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漫画节现场：观画。 Spectators view artworks at the festival.
在王尔德的小说《道连 •格雷的画像》中，一个情节让人难忘——艺术家霍华德对他倾注了感情的漫画对象道连•格雷说：“你已经成了我看不见的理想的可见的化身。 ”
在很多人眼里，漫画等于幽默、调侃、生活调剂品，而非正统意义上的艺术形态。
但不久前在杭州举行的首届中国国际漫画节，却改变了多数人的想法——在世贸中心有漫画展览，在杭州大剧院有漫画大赛颁奖典礼，在西溪湿地还有一场关于漫画的雅集。人们领略到了漫画强大的的艺术感染力，也看到了漫画造就的社会价值。
值得一提的是，我在漫画节上，还看到了中国动漫博物馆首次展出的馆藏珍品、名家的近50余幅真迹，其中有张乐平的《三毛》原稿、朱德庸《女孩画像》原稿、夏达《子不语》原稿、曲建方《阿凡提》钢笔手稿以及海内外名家塔基比 •阿里瑞扎《午餐》、尤里 •科索布金《荒岛求生记》等作品，漫画的发展历程如同放电影般在眼前掠过。那些表情各异的形象，无不代表了漫画作者的人生观、价值观和艺术追求。
诚如王尔德说的那样，他们的画像，就是艺术家理想和价值的化身。
张乐平《三毛》：老读者的怀旧情结
北师大教授、著名儿童文学家谭旭东说：我国现代漫画家主要有两位：一是丰子恺，一是张乐平。他们的漫画有人说是受到了日本漫画的影响，其实不然，如果到了浙江宁波、绍兴等地的乡村，就知道了浙江乡村的木刻和版画，就是漫画里的样子，可见他们是完全的中国漫画学派，而且是浙江乡村版画木雕的风格。丰子恺和张乐平的漫画主要不是因为报纸或杂志而受到欢迎，而是因为汇编成了图书才家喻户晓。
很多人会问，中国国际漫画节何以放在浙江、放在杭州举行？我想，丰子恺和张乐平两个名字，就是最好的回答。前者出生在桐乡、后者出生在海宁。且两人都有长时间在杭州求学工作的经历。
漫画节上展出的《三毛》原稿，正反映了浙江漫画深厚的底蕴和源流。
今年76岁的“老漫画迷”王传法是我在漫画节上看到的年龄最大的观赏者。他在《三毛》原稿前久久流连，对于我上前攀谈，退休前曾为丝绸厂设计师的老王感慨颇深，他说，“三毛”与他同岁，从小，三毛就给他留下深刻的烙印。
王传法说，最早看到“三毛”的形象，是十几岁那年，在《大公报》连载上。“当时就觉得好看、生动，而且出门看看，跟我年龄相仿的流浪孩子的生活确实是这么回事儿。 ”
老王告诉我，当时他还在父母的帮助下，给《大公报》写信，甚至给“三毛”寄去衣服和捐款，托报社转交。引起的那种同情和共鸣，是“到今天为止再也没有过的”。而在极度凄苦无依的困境中，意志坚强、乐观、善良、机敏、幽默的“三毛精神”，也一直在他日后的生活里不时萌动。“今天终于看到了《三毛》原稿，怎能不激动？ ”
漫画节现场：习画。
Some children try their hands at creating a cartoon at the festival.
事实上，张乐平本人，也因为对“三毛”画像的艺术追求，改变了人生。
据说，《三毛流浪记》发表之初，宋庆龄女士看了在《大公报》上的连载后，非常感动，她特别在上海燕云楼设宴，招待张乐平和《大公报》副刊编辑。席间，宋女士还激动地对张乐平说：“你为流浪儿童做了一件大好事，真该感谢你，三毛不会忘记你。”她还提议举办“三毛生活展览会”，创办“三毛乐园”，用以帮助贫苦儿童。
曾多次称自己是“张乐平之子”的作家三毛，在台湾版《三毛从军记》序中写道：“张乐平先生的漫画，具备了漫画最基本的特性和要素——以画代字，有图无文。大师可以将一支画笔，不利用一个语言符号，表达出一个人、一桩事件、一切社会现象，甚至于一个大时代的种种、等等。”
朱德庸《女孩画像》：都市白领的镜子
和老读者关心的《三毛》原稿不同，在朱德庸《女孩画像》前驻足的读者们，大多是正值社会栋梁之年的中青年读者。
比如作家余华，现身漫画展，并自曝：他本人也是朱德庸漫画迷。余华说：“朱德庸就是用一种漫画的巧妙的方式，一种钝刀子割肉的折磨的方式，一种上了贼船下不来的方式，一种两败俱伤的方式，告诉我们什么是爱情。 ”
今年35岁的外企白领赵菁就是这些中青年读者中的一员。她告诉我，在此次展出的《女孩画像》上，女孩蓬乱的头发、时尚的饰品，配上那张迷惘、不解、又充满了求知欲的面庞，让人看到了《双响炮》《涩女郎》《醋溜族》等许多漫画作品的“标准像”，也看到了“我们这代人自己的样子”。
1960年出生的朱德庸，和“老牌”漫画家丰子恺、张乐平不同，以机智幽默的四格漫画见长，在方寸之间挥洒自如，让人“马上看，马上笑”。然而他却在热度直线上升之时，跳脱以往的四格疆野，开拓全新的创作手法。
20世纪80年代，在朱德庸在军队服役期间，对爱情懵懵懂懂的他竟然在夜深人静的时候，打着手电筒开始了他对婚姻、爱情的调侃，《双响炮》中精辟的见解、辛辣的嘲讽将身处围城中百态人生惟妙惟肖地勾画了出来，当读者暗叹作者的高明之时，他们也许想不到作者此刻只是一个沿着围城边缘行走的毛头小伙子。
翻开朱德庸创作的那些漫画，为感情苦恼的都市读者们就会从中认识婚姻的真谛。难怪当他一炮走红后，人们纷纷猜测作者是谁。有说是外国人的，因为也许老外喜欢用调侃的笔调来诠释婚姻；后来知道是中国人了，又有人说作者肯定是受老伴折磨许多年的糟老头子；后来知道作者是个小伙子，又有人说作者没准儿心理变态。
为什么朱德庸会在这批特定的人群中流行起来？赵菁说：“朱德庸的漫画主要反映了城市白领人士的日常生活状态，而白领人士的工作和生活跟网络是密不可分的。从我接触朱德庸的经验来看，大多数情况下是朋友通过邮件、博客传给我的。因此，他的作品能够快速进入目标读者，跟网络的普及是密切相关的。他的素材来源于实实在在的生活，说明他观察生活的能力强，能沉下心来，认认真真地进行创作。这一创作态度值得我们内地漫画家借鉴。 ”
夏达《子不语》：孩子们光怪陆离的想象空间
和过世的张乐平、大牌的朱德庸不同，在《子不语》原稿的展位前，我意外看到一个俊俏的小女孩坐在那里签售，旁边围着一大群“90后”“00后”的漫迷。
夏达作品之一
A cartoon by Xia Da
朱德庸《女孩画像》
A girl’s portrait by Zhu Deyong
张乐平《三毛流浪记》
Three-Hair Boy Adventure by Zhang Leping
她是夏达——漫画《子不语》的作者。虽然年龄小、成名早，但这位小美女漫画家一点都没有架子，十分谦逊可爱。对于每个要求签名的读者，她一直抱以温暖的微笑，认真签完名后，双手捧书，恭敬地交到读者手中。
年纪稍大一些的漫迷们不理解，如夏达这样年方29岁的“低龄”作家，论作品底蕴深度不及张乐平、论作品反映广度不及朱德庸，为什么可以同登原稿真品收藏区，还有着如此火热的人气？
出人意外的是，接受记者采访时，夏达却表现出对传统文学和艺术样式的青睐。《子不语》起名自孔子说“子不语怪力乱神”，意思是君子不谈那些神神怪怪的事情。在《子不语》的漫画里，大都是些神神怪怪的事情，所以取了“怪力乱神”的意，叫《子不语》。另一方面，这个标题也一语双关表达了“人们无法说清的那些事”的意思。《子不语》在日本的连载就用了这个含义作为正标题，“子不语”则作为副标题。
访谈中，大学以媒体出版系科出身的夏达说，她喜欢的传记小说包括《约翰 •克里斯朵夫》《格列佛游记》。而她也提到大概因为自己是湖南人，所以在中国文学方面特别喜欢楚辞，并谦虚笑谈自己也不过只看过屈原的作品。
中国文人讲求琴棋书画，而从小学画、练书法又喜欢阅读的夏达，在书画这方面自然不用多说，会拉大提琴的她也在音乐方面造诣不浅。她甚至还考过业余围棋等级。如老一辈漫画家黄玉郎对夏达的评价：“很多人也认为我的作品之所以成功不单纯只是因为画面，更有大半的原因是在于对白的部分，而确实，夏达的作品中蕴含了许多深刻的思想和与众不同的氛围。这恰恰是大多数孩子们所缺乏的。所以她以个人魅力才能吸引如此多年龄相仿的读者们的关注。 ”□
（本文摄影：李忠）
First China International
Cartoon Festival Held in
Hangzhou
By Yang Xiaohai
Some people do not think cartoon is art in its traditional sense although they are willing to admit that the art does inspire humor and open people’s eye to the funny side of everyday life. The first China International Cartoon Festival held in Hangzhou from November 4 through 6, 2011 is widely considered a successful at-tempt to have changed some people’s definition of cartoon art. The festival was held in a series of venues: the exhibition was held at the World Trade Center, the award-issuing ceremony at Hangzhou Grand Theater, a forum of cartoon artists and scholars at Westbrook Wetland. The pioneering event enabled visitors to appreciate the
powerful artistic appeal and the social benefits that cartoonists have
created.
The event was the first overall celebration of the art’s past and present glories. On display were nearly 50 original artworks out of the collection of China Cartoon and Animation Museum. These pre-cious cartoon masterpieces highlighted some well-known Chinese cartoonists’ philosophy, viewpoint and artistic pursuit.
China International Cartoon Festival was held in Hangzhou, Zhejiang principally because of Feng Zikai (1898-1975) and Zheng Leping (1910-1992), the two of the most influential cartoonists of
漫画节上夏达签名售书。
Xia Da autographs her books at the festival.
the 20th century China and natives of Zhejiang. Some scholars note that Japanese cartoons played a bit part in the start of the cartoon art in China in the early 20th century. However, some art historians point out that traditional woodprints and woodcarving in rural Zhe-jiang that go back to centuries testify to the aesthetic roots of the two great cartoonists. They conclude that the two masters represent the authentic style of Chinese cartoons. Their popularities were not attributed to newspapers and magazines in which their cartoons
first appeared, but to the collections of their artworks in the form of
books.
Feng Zikai was born in Tongxiang in northern Zhejiang whereas Zhang Leping was a native of Haining. Both studied in Hangzhou in their student years. Feng made cartoon as an art popular through his single paintings, which reflect Chinese art tradition, poetry, humor, compassion, love, and rural beauty. Zhang Leping cre-ated “Three-Hair Orphan,” a homeless boy trying to survive in the streets of Shanghai in the late 1930 and 1940s and experiencing the big events of these years in China. If Feng’s cartoons look at the world, life, and family through a scholar’s eyes, Zhang’s extremely popular street boy reveals the hardship and chaos of the 1930s and 1940s the people of that time knew and experienced themselves.
The 76-year-old Wang, a visitor to the exhibition, said he was born in 1935, the same year that saw the birth of “Three Hair Or-phan.” He grew up reading the boy’s urban adventure and compar-ing the cartoon orphan’s life with street boys he saw himself. As a boy, Wang wrote a letter to Ta Kung Pao, the Shanghai-based newspaper that serialized Zhang Leping’s cartoons. The junior even donated cash and cloths to the cartoon boy via the newspaper.
The cartoons changed the master’s life and made him arguably the most famous cartoon artist of the 20th century and up to now. San Mao (the Chinese pronunciation of Three Hair, 1943-1991), an extremely influential Taiwan woman writer, adopted Sanmao as her penname. The author of the cartoons and the Taiwan author met in Shanghai in 1989 and established themselves as father and daugh-ter.
Zhu Deyong, born in 1960, was highly represented at the exhibi-tion. Unlike Feng Zikai and Zhang Leping, Zhu is famous as an art-ist of four-box comics. His serialized comics on the bittersweet as-pects of marriage catapulted his name to overnight fame in Taiwan. At first nobody knew these funny, insightful and poignant portrayals of married life came from a soldier in his 20s. People guessed the artist was a foreigner. After learning the author was a Taiwan native, they guessed it must have been an old man emotionally tortured by his wife for decades. After learning that the author was a young man not yet married, some speculated that there must be something pervert about the young man’s psyche.
Some readers busied themselves guessing who the author was largely because Zhu was popular among white-collar workers in Taiwan in these years and among the same target audience on the mainland in later years. His popularity is going on.
Xia Da, born in 1981, is a high-profile cartoonist who made her national popularity gradually over years when she was considered extremely young as an artist of such status. Her cartoons, entitled “Master Declines to Comment,” illustrate the adventures of a nine-year-old girl who moves with her parents to a small town and spends a year there. The 30-year-old artist now lives in Hangzhou.
A versatile talent, Xia Da creates cartoon stories. These artworks are more than visually appealing. The dialogues appeal extremely to young readers and allow readers to glance a sensibility that is young, fresh, graceful, and beautiful. □
在王尔德的小说《道连 •格雷的画像》中，一个情节让人难忘——艺术家霍华德对他倾注了感情的漫画对象道连•格雷说：“你已经成了我看不见的理想的可见的化身。 ”
在很多人眼里，漫画等于幽默、调侃、生活调剂品，而非正统意义上的艺术形态。
但不久前在杭州举行的首届中国国际漫画节，却改变了多数人的想法——在世贸中心有漫画展览，在杭州大剧院有漫画大赛颁奖典礼，在西溪湿地还有一场关于漫画的雅集。人们领略到了漫画强大的的艺术感染力，也看到了漫画造就的社会价值。
值得一提的是，我在漫画节上，还看到了中国动漫博物馆首次展出的馆藏珍品、名家的近50余幅真迹，其中有张乐平的《三毛》原稿、朱德庸《女孩画像》原稿、夏达《子不语》原稿、曲建方《阿凡提》钢笔手稿以及海内外名家塔基比 •阿里瑞扎《午餐》、尤里 •科索布金《荒岛求生记》等作品，漫画的发展历程如同放电影般在眼前掠过。那些表情各异的形象，无不代表了漫画作者的人生观、价值观和艺术追求。
诚如王尔德说的那样，他们的画像，就是艺术家理想和价值的化身。
张乐平《三毛》：老读者的怀旧情结
北师大教授、著名儿童文学家谭旭东说：我国现代漫画家主要有两位：一是丰子恺，一是张乐平。他们的漫画有人说是受到了日本漫画的影响，其实不然，如果到了浙江宁波、绍兴等地的乡村，就知道了浙江乡村的木刻和版画，就是漫画里的样子，可见他们是完全的中国漫画学派，而且是浙江乡村版画木雕的风格。丰子恺和张乐平的漫画主要不是因为报纸或杂志而受到欢迎，而是因为汇编成了图书才家喻户晓。
很多人会问，中国国际漫画节何以放在浙江、放在杭州举行？我想，丰子恺和张乐平两个名字，就是最好的回答。前者出生在桐乡、后者出生在海宁。且两人都有长时间在杭州求学工作的经历。
漫画节上展出的《三毛》原稿，正反映了浙江漫画深厚的底蕴和源流。
今年76岁的“老漫画迷”王传法是我在漫画节上看到的年龄最大的观赏者。他在《三毛》原稿前久久流连，对于我上前攀谈，退休前曾为丝绸厂设计师的老王感慨颇深，他说，“三毛”与他同岁，从小，三毛就给他留下深刻的烙印。
王传法说，最早看到“三毛”的形象，是十几岁那年，在《大公报》连载上。“当时就觉得好看、生动，而且出门看看，跟我年龄相仿的流浪孩子的生活确实是这么回事儿。 ”
老王告诉我，当时他还在父母的帮助下，给《大公报》写信，甚至给“三毛”寄去衣服和捐款，托报社转交。引起的那种同情和共鸣，是“到今天为止再也没有过的”。而在极度凄苦无依的困境中，意志坚强、乐观、善良、机敏、幽默的“三毛精神”，也一直在他日后的生活里不时萌动。“今天终于看到了《三毛》原稿，怎能不激动？ ”
漫画节现场：习画。
Some children try their hands at creating a cartoon at the festival.
事实上，张乐平本人，也因为对“三毛”画像的艺术追求，改变了人生。
据说，《三毛流浪记》发表之初，宋庆龄女士看了在《大公报》上的连载后，非常感动，她特别在上海燕云楼设宴，招待张乐平和《大公报》副刊编辑。席间，宋女士还激动地对张乐平说：“你为流浪儿童做了一件大好事，真该感谢你，三毛不会忘记你。”她还提议举办“三毛生活展览会”，创办“三毛乐园”，用以帮助贫苦儿童。
曾多次称自己是“张乐平之子”的作家三毛，在台湾版《三毛从军记》序中写道：“张乐平先生的漫画，具备了漫画最基本的特性和要素——以画代字，有图无文。大师可以将一支画笔，不利用一个语言符号，表达出一个人、一桩事件、一切社会现象，甚至于一个大时代的种种、等等。”
朱德庸《女孩画像》：都市白领的镜子
和老读者关心的《三毛》原稿不同，在朱德庸《女孩画像》前驻足的读者们，大多是正值社会栋梁之年的中青年读者。
比如作家余华，现身漫画展，并自曝：他本人也是朱德庸漫画迷。余华说：“朱德庸就是用一种漫画的巧妙的方式，一种钝刀子割肉的折磨的方式，一种上了贼船下不来的方式，一种两败俱伤的方式，告诉我们什么是爱情。 ”
今年35岁的外企白领赵菁就是这些中青年读者中的一员。她告诉我，在此次展出的《女孩画像》上，女孩蓬乱的头发、时尚的饰品，配上那张迷惘、不解、又充满了求知欲的面庞，让人看到了《双响炮》《涩女郎》《醋溜族》等许多漫画作品的“标准像”，也看到了“我们这代人自己的样子”。
1960年出生的朱德庸，和“老牌”漫画家丰子恺、张乐平不同，以机智幽默的四格漫画见长，在方寸之间挥洒自如，让人“马上看，马上笑”。然而他却在热度直线上升之时，跳脱以往的四格疆野，开拓全新的创作手法。
20世纪80年代，在朱德庸在军队服役期间，对爱情懵懵懂懂的他竟然在夜深人静的时候，打着手电筒开始了他对婚姻、爱情的调侃，《双响炮》中精辟的见解、辛辣的嘲讽将身处围城中百态人生惟妙惟肖地勾画了出来，当读者暗叹作者的高明之时，他们也许想不到作者此刻只是一个沿着围城边缘行走的毛头小伙子。
翻开朱德庸创作的那些漫画，为感情苦恼的都市读者们就会从中认识婚姻的真谛。难怪当他一炮走红后，人们纷纷猜测作者是谁。有说是外国人的，因为也许老外喜欢用调侃的笔调来诠释婚姻；后来知道是中国人了，又有人说作者肯定是受老伴折磨许多年的糟老头子；后来知道作者是个小伙子，又有人说作者没准儿心理变态。
为什么朱德庸会在这批特定的人群中流行起来？赵菁说：“朱德庸的漫画主要反映了城市白领人士的日常生活状态，而白领人士的工作和生活跟网络是密不可分的。从我接触朱德庸的经验来看，大多数情况下是朋友通过邮件、博客传给我的。因此，他的作品能够快速进入目标读者，跟网络的普及是密切相关的。他的素材来源于实实在在的生活，说明他观察生活的能力强，能沉下心来，认认真真地进行创作。这一创作态度值得我们内地漫画家借鉴。 ”
夏达《子不语》：孩子们光怪陆离的想象空间
和过世的张乐平、大牌的朱德庸不同，在《子不语》原稿的展位前，我意外看到一个俊俏的小女孩坐在那里签售，旁边围着一大群“90后”“00后”的漫迷。
夏达作品之一
A cartoon by Xia Da
朱德庸《女孩画像》
A girl’s portrait by Zhu Deyong
张乐平《三毛流浪记》
Three-Hair Boy Adventure by Zhang Leping
她是夏达——漫画《子不语》的作者。虽然年龄小、成名早，但这位小美女漫画家一点都没有架子，十分谦逊可爱。对于每个要求签名的读者，她一直抱以温暖的微笑，认真签完名后，双手捧书，恭敬地交到读者手中。
年纪稍大一些的漫迷们不理解，如夏达这样年方29岁的“低龄”作家，论作品底蕴深度不及张乐平、论作品反映广度不及朱德庸，为什么可以同登原稿真品收藏区，还有着如此火热的人气？
出人意外的是，接受记者采访时，夏达却表现出对传统文学和艺术样式的青睐。《子不语》起名自孔子说“子不语怪力乱神”，意思是君子不谈那些神神怪怪的事情。在《子不语》的漫画里，大都是些神神怪怪的事情，所以取了“怪力乱神”的意，叫《子不语》。另一方面，这个标题也一语双关表达了“人们无法说清的那些事”的意思。《子不语》在日本的连载就用了这个含义作为正标题，“子不语”则作为副标题。
访谈中，大学以媒体出版系科出身的夏达说，她喜欢的传记小说包括《约翰 •克里斯朵夫》《格列佛游记》。而她也提到大概因为自己是湖南人，所以在中国文学方面特别喜欢楚辞，并谦虚笑谈自己也不过只看过屈原的作品。
中国文人讲求琴棋书画，而从小学画、练书法又喜欢阅读的夏达，在书画这方面自然不用多说，会拉大提琴的她也在音乐方面造诣不浅。她甚至还考过业余围棋等级。如老一辈漫画家黄玉郎对夏达的评价：“很多人也认为我的作品之所以成功不单纯只是因为画面，更有大半的原因是在于对白的部分，而确实，夏达的作品中蕴含了许多深刻的思想和与众不同的氛围。这恰恰是大多数孩子们所缺乏的。所以她以个人魅力才能吸引如此多年龄相仿的读者们的关注。 ”□
（本文摄影：李忠）
First China International
Cartoon Festival Held in
Hangzhou
By Yang Xiaohai
Some people do not think cartoon is art in its traditional sense although they are willing to admit that the art does inspire humor and open people’s eye to the funny side of everyday life. The first China International Cartoon Festival held in Hangzhou from November 4 through 6, 2011 is widely considered a successful at-tempt to have changed some people’s definition of cartoon art. The festival was held in a series of venues: the exhibition was held at the World Trade Center, the award-issuing ceremony at Hangzhou Grand Theater, a forum of cartoon artists and scholars at Westbrook Wetland. The pioneering event enabled visitors to appreciate the
powerful artistic appeal and the social benefits that cartoonists have
created.
The event was the first overall celebration of the art’s past and present glories. On display were nearly 50 original artworks out of the collection of China Cartoon and Animation Museum. These pre-cious cartoon masterpieces highlighted some well-known Chinese cartoonists’ philosophy, viewpoint and artistic pursuit.
China International Cartoon Festival was held in Hangzhou, Zhejiang principally because of Feng Zikai (1898-1975) and Zheng Leping (1910-1992), the two of the most influential cartoonists of
漫画节上夏达签名售书。
Xia Da autographs her books at the festival.
the 20th century China and natives of Zhejiang. Some scholars note that Japanese cartoons played a bit part in the start of the cartoon art in China in the early 20th century. However, some art historians point out that traditional woodprints and woodcarving in rural Zhe-jiang that go back to centuries testify to the aesthetic roots of the two great cartoonists. They conclude that the two masters represent the authentic style of Chinese cartoons. Their popularities were not attributed to newspapers and magazines in which their cartoons
first appeared, but to the collections of their artworks in the form of
books.
Feng Zikai was born in Tongxiang in northern Zhejiang whereas Zhang Leping was a native of Haining. Both studied in Hangzhou in their student years. Feng made cartoon as an art popular through his single paintings, which reflect Chinese art tradition, poetry, humor, compassion, love, and rural beauty. Zhang Leping cre-ated “Three-Hair Orphan,” a homeless boy trying to survive in the streets of Shanghai in the late 1930 and 1940s and experiencing the big events of these years in China. If Feng’s cartoons look at the world, life, and family through a scholar’s eyes, Zhang’s extremely popular street boy reveals the hardship and chaos of the 1930s and 1940s the people of that time knew and experienced themselves.
The 76-year-old Wang, a visitor to the exhibition, said he was born in 1935, the same year that saw the birth of “Three Hair Or-phan.” He grew up reading the boy’s urban adventure and compar-ing the cartoon orphan’s life with street boys he saw himself. As a boy, Wang wrote a letter to Ta Kung Pao, the Shanghai-based newspaper that serialized Zhang Leping’s cartoons. The junior even donated cash and cloths to the cartoon boy via the newspaper.
The cartoons changed the master’s life and made him arguably the most famous cartoon artist of the 20th century and up to now. San Mao (the Chinese pronunciation of Three Hair, 1943-1991), an extremely influential Taiwan woman writer, adopted Sanmao as her penname. The author of the cartoons and the Taiwan author met in Shanghai in 1989 and established themselves as father and daugh-ter.
Zhu Deyong, born in 1960, was highly represented at the exhibi-tion. Unlike Feng Zikai and Zhang Leping, Zhu is famous as an art-ist of four-box comics. His serialized comics on the bittersweet as-pects of marriage catapulted his name to overnight fame in Taiwan. At first nobody knew these funny, insightful and poignant portrayals of married life came from a soldier in his 20s. People guessed the artist was a foreigner. After learning the author was a Taiwan native, they guessed it must have been an old man emotionally tortured by his wife for decades. After learning that the author was a young man not yet married, some speculated that there must be something pervert about the young man’s psyche.
Some readers busied themselves guessing who the author was largely because Zhu was popular among white-collar workers in Taiwan in these years and among the same target audience on the mainland in later years. His popularity is going on.
Xia Da, born in 1981, is a high-profile cartoonist who made her national popularity gradually over years when she was considered extremely young as an artist of such status. Her cartoons, entitled “Master Declines to Comment,” illustrate the adventures of a nine-year-old girl who moves with her parents to a small town and spends a year there. The 30-year-old artist now lives in Hangzhou.
A versatile talent, Xia Da creates cartoon stories. These artworks are more than visually appealing. The dialogues appeal extremely to young readers and allow readers to glance a sensibility that is young, fresh, graceful, and beautiful. □