晓欧：央美动画的起点与一种教育理想

[The Profile | 人物名片]

Xiao Ou (Wen Debin)（1960-2020）: Founder and former Dean of the Animation Department at the City Design School, Central Academy of Fine Arts (CAFA). A renowned director and educator, he created seminal works such as Houyi Shoots the Suns. He is the pivotal figure who navigated the transition of Chinese animation education from traditional figurative art to modern moving images.

01. Pioneering: Constructing “New” Images on an Artistic Bedrock

拓荒：在美院厚度上建立“新”影像

In 2002, the founding of CAFA’s Animation Department was more than a disciplinary expansion—it was a high-stakes “idealistic experiment” for Xiao Ou.

“It was ‘new’ because we stood at a unique set of coordinates,” Xiao noted. Rooted in CAFA’s deep tradition of plastic arts, Xiao insisted that animation is never a mere accumulation of technology. It is, first and foremost, Moving Image Art, where the core lies in Form and Original Design. He established a clear, defiant mandate: “Foundation in plastic arts, direction in cinematic animation, and a focus on original design”—a sharp contrast to the era’s emerging trend of “fast-food” commercial animation.

02. The Protocol: The Master-Studio System and Aesthetic Liberation

模式：导师制与艺术个性的释放

To kill mediocrity and “homogenization,” Xiao implemented a visionary Master-Studio System. He brought in legendary experts like Zhang Songlin and Yan Dingxian as consultants, alongside international visionaries like Wang Shuibo.

“We used the aesthetic conviction of masters to drive the curriculum,” Xiao explained. “Students weren’t just learning tools; they were in a dialogue with artists.” This allowed CAFA to shatter the “assembly-line” education model from day one, fostering diverse aesthetic leanings. Despite multiple campus relocations and harsh conditions, the raw passion of his first generation of students remained unbreakable—a testament to a genuine love for the craft.

03. Philosophy: The Contemporary Mutation of Tradition

理念：传统文化的当代转化

On the revival of the “Chinese School,” Xiao possessed a sharp cultural consciousness. He rejected the shallow imitation of tradition, advocating instead for Contemporary Language Transformation.

Originality, he argued, is not fabrication in a vacuum. He pushed students to decode the essence of Chinese heritage and recode it through modern cinematic language. “We are exploring a new generation of animation imagery—a Chinese temperament that resonates with the modern soul.”

04. Mission: Weaponizing Art into Capability

压力与担当：将优势转化为能力

As Dean, Xiao felt the crushing weight of responsibility—not for administration, but for his students’ futures. His obsession: How to translate CAFA’s artistic pedigree into practical, high-level capability in the shortest time?

“I wanted them to be more than just illustrators; I wanted them to be the backbone of the nation,” he stated. His ultimate vision was a “City Image Faculty,” where animation serves as a fluid medium for an artist’s attitude and life philosophy—a powerful weapon for delivering personal convictions.

[Dongke Retrospective | 动客回顾]

The light in Xiao Ou’s eyes at the end of the interview was unforgettable. He once said: “I embrace the challenge… to struggle for this glorious and arduous cause for a lifetime.” This was no mere departmental slogan; it was the raw, sincere manifesto of a generation of Chinese animation educators.

Foreword: Two Decades in the Making

Twenty years ago, when the term “Dongman” (animation and comics) was barely a blip on the radar of academia or industry, Dongke was there, documenting the field as a dedicated media outlet. These twenty years have been a gritty, uphill battle—a journey from being the world’s “outsourced factory” to becoming a “hub of original IP.” We’ve visited the educators sowing seeds in their ivory towers and sat down with the entrepreneurs weathering the storms of the market.

This special feature is the distillation of Dongke’s 20-year observation. In this first installment, we’ve selected five academic pioneers and five industry leaders. Through their eyes, we’re reconstructing the epic saga of the “Rise of Chinese Animation.”

Part I: The Academic Foundation — Building the “DNA Bank”

Before the industry even took shape, art schools were the final bastions of idealism. These five educators set the aesthetic tone for Chinese animation from their respective corners of the map.

1. Xiao Ou (CAFA): Guarding the Dignity of Originality When Professor Xiao Ou founded the Animation Department at the Central Academy of Fine Arts in 2002, his mission was clear: “Ground it in fine arts, prioritize original design.” His “master studio” system pulled CAFA away from the “processing plant” mindset, turning it into a vanguard for experimental animation and independent style.
2. Wu Guanying (Tsinghua): The Philosophy of Motion Known as the “King of Character Design,” Professor Wu integrated animation into the Information Art & Design framework. He championed “kinetic thinking,” believing a design only works if it holds up in motion. He left us more than just the “Fuwa” mascots; he left a complete aesthetic system that blends traditional culture with modern design.
3. Chen Changzhu (Sichuan Fine Arts/SCCM): Mastering the Fundamentals Coming from a background in printmaking and comics, Professor Chen never wavered on one point: “You can’t have a lens in your mind if you don’t have precision in your hands.” He knew comics were the bedrock of animation, providing a rock-solid drawing foundation for students in Western China.
4. Huang Qiuye (Jiangnan University): The “Pan-Animation” Vision Professor Huang introduced the concept of “Pan-Animation Design.” At Jiangnan, animation isn’t just film—it’s the core of commercial design and interactive media. This forward-thinking approach took animation off the screen and into the broader world of visual production.
5. Zhou Zongkai (Sichuan Fine Arts): The Bridge-Builder Professor Zhou didn’t just start the animation program at Sichuan Fine Arts; he also fueled the rise of “Cycwi Animation.” He knew education couldn’t exist in a vacuum. By fusing “industry, education, and research,” he closed the gap between the classroom and the office, jumpstarting the industry engine in Western China.

Part II: Industry Pioneers — Setting Standards in the Wilderness

If the schools are the labs, the companies are the battlefield. These five leaders carved out a path for industrialization with literal blood, sweat, and tears when there was no map to follow.

1. Shen Leping (Sparkly Key Animation): The Long Game Shen Leping and The Legend of Qin are synonymous with “long-term branding.” He views animation as a high-stakes, collaborative industrial machine. His success lies in his focus on “systems and talent pipelines,” shifting Chinese animation from a “one-off project” mindset to a sustainable business model.
2. Wang Yunfei (Its_Carton): The Reformer From the Flash animation era to directing feature films, Wang Yunfei has survived multiple “make-or-break” transitions. He’s not just a creator; he’s a fearless manager. His journey—from Happy Stuff to Monkey King Reborn—embodies the “do or die” entrepreneurial spirit of Chinese animators.
3. Zhang Tianxiu (Magic Dumpling): Chinese Stories, Global Language With Martin Morning and Lousi Kongfu, Zhang proved that international co-productions actually work. He advocates for “relevance and style,” using a global pre-sale model to crack the code on how to actually make money in this business. He’s proof that Chinese stories, built to international standards, can travel.
4. Yin Yuqi (Original Force): From Hand-Drawn to 3D Yin’s career is a miniature history of Chinese tech. Starting as a hand-drawn artist in ’96, he jumped headfirst into 3D in the 2000s before founding Original Force. Driven by “professional intuition,” he transformed from a traditional craftsman into a modern tech-driven producer.
5. Wu Hanqing (Vasoon): The Light That Never Goes Out The story of Wu Hanqing and Kuiba is one of the most moving chapters in our history. As a veteran producer, she refused to “cut corners” in the industrial process. She left behind more than just a body of work; she left an “open-window” honesty and a fierce, almost lonely devotion to original Chinese animation.

Part III: Dongke’s Observation — Why We Record

The Role of Media: Bridge and Archive As a professional outlet dedicated to this space for 20 years, Dongke has acted as the “observer” and “connector” between these icons.

• Recording the Pain Points: We were there to record Chen Changzhu’s worries about the “industry base” hype and Wang Yunfei’s tears when the funding dried up.
• Witnessing the Shift: We saw animation grow from a sub-branch of the Decoration Department (Tsinghua) into an independent college (Sichuan Fine Arts). We watched the total pivot from 2D outsourcing to 3D originals.
• Passing the Torch: We’ve always tried to get these leaders’ insights into the hands of students, creating a healthy dialogue between hiring managers and job seekers, and between policy and the market.

Closing: “The Rise of Guoman” is More Than a Slogan

Looking back at these ten interviews, we realized that the “Rise of Chinese Animation” is really about two things: restructuring aesthetics and building an industry.

The educators solved the “who are we and what should we draw?” question. The entrepreneurs solved the “how do we survive and go the distance?” question. As witnesses to these twenty years, Dongke is honored to have been a part of it.

These archives are more than just records—they are lighthouses for those coming next. In uncertain times, it’s the people who actually get things done, one step at a time, who form the backbone of Chinese animation.