese comics also include "comic paintings". In 1927, Shanghai World Book Company first used the term "comic painting", which inherited the tradition of Chinese narrative pictures that has lasted for thousands of years. In order to facilitate the popularization and carrying of comic strips, the size of comic strips is 12.5 x 10 cm. Each album tells a complete story, and each page consists of an illustration and a paragraph of explanatory text. The circulation of comics is usually millions of copies, and each comic can be called a small masterpiece.

After the founding of the People’s Republic of China, comic strips became more widely popular and became an important cultural form that people liked to see, but they were severely restricted during the Cultural Revolution. After the Cultural Revolution, with the popularity of detective novels, science fiction novels, and adaptations of foreign masterpieces, comic strips ushered in a golden age in the 1980s. However, after the liberalization of the art market in 1985, artists mostly abandoned comic strips and turned their attention to painting for reasons of remuneration.

Ten years later, China opened its arms to the global market and gradually discovered comic works from Europe, the United States, and Japan. Chinese cartoonists were deeply inspired and began to adopt the creative form of embedding dialogue in divided comics. Adult manga readers in China prefer Western manga, while teenagers who grew up watching Japanese anime love Japanese manga.

Whether in China or in other regions, no matter what comic format is used, only the most talented cartoonist can succeed. The Chinese cartoonists participating in this exhibition stand out from the 1.3 billion Chinese, and perhaps the best cartoonists in the world are hidden among them.



Guoman landed in Europe!

"China Comics Panorama" curatorial consultant Jin Cheng talks about the behind-the-scenes story of transnational cooperation


The design and production of the exhibition is based on analogy, and the form is similar to the Chinese food in Cantonese cuisine. After the traditional Chinese dishes are improved, the dishes are divided, arranged and equipped with knives and forks in Western style, trying to cook a table of "color, fragrance, shape". "Comprehensive Chinese animation art banquet.


Jincheng's Exhibited Work "April Day on Earth"


French President Macron recently visited China. Among the more than 200 people accompanying him, there was only one artist. This artist is not a singer, actor, or director, but a cartoonist known as the "Ninth Art" named Jules. After the welcome ceremony at the Great Hall of the People, under the witness of Macron, he gave his latest comic book "Planet of the Wise" to Xi Jinping, which President Xi readily accepted. The impromptu book donation has attracted a lot of media attention.

Speaking of the exchanges between China and Europe, "cartoon diplomacy" is not the first time. In 2015, the Chinese Ambassador to Belgium Qu Xing presented a statue of the classic character "San Mao" by cartoonist Zhang Leping to the Belgian Comics Museum. It has been displayed in the lobby of the museum and receives thousands of tourists from Europe and the world every day. Appreciation deepens the local people's understanding of China's multiculturalism, and also allows Westerners to understand the tenacious, cute, and humorous aspects of Chinese people's temperament.


"April in the World" is used in the official poster of "Panorama of Chinese Comics"


As the Lunar New Year in 2018 approaches, an exhibition initiated by the authoritative Western art institution-Belgian Comics Museum and co-hosted by the National Art Museum of China and China International Culture Group-"Panorama of Chinese Comics-Stories of Chinese in the 20th Century in Comics" 》, with the support of the Ministry of Culture and the Chinese Embassy in Belgium, it will soon debut in Brussels, the EU headquarters. This is the first large-scale Chinese animation art exhibition led by a Westerner and held in a western capital. The poster of the event was in 2018. As soon as the official website of the Belgian Manga Museum was released in mid-January, it immediately aroused great interest from people who love animation around the world. The number of visits to the website has increased sharply, and many people place orders to buy tickets in advance. The local Chinese audience was even more excited. They rushed to announce that the upcoming Lunar New Year of the Dog, they added a very special place. Mr. Zhao, an overseas Chinese who has lived in Belgium for many years, said excitedly that he will drive his family from Antwerp to the opening ceremony, and will invite his foreign friends in Brussels to visit, hoping to spend the Chinese New Year together in this way.


Jincheng personal photo


"Panorama of Chinese Comics: Stories of Chinese in the 20th Century in Comics" exhibition is hosted by Wu Weishan, Director of the National Art Museum of China, Deputy Director of the Art Committee of the Chinese Artists Association, Luo Yiping, former Director of the Guangdong Museum of Art, and Belgian Art The curator Jean Claude De Lavale co-curated the exhibition. Jin Cheng, deputy director of the Animation Art Committee of the Chinese Artists Association and chairman of the Guangdong Animation Artists Association, as the curatorial consultant and also the participating artist, will be invited to Belgium to participate in the opening ceremony and a series of academic activities.

Before leaving, Jincheng introduced that this exhibition was first initiated by the curator of the Belgian Comics Museum Philip Voslen and the curator Jean-Claude de la Vailère. The two had visited Beijing, Shanghai and Guangzhou several times. Preliminary investigation, excavation and sorting of works and author files. The exhibition was originally planned to be held in 2016, but unexpectedly suffered the "322 terrorist attack" in Belgium, and in the following two or three years, due to the drastic reduction in the number of tourists, the entire country's economy fell into a state of slack, for example, the exhibition plan had to be postponed. As the so-called “weakness and loss of the horse” are not good fortune, because there is a more adequate preparation cycle, through active communication with China, for example, it has finally facilitated the intervention of high-end Chinese art institutions and professional academic and curatorial teams to upgrade the exhibition specifications. , Has become a heavyweight cultural exchange project for cooperation between countries.



Jincheng said that preparations for the upcoming exhibition began in 2014, and it took a full four years before and after. During the period, the Chinese curator Luo Yiping went to Brussels to inspect the venue and exchange curatorial concepts. The two sides reached a consensus: make this exhibition a comic exhibition spanning the entire 20th century and restoring the lives of ordinary Chinese people through the organic integration of comics and comics. , Supplemented by some animated videos, create a narrative effect with strong oriental cultural elements and strong visual impact, presenting the emotions and life of real Chinese people.

The design and production of the exhibition is based on analogy, and the form is similar to the Chinese food in Cantonese cuisine. After the traditional Chinese dishes are improved, the dishes are divided, arranged and equipped with knives and forks in Western style, trying to cook a table of "color, fragrance, shape". "Comprehensive Chinese animation art banquet. Regarding the scope of the works, Jin Cheng said that his JC Animation Museum actively cooperated with this, and produced a number of Feng Zikai comics, as well as Wang Hongli's "Fifteen Guans", He Youzhi's "Xiao Erhei Marriage", Wan Laiming " The original classic comic books such as Monkey Fishing for the Moon and Zhao Hong's Three Hits of the White Bones also include some sculptures and installations, such as the real-life sculptures in Wang Ze's "Old Master" comics, which are transported to the European continent through a specially-made giant air box. Europe is fascinating, and the Chinese collaborators are obviously sincere.



It is reported that before this, Jincheng was invited to participate in the "Chinese Animation Art Exhibition" organized by the Ministry of Culture in Angoulême, France, Basel, Switzerland, and Moscow, Russia, as an author and a scholar, and was also held in Guangzhou in 2015. With the support of the government, the "China Pavilion" exhibition and themed activities were planned at the Angoulême Comic Festival in France, which was a huge success. During this period, he witnessed the extraordinary journey of Chinese original animation from the marginal to the mainstream in the Western world. He exclaimed with joy: "For the upcoming Chinese comic exhibition led by Western curators, the design and construction of the exhibition will be invested and executed by the other art institution, and tickets will be sold to comic fans and tourists. It’s the first time to break the ground. It fully demonstrates the Western world’s acceptance and recognition of Chinese culture and reflects the artistic and market value of Chinese animation." Jincheng said: "I believe this is just the beginning. Chinese animation is integrated into the world in all aspects and has been widely used. The day of acceptance is just around the corner."


"Panorama of Chinese Comics-Stories of Chinese in the 20th Century in Comics" exhibition poster


The "Panorama of Chinese Comics-Stories of Chinese in the 20th Century" exhibition will open on February 13, 2018 and end on September 9, for a period of seven months. It will be the longest exhibition of Chinese animation works in overseas regions. , Will surely set off a wave of Chinese culture upsurge in the local area.

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