The Innovative Expression of Traditional Chinese Cultural Archetypes in Animated Films: Establishing a Reliable,Admirable,and Respectable Image of China

Chen Haiyan,Qu Wei,and Chen Xiuli

Xihua University

Abstract: China’s domestic animation industry is deeply rooted in its rich traditional cultural heritage.While continuously exploring and showcasing the unique charm of such cultural heritage through storytelling,imagery establishment,and spirit creation,Chinese animation also seamlessly integrates modern aesthetic characteristics and cultural values into its development within the context of the new era.By adopting a contemporary perspective,it innovatively expresses the essence of traditional culture while striving to shape and present a reliable,admirable and respectable image of China.Chinese animation aims to create credible contemporary animation images by drawing inspiration from traditional Chinese cultural archetypes.It also seeks to revitalize admirable traditional cultural imagery using vibrant and prevailing ACGN visuals,while shaping credible characters with richer cultural connotations and crafting stories with more enchanting plots to convey the spiritual essence of the Chinese nation.By establishing reliable,admirable and respectable animation images,the Chinese animation industry strives to enhance its capability to“tell China’s stories well and make the voice of China heard,” to better promote the image of China in the new era from a global perspective.

Keywords: image of China,domestic animation,cultural innovation

In the context of the new era,telling China’s stories through traditional cultural archetypes is instrumental in projecting a reliable,admirable and respectable image of China to the world.Chinese traditional cultural archetypes offer abundant themes and character prototypes for domestic animation creation,representing inexhaustible artistic treasures for the development of the Chinese animation industry.As a significant medium for disseminating Chinese culture globally,domestic animation has the potential to innovate the development form of traditional cultural archetypes,thereby bolstering the cultural confidence of the Chinese people and facilitating the inheritance and dissemination of Chinese civilization.Based on James George Frazer’s theory on anthropology and Carl Jung’s collective unconscious theory,Northrop Frye redefined the concept of “archetype” with the aim of establishing a “language of form for literary archetypes,” and regarded it as the core concept that can integrate human literary experiences,uncover rules governing the emergence and development of religions,mythology,and literature,and construct a unified standard for historical literary criticism (Ye,1996,pp.52–60).According to this concept,Frye decomposed works into a surface narrative structure composed of images and a deep narrative structure composed of archetypes.By meticulously examining the intricate implications of archetypes,he continuously uncovered and delved into the inherent meanings concealed within works.A review of China’s domestic animated films reveals that traditional Chinese cultural archetypes not only promote seamless integration of domestic animated films into the audience’s cognition and perception,but also challenge their preconceived notions of viewing domestic animated films through innovative representation of these cultural archetypes.Consequently,this leads to transformations in the audience’s aesthetic imagination,and enhanced both the form and essence of traditional Chinese culture in the new era.

Since the release of animated films,such asUproar in Heaven(Da Nao Tian Gong) andPrincessIron Fan(Tie Shan Gong Zhu),China has developed a distinctive style of animation characterized by Chinese elements.This has led to the emergence of a multitude of animated films that draw inspiration from Chinese mythology and national culture.Since then,the Chinese animation industry has embarked on a distinctive path for animation creation that holds contemporary significance,characterized by its deep-rooted connection to the nation’s identity while simultaneously appealing to the masses.In terms of the study of the identity of domestic animation,Sun (2023) discussed the aesthetic innovation from traditional Chinese animation to the new Chinese-style animation.Yang and Qi (2022) conducted a comprehensive analysis of the challenges and breakthroughs in integrating excellent traditional Chinese culture with animated films.Chen (2022) examined the spatial narrative of the identity of domestic animation.Zhang and Ma (2020) proposed solutions for addressing the dilemma facing domestic animation in showcasing its national characteristics.In terms of the narrative mode of domestic animation,Zhou (2023) conducted an analysis of the linear narrative and artistic expression in domestic animated films.Pan and Ma (2023) pointed out that leading animations have been persistently reshaping the narrative aesthetics of the style of traditional Chinese animation in recent years.Ding and Sun (2022) discussed the realistic expression of classical narrative texts in contemporary animated films,while Tu (2021) analyzed both the inheritance and innovation within China’s animation narrative mode.In terms of the role design of domestic animation,Yan (2023)examined the expansion of character types and the remodeling of hero images in domestic animated films since the reform and opening up.Cui (2022) examined the current situation and design concepts behind the character modeling of Chinese animation.Sui (2022) delved into the development and the evolution of depictions of mythological figures in Chinese animated films.

A Reliable Image: Reshaping Traditional Chinese Cultural Archetypes in Modern Context

Beneath the surface structure of all narratives lie deep structural elements that are identical or similar,which function as a conduit bridging ancient and contemporary eras,the realms of life and art,as well as the Eastern and Western cultures.These elements also serve as a unifying link fostering connections among individuals across nations,cultures,and ideologies (Tian,2018,pp.91–93).Through the modern reinterpretation of traditional Chinese cultural symbols,literary narratives,and philosophical ideas,domestic animation endeavors to evoke the “collective memory” deeply ingrained in the hearts of Chinese people,thereby,under the influence of realism,establishing a credible and authoritative space for the culture of China’s animation.While bolstering national cultural confidence,it also seeks to present a reliable image of China to the world.Collective memory refers to “the process and result of sharing past events among members of a particular group,and guarantees the continuity of collective memory when social communication and group consciousness need to extract it” (Halbwachs,2002,p.93).After thousands of years of cultural evolution and accumulation,the Chinese nation has developed material and linguistic symbols that epitomize the distinctiveness of its national culture.It has also given rise to a multitude of literary narratives rooted in mythologies with diverse systems and forms,as well as dialectically unified philosophies,such as “harmony between humanity and nature.”

Role Archetype: the Refining of Traditional Cultural Symbols

Various elements of cultural symbols serve as the foundation for individuals to comprehend their national culture.They embody the nation’s perception of people and objects and encompass specific psychological and spiritual awareness (Wang & Hu,2011,pp.101–107).“The audio-visual representation of animation should align with the cultural connotations” (Rao & Chang,2021,pp.5–13).Through audio-visual representation,domestic animation effectively utilizes a range of culturally significant symbols that constitute traditional Chinese culture in their audio-visual language.In the process of cultural encoding and recoding,they achieve the transformation of traditional cultural forms and establish resonance between traditional culture and zeitgeist,thereby creating a platform for showcasing traditional Chinese culture through scenes,languages,narratives,and other elements.This enriches the audience’s aesthetic imagination while meeting their aesthetic expectations.

In terms of the utilization of material symbols,Taoism,as a distinctive religion originating from China,presents a unique cultural emblem that is extensively employed in domestic animated films with diverse adaptations.The concept of “Yin-Yang and Five Elements” advocated by Taoism is often considered a cultural symbol imbued with profound symbolic significance.The term “Five Elements”encompasses earth,wood,metal,fire,and water.The element “water” embodies the enigmatic and boundless qualities that have been widely acknowledged and embraced by the Chinese nation.The filmBig Fish & Begoniautilizes “water” as the overarching backdrop,effectively establishing a mystical ambiance.Within these mysterious waters unfolds a poignant tale of immortals and mortals.Similarly,the filmDeep Seaemploys the unfathomable sea area as a narrative space,seamlessly intertwining dreams,reality,and the future with the element of “water,” thereby constructing a dream-like marine world where humans coexist with immortals and mythical creatures.TheNe Zhaseries primarily utilizes the element of “fire:” InNe Zha: I Am the Destiny(“I Am the Destiny” for short),fire is employed to symbolize Ne Zha’s fiery temperament and his identity as the Demon Pill,while the filmNew Gods: Ne Zha Rebornfocuses on how the reborn Ne Zha suppresses and controls his fiery nature.Special Taoist cultural symbols,such as the Tai Chi Diagram,Eight Trigrams,and Taoist incantations,have become essential elements in domestic animated films for rendering magic arts.While endowed with cultural significance,they have also undergone modernized development within the context of contemporary society.For instance,inI Am the Destiny,Taiyi Zhenren unlocks the lotus lantern using a password,and he can even use fingerprint recognition as an alternative when the password is forgotten.

In terms of the use of language symbols,the dialect plays a distinctive role in showcasing and preserving traditional culture through its profound cultural heritage,serving as a gateway for the audience to comprehend and appreciate Chinese culture.Dialect has emerged as a pivotal technique in character portrayal within domestic animated films.InI Am the Destiny,Taiyi Zhenren is depicted as an individual with a distinct Sichuan accent,whereas inClassic of Mountains and Seas: GoodbyeMonster(“Goodbye Monster” for short),Azure Dragon assumes the persona of a middle-aged man who converses in Tianjin dialect,significantly subverting conventional archetypes of immortals and amplifying comedic elements while fostering an immersive cultural ambiance.The utilization of dialect also serves to express the theme.By incorporating Cantonese in the rendition of the filmI Am What I Am(Xiong Shi Shao Nian),it seamlessly integrates Guangdong’s traditional lion culture with the expressive capabilities inherent in film media,thereby endowing the film with a profound sense of appetency and authenticity.This not only bridges the gap between the audience and the film,effectively conveying the film’s thematic essence,but also stimulates viewers’ appreciation for ethnic culture while successfully disseminating its rich heritage.

Narrative System: the Revival of Traditional Humanistic Spirit

China’s literature is deeply rooted in ancient mythologies.Based on these mythologies,the Chinese people have created a rich array of traditional literary narratives characterized by diverse systems and forms.These narratives have also emerged as a significant source of thematic inspiration for domestic animation.For instance,Journey to the Westutilizes the tale of Tang Sanzang and his disciples embarking on a journey to obtain Buddhist scriptures in the Western regions as an archetype to interpret the philosophy of remaining steadfast in one’s original aspirations.Legend of the WhiteSnakeexplores the cycle of reincarnation by depicting the intricate love-hate entanglement between White Snake,Green Snake,Fa Hai,and Xu Xian.InInvestiture of the Gods,characters like Ne Zha,Jiang Ziya,and Yang Jian establish a new space for divine investiture,creating a new storyline around it.Other examples includeBig Fish & Begoniaportraying immortals and mortals coexisting harmoniously andMr.Miaoshowcasing the heroic figures in its fictional world from different perspectives.Additionally,Stories of Chinese People’s Efforts in Combating Flooddepicts Li Bing’s endeavors in flood control.Domestic animation has been drawing inspiration from exploring the unique literary stories of China,showcasing the distinctive cultural characteristics of the Chinese nation that set it apart from others.Despite diverse themes and narratives,they all share a common feature: creating works that are distinctly Chinese,with the aim of establishing a distinct path for the development of the Chinese animation industry on the global stage.

In the summer of 2022,the filmGoodbye Monsterwas released,introducing a new Chinese animated-intellectual property (IP) that offers a distinct narrative space based on theClassic ofMountains and Seas,showcasing China’s unique style of fantastic figures on the screen.The film features the protagonists Bai Ze,Kunlun’s esteemed physician,and Yi,the Kylin boy.The four revered elders of the Kunlun Medical Academy are represented by the mythical creatures Green Dragon,White Tiger,Vermilion Bird,and Black Tortoise.Other characters such as Ying Yu with its fish body and bird wings resembling mandarin ducks,Nine-tailed Fox with its foxlike form adorned with nine tails,as well as Huo Zhu,Xing Tian,the god of Bitter Mountain,and Migu Valley Monster are all meticulously crafted based on their mythological counterparts from theClassic of Mountains and Seas.Together they construct a wondrous “world of mountains and seas” brimming with captivating oriental allure (Chang & Chen,2023,pp.158–162).In the limited narrative time,domestic animated films utilize modern scientific and technological media to present China’s traditional stories in a novel and contemporary manner.This showcases the immense potential of digital animation technology in conveying China’s traditional aesthetics and offers an extraordinary and captivating Oriental scroll for the audience.It not only aligns with the IP setting of domestic animated films but also enables the audience to gain a more comprehensive understanding of Chinese classical works.In this way,the integration and innovation of China’s exceptional traditional culture with animation have been realized,fostering cultural creativity and innovation among all people in the nation while creating new avenues for promoting cultural confidence within new media platforms and contexts.

Philosophy Expression: Representation of Traditional Philosophy in Media Practice

According toThe Great Treatise Iof theBook of Changes,“Therefore in (the system of) the Yi there is Tai Chi (the Grand Terminus),which produced the two elementary forms.Those two forms produced the four emblematic symbols,which again produced the eight trigrams.” The traditional Chinese philosophical thought originated from theBook of Changes,and the integrated concept of“Tai Chi” that encompasses Yin and Yang as well as the principle of “harmony between humanity and nature” have evolved into fundamental tenets within traditional Chinese philosophy.Later,Taoist philosophers such as Laozi and Zhuangzi developed a set of dialectical concepts characterized by simple relativism,which posit that all things possess inherent opposites and interconnectedness,as exemplified by the renowned sayings “Heaven,Earth,and I were produced together,and all things and I are one.” At the same time,the philosophy of Confucianism,as embodied by Confucius,emphasizes the principles of the “golden mean” and “balanced harmony,” which serve as fundamental tenets within traditional Chinese thought and have long been deeply ingrained as societal norms governing behavior and ethics in China.Based on the philosophy of Confucianism,Chinese animation has developed a distinctive aesthetic style.This style exemplifies a harmonious fusion of the construction and deconstruction of contradictions in portraying objects.The binary nature embodies the coexistence of contradiction and interconnectedness within a person or an object,thereby facilitating the creation of a circular narrative structure within the film as well as establishing interdependent relationships among its characters.Consequently,the film achieves a sense of wholeness and harmony.

InStories of Chinese People’s Efforts in Combating Flood,the successful flood control efforts led by Li Bing in China involved a shift from the traditional method of blocking the river to channelizing the riverbed,effectively integrating these two initially opposing approaches.This monumental project not only brought immediate benefits to the people at that time but also continues to play a significant role in present times.The filmI Am the Destinyserves as a typical example of employing traditional Chinese philosophical thought to structure its narrative.“The film utilizes the ‘Tai Chi’ archetype to heighten story contradiction and unleash the accumulated emotional potential within this archetype.As a result,it delivers a more profound emotional impact compared to narratives without archetypal elements” (Dong,September 18,2019).The film showcases a circular narrative structure that explores the contradiction and interconnectedness between “Demon Pill” and “Spirit Bead,” while also establishing a character relationship expression mode through the construction and deconstruction of the contradiction between Ne Zha and Ao Bing,the mythical third prince of the East China Sea.At the film’s outset,the Primeval Lord of Heaven (Yuan Shi Tian Zun) condensed the celestial and terrestrial spiritual energy into a fused bead,subsequently refining it into both a demon pill and a spirit bead.This exemplifies an inherent interconnectedness among all things,showcasing the original life form.As a whole,these two entities are diametrically opposed yet mutually permeating.The two characters Ao Bing and Ne Zha,initially existing as binary opposites,form a profound bond upon their first encounter,becoming each other’s sole companions.However,conflicting interests ignited a monumental clash between them.The characters,however,ultimately come together to collectively break the Curse and emerge as a revitalized community of life in spiritual form.The filmI Am the Destinyeffectively utilizes the structural characteristics of China’s philosophical thought,significantly emphasizing the aesthetic and ethical aspects inherent in Chinese philosophy.Through the innovative medium of animated film,it achieves a fresh retelling of traditional narratives,thereby not only bolstering the confidence of traditional Chinese culture but also showcasing its new image in the contemporary era.

An Admirable Image: Reconstructing Traditional Literary Imagery in the New Era

In the context of the new era,domestic animation should not simply imitate and repeat traditional stories.It is imperative for the animation industry to keep up with the prevailing aesthetic trends of the public,augment the degree of identification of Chinese stories amidst the ever-evolving landscape of animated media,and expand the influence of these stories,thereby presenting an admirable image of China to the world.Northrop Frye (2006) defined “archetype”as “typical or recurring images that connect one text to all other literary texts” in his bookAnatomy of Criticism.The protagonists of domestic animated films,such as Sun Wukong,White Snake,Ne Zha,Yang Jian,and Li Bing,are all derived from traditional archetypal characters in China’s literary stories.Whether through the enrichment and development of these literary images portrayed in traditional stories or the reconstruction of these literary archetypes in contemporary animated films in terms of imagery,connotation,and other aspects,this mode of expression effectively enhances the expressiveness and vitality of traditional stories.By presenting more innovative stories that are readily embraced by modern audiences while continuously refreshing their aesthetic imagination and experience,it stimulates public enthusiasm for traditional Chinese culture.

Mortal Heroes: Changes of Roles from “Them” to “Us”

In the new era,it is more incumbent upon every Chinese to shoulder the historical task of achieving the great rejuvenation of the Chinese nation.The domestic animated films effectively align with the cultural context in the new era by delving into the portrayal of heroic figures in a more audience-friendly manner.The protagonists in films are no longer perceived as “they”but rather as “us.” The creation of relatively ordinary protagonists allows audiences or readers to establish a sense of identification with the characters,perceiving them as relatable figures possessing similar qualities to themselves.This facilitates a shared experience of both triumphs and hardships,ultimately fostering personal growth (Jauss,1997,p.262).The main storyline revolves around the transition of the character from an ordinary individual to a heroic figure.The coming-of-age ceremony,known as a kind of “mysterious rite,” serves to transform the newcomer from the secular realm into the sacred domain,enabling them to establish a direct and enduring connection with the latter (Gennep,2014,p.68).In the face of the raging and relentless flood,Li Bing,despite being a mortal,bravely assumed the arduous responsibility of continuously enhancing the water control strategy and ultimately achieved a triumph in flood control.Li Bing,as a mortal,emerged as a heroic figure in the face of natural disasters.Ne Zha also underwent a transformative journey,evolving from a cynical child into a revered hero.Throughout this process,he embarked on a profound journey of self-discovery and introspection.After the war,Jiang Ziya was banished to the North Sea,where he embarked on a transformative journey of physical and spiritual purification.Ultimately,he shattered the outdated conventions prevailing in the celestial realm,as exemplified by his proclamation: “My destiny is not predetermined; I am the master of my own fate.” The self-growth of the characters serves to seamlessly integrate the theme of personal development into the narrative structure of traditional stories,thereby giving rise to a novel storyline infused with contemporary elements.This approach effectively portrays the heroes’ growth journey from an ordinary perspective,resonating with viewers and evoking their heroic complex.Consequently,not only does it elicit profound emotional responses from audiences,but it also rekindles their sense of heroism as well as cultural confidence.

Character Cooperation: Creating Narrative Mode with Multiple Protagonists

The utilization of “character cooperation” has become a prevalent approach in character development within domestic animated films.This approach not only enhances the portrayal of characters and enriches the narrative content of the film,but also adds rationality and necessity to the theme of heroic growth.Moreover,it caters to the aesthetic preferences of modern audiences,and aligns with current aesthetic trends and consumer interests,while simultaneously fostering increased discussion and potential for further creative adaptations.In theWhite Snakeserial films,the White Snake and the Green Snake have always been inseparable companions,serving as mutual guides in their respective journeys.InWhite Snake: The Legend Begins,the Green Snake aids the White Snake in reclaiming her past life memories; whereas in the filmWhiteSnake 2: Green Snake,it is the White Snake who assists her companion.The filmYang Jianrevolves around the intertwined story between Yang Jian and his nephew Chen Xiang,whose unexpected encounter is driven by familial affection.Together,they embark on a mission to split the mountain in order to rescue Chen Xiang’s mother.Their united efforts embody a fervent hope for a world devoid of conflict.The protagonists,both assuming the roles of mentors and friends,frequently guide one another in fulfilling their respective obligations and unfinished missions.This represents a significant advancement in domestic animation.The implementation of the“character cooperation” approach facilitates the decentralization in animation creation,thereby revolutionizing the conventional narrative structure prevalent in traditional stories that revolve solely around a single protagonist.This approach enables the development of contemporary narratives from a modern perspective,fostering an open space for storytelling.Furthermore,it amplifies the potential for story expansion while establishing a robust foundation for creating a bigger space for the creation of animated characters.

A Respectable Image: Innovative Expression of the National Spirit

As a crucial medium for promoting Chinese culture,domestic animation is expected to internalize and creatively express the core essence of the Chinese national spirit,transcending surface-level expression,and delving into more profound connotations,thereby projecting a respectable image of China with the national spirit at its core.In the course of over five thousand years of development,the Chinese nation has cultivated a profound national spirit centered around patriotism,unity,peaceloving,diligence,bravery,and self-improvement.The advent of the new era signifies a continuous progression and enrichment of China’s national spirit.The aforementioned values,which encompass the collective wisdom and spiritual outlook of the Chinese nation,can be regarded as a recurring motif within China’s cultural fabric.This enduring motif has been deeply ingrained in the spiritual realm of the Chinese people for an extensive period and will continue to be inherited,thereby providing the Chinese nation with lasting cohesion (Wang,2022,pp.118–121).In recent years,the animated characters,such as Sun Wukong and Ne Zha,have garnered increasing attention in the animation market as representatives of China’s national spirit.These figures give rise to a multitude of dramatic conflicts and embody China’s most emblematic national spirit.Through innovation and transformation,they have become symbols of the zeitgeist.

Personal Level: Spirit of Exploration

“The way was long,and wrapped in gloom did seem,as I urged on to seek my vanished dream.”These are immortal lines composed by Qu Yuan,drawing upon his life experiences and serving as a manifestation of his lifelong pursuit of the intrinsic value of individual existence,the collective destiny of a nation,and the profound understanding of universal knowledge.This spirit of exploration has had a profound and lasting impact throughout the history of China.Many scholars have recognized Qu Yuan as a pioneer,passionately advocating for his country and people,driven by this reflective spirit of exploration.Undoubtedly,this spirit of exploration plays a pivotal role in shaping the spirit of the Chinese nation.Domestic animation creatively embodies the spirit of exploration by advocating for the inheritance of traditional culture,which is also a proposition of the times in today’s social context,that is,promoting cultural confidence and improvement.CCTV News commented that the filmI Am What I Am“exemplifies cultural confidence and perpetuates national ethos,” and“embodies the national elements in excellent Chinese animated films.” Seamlessly integrating the lion dance culture from our rich cultural heritage into a captivating story about a teenager’s pursuit of his dreams,this film allows audiences to embark on a remarkable journey alongside the protagonist and experience the unique charm of traditional Chinese culture.In a sense,the filmI Am What I Amcan be seen as a portrayal of “inheriting traditional culture,” while the evolution of domestic animation signifies a journey towards upholding and inheriting exceptional traditional Chinese culture.In the film,the protagonist Ajuan perseveres in his pursuit of learning the lion dance despite facing various obstacles.Beyond the film,China’s animation industry continuously delves into the profound roots of traditional Chinese culture and strives to find a way for “the rise of Chinese animation,” thereby exploring a unique and promising path for the development of the Chinese animation industry.By boldly examining reality,resonating with the contemporary era,and praising the ambitious pursuit of dreams by ordinary individuals,this film aims to explore a strategic approach to storytelling that transitions from reality to animation,carving a new path for inheriting and expressing national culture through animated media while simultaneously elevating the creation concept of Chinese animation to unprecedented heights (Li & Yu,2022,pp.144–148).The filmI Am What I Amshifts the focus of domestic animated films from mythical themes to realistic ones.Through the protagonist’s pursuit of traditional culture and society’s emphasis on it,the film showcases a high degree of intertextuality,which offers a viable path for exploring new narrative possibilities in domestic animation by combining realism with traditional culture.

Social Level: Morality

Morality encompasses the collective principles of moral norms,fairness,and justice,serving as a manifestation of moral doctrines and decrees that best reflect the essence and fundamental requisites within a social moral framework (Wang,1998,pp.9–14).Morality is the cornerstone of Chinese traditional ethics,which plays a crucial role in China’s socialist spiritual development and moral progress.Domestic animation creatively portrays the process of moral restoration.In this context,domestic animation adeptly interprets and contextualizes morality within the framework of the new era,facilitating a seamless connection between national spirit and zeitgeist.The filmMr.Miaocreates a surreal world where the exploration of the dichotomy between good and evil takes place.The protagonist consistently acts righteously.This kind of morality epitomizes the enduring spiritual essence of the Chinese nation,showcasing its profound moral character and serving as a cultural code for China’s unwavering presence on the global stage.Morality is a crucial prerequisite for the emergence of “domestic heroes” and serves as an essential spiritual attribute that domestic heroes should possess.The Chinese nation has long been confident and proud of its moral values,which constitute an indispensable spiritual essence in conveying themes within domestic animation.

National Level: Patriotism

Patriotism has been deeply rooted in the Chinese literary tradition and national spirit since ancient times.Domestic animation also recognizes the profound significance of patriotism,serving as an extension of the patriotic essence embedded within China’s stories.Patriotism has always been the most significant spiritual trait deeply ingrained in the psyche of the Chinese nation,serving as an integral part of their collective spirit.This is evident in various traditional Chinese literary classics and ancient myths like “Nüwa Mends the Heavens,” “Emperor Yu Tames the Flood,” “Hou Yi Shot Down the Suns,” as well as writings by scholars from different schools during the pre-Qin period who all shared a common concern for saving a chaotic world.Moreover,the renowned Tang and Song poets such as Chen Ziang,Du Fu,Xin Qiji,and Wen Tianxiang exemplify this sentiment through their works.Domestic animation excels at depicting ordinary people as heroes when it comes to expressing patriotism.The image of Li Bing,as a cartoon character embodying a historical archetype,has consistently remained devoid of any supernatural abilities,regardless of whether the narrative is mythical.When confronted with the formidable forces of nature,he was entrusted with a crucial and challenging mission,causing him to share the concerns of ordinary people.Both the narratives inStories of Chinese People’s Efforts in Combating Floodand the digital animated cartoon bookLiBing’s Endeavors in Flood Controlshowcase Li Bing’s selflessness and fearlessness.Particularly,inLi Bing’s Endeavors in Flood Control,despite facing oppression from deities,Li Bing valiantly stepped forward without regard for his own safety.The driving force behind these actions stems solely from his unwavering commitment to serving the nation and its people.Such remarkable spirit continues to resonate with audiences today.The innovative expression of the spirit of patriotism enhances the allure of traditional stories,enriches the portrayal of traditional characters,and establishes moral principles applicable to people of all ages.This not only enhances individuals’ cultural confidence but also fosters the growth of our national spirit with patriotism at its core.

Conclusion

With the successful release ofI Am the Destinyin 2019 and the subsequent flourishing of numerous animated films in the field,such asDeep SeaandYao-Chinese Folktalesin 2023,the domestic animation industry is dedicated to constructing a unique aesthetic realm tailored for China,with traditional culture at its core.Since then,the rise of Chinese animation has evolved from a promising vision into a tangible manifestation that embodies the cherished value expectations held by Chinese people.Chinese domestic animation not only enjoys immense popularity and admiration among audiences in China,but also garners frequent international acclaim.The practice has proven that it has achieved remarkable success in terms of both market acceptance and cultural significance.Therefore,it is imperative for Chinese animators to undertake the mission of “telling China’s stories well” and delving into the distinctive charm of exceptional traditional Chinese culture.They should not confine the innovative portrayal of traditional culture solely to animation aesthetics but rather integrate it across various dimensions within contemporary media practices,thereby creating a national animation IP that can adapt to the evolving zeitgeist while reflecting the preservation of traditional cultural heritage.Only by doing so can we expect to effectively extract and showcase the spiritual emblem and cultural essence of Chinese civilization,while successfully presenting a reliable,admirable and respectable image of China.