History of Chinese Anti-Japanese Comics: The 15-Year Struggle of Chinese Comic Artists Against Japanese Aggression

Author: Shun Tetsuro (Japan)
Translator: Yu Qinde / et al.
Editor-in-Chief: Fu Guangzhong
Publisher:
Publishing Date: 2005-08-01
Features: A comprehensive historical work on China's anti-Japanese movement, this is the result of Shun Tetsuro, a Japanese cartoonist, who poured his heart and soul into it for three and a half years. Combining documentary and oral historical materials, it authentically records the moving history of the Chinese people's anti-Japanese war and artfully depicts the 15-year struggle of Chinese cartoonists against Japanese aggression.
Author's Statement: The Beginning of Modern Chinese Cartooning
I stayed in Beijing for three and a half years and learned about the unique Chinese cartoon movement known as "anti-war cartoons" during the period from 1937 (Showa 12) to 1945 (Showa 20). The so-called anti-war cartoon movement refers to the nationwide educational and propaganda activities that cartoonists carried out to "arouse the people's spirit of united resistance against the enemy and fight the war to the end" during the full-scale war between Japan and China that began with the Marco Polo Bridge Incident. At that time, the now-famous elderly cartoonists of modern China were still young men and women in their twenties and thirties. Facing the national crisis caused by Japanese aggression, they organized cartoon teams and participated in the war as a form of "cartoon warfare," using their pens as weapons. This team fought from Shanghai to Wuhan, Guilin, Chongqing (with some going to Yan'an). They fought bravely against the enemy like frontline soldiers. At that time, due to the lack of printing equipment, they carved woodblocks and published anti-war cartoon publications. They held anti-war cartoon exhibitions on the road, braving daily air raids to boost public morale, call for unity and struggle, and inspire people to persist in the war and sacrifice their blood. With their unyielding perseverance, they made great contributions to the final victory.
Facing the Chinese military and civilians who were fighting with high morale for a total war and a protracted war, the Japanese military, which overestimated itself, were destined to consider surrender from the day the first rang out. Mr. Ying Tao, the editor-in-chief of the satirical and humorous cartoon supplement of People's Daily, once told me, "Anti-war cartoons are the beginning of modern Chinese cartooning."
After the Sino-Japanese War, the cartoon fighters remained active in the subsequent liberation war. Even after the founding of New China, these cartoon fighters were undoubtedly outstanding representatives of the Chinese people in every aspect. One of them is now in his seventies or eighties, and when he recalls the past, his memories are vivid. Even the names of places or people come to mind effortlessly, and events from over 50 years ago are as clear as if they happened yesterday. At such moments, one can often see the youthful vigor of a young person on his face. For him, that was a battle he could never forget for his entire life!
The true anti-war cartoon movement was one that utilized the inherent elements of cartoons. When the brush became a weapon, the powerful combat power of cartoons was revealed, as demonstrated by the anti-war cartoons in this book. In a sense, anti-war cartoons are also historical testimonies to the Japanese invasion war. It is a great honor to be able to record these historical traces of anti-war cartoons on the 50th anniversary of the war's end and to compile and publish them after careful consideration, dedicating them to my friends and brothers in the Chinese cartoon world.
Shun Tetsuro, Summer 1995
Anti-war cartoons are a brilliant page in the history of Chinese art. Shun Tetsuro, a renowned Japanese cartoonist, conducted an in-depth study of China's "unique cartoon movement" with a special sentiment. After returning to Japan, he wrote this History of Chinese Anti-War Cartoons based on detailed historical materials and an objective and fair perspective, artfully recreating the 15-year struggle of Chinese cartoonists against Japanese aggression. Among them, 248 anti-war cartoon works from over 50 years ago are particularly precious.
Excerpt:
Excerpt 1: Feng Yu-Kai's Thoughts on Cartoons
In August 1943, Feng Yu-Kai's book The Art of Cartooning was published. As mentioned earlier, the author was a leader of modern Chinese cartooning and had studied in Japan. He explained the reasons for writing the book as follows: Although titled The Art of Cartooning, it is essentially an extended reply letter, and the various aspects of cartoon learning (thought) remain untouched. I can only share some observations and experiences in cartoon creation for the reference of those who are interested in this field. In other words, Feng Yu-Kai did not write about the techniques of cartoon creation as the title suggests, nor is it a reference book for anti-war cartoons. It was only because it was written during the Anti-Japanese War that the author's intention for cartoon creation to serve the war was very clear.
Feng Yu-Kai published a review titled Cartoons Are the Vanguards of Pen-War in the Anti-War Struggle in the 8th issue of Anti-War Cartoons, passionately calling out, "The final victory is within sight, and all cartoonists across the country will charge forward!" He also reviewed a work titled Japan's Long-Term Aggression by a certain cartoonist, commenting as follows: The author initially thought that China would not resist when Japan invaded. As soon as the Japanese opened fire, China would seek peace. But China chose to fight a protracted war. As a result, Japan found itself in an impossible situation and had no choice but to force the entire nation to economize to supply the daily 20 million yuan in war expenses. The longer the battle lines stretched, the higher the war costs, and the harder the people's lives became. Seeing this, the author found Japan both ridiculous and pitiful and wanted to use his brush to satirize it.
This incisive critique reflects the stance of the cartoonist Feng Yu-Kai. He also said that a painter must possess two qualities: thought and skill. The purpose of The Art of Cartooning is to discuss the relationship between these two. Additionally, Feng Yu-Kai defined cartoons as "paintings that use simple lines but emphasize meaning" and considered them an art that lies between literary paintings and literary works. Therefore, the first step in cartoon creation is to establish the theme, and only then should one start drawing. Hence, he said, to learn cartooning, one must first study thought and then skill. A painting with outstanding technique but lacking thought is not a cartoon but just an ordinary painting; a painting full of thought but lacking technique cannot be called a cartoon either. He divided the cartoon creation process into four steps: "selecting a theme, choosing materials, composing, and coloring," with the first two being "establishing the theme" and the last two being "applying the theme." He also divided the methods of cartoon expression into: 1. Realistic method; 2. Metaphorical method; 3. Exaggerated method; 4. Illusory method; 5. Pointing out the key; 6. Symbolic method. This systematic theory of cartoons requires the author to have a deep understanding of cartoons and to create with diligence, which is also the academic attitude of the cartoonist Feng Yu-Kai himself.
What is noteworthy is the origin of the word "cartoon." In his article The Origin of Cartoons, he elaborated on the history of cartoon development in Japan and wrote, "The word 'painting' was actually first used in Japan and later spread to China along with other new terms." "I first noticed cartoons 20 years ago when I was in Japan." It is clear that it was Feng Yu-Kai himself who brought the word "cartoon" back to China. Shortly after, the term "cartoon" became popular in China.
Excerpt 2: Lu Xun and Cartoons
Lu Xun was the leader of the Chinese revolution, a great writer, thinker, and revolutionary. Lu Xun was deeply concerned about the development of art revolution and had many discussions on cartoons. Lu Xun said, "Cartoons should expose the sores of society," which is the most basic requirement for cartoons and cartoonists. From January to March 1919, Lu Xun harshly criticized the satirical cartoons of the time in New Youth: "Recently, I saw some satirical cartoons in the supplement Pork of a Shanghai newspaper. Their drawing style imitated Western art, but I was puzzled as to why their thoughts were so stubborn and their personalities so low, as if uneducated children were just writing '' on a clean white wall. It is no surprise that satirical cartoons have become tools for personal attacks." (Record of Feelings No. 43) "The cartoonists of Pork claim to be masters of new art, but I believe they truly understand this new art. However, the satirical cartoons they draw mostly attack new literature and new ideas." (Record of Feelings No. 53) This is a severe critique of the improper use of the satirical function of cartoons. Lu Xun often compared satirical cartoons and articles to "daggers and throwing spears," while also raising the question of who the daggers should and where the spears should be thrown. Lu Xun strongly opposed the misuse of satire and advocated that "satire should target the chronic diseases of society, point out the right direction, and guide society." He emphasized that "the most important thing about cartoons is honesty" and stressed the realism of creation, stating that "the portrayal of people and their spirits must be accurate." He also said that in terms of technique, "exaggeration is necessary," but cartoons must be "clear at a glance," while false exaggeration must be avoided. Lu Xun also particularly emphasized that "cartoonists must have progressive thoughts and noble characters." All of these served as a long-lasting warning for cartoonists.