2017年，国漫迎来了一个辉煌的时期。《全职高手》、《少年锦衣卫》等动画作品在画面细节和剧本讲述上都有了显著提升。短片方面，也有不少精品如《玫瑰公寓》，而在大银幕上，国产动画也取得了重大突破，尽管票房并未超越像《大圣归来》、《大鱼海棠》这样的巨作，但在影片的主题和表达上，其实已经有了一定的创新。

国产动漫崛起，这一说法终于可以更加自信地使用了。但是，谈到崛起，就意味着曾经存在过辉煌与衰落；中国动画的辉煌时期，大约是在上个世纪60年代开始的。那时候，我们拥有领先世界的技术和独特的动画类型，而今天，我们来回顾一下往昔。

2011年8月15日，上图右侧的人物因病去世，他是钱家俊；如果将特伟先生视为中国水墨动画之父，那么钱家俊则是中国动画技术创始人的称号。他是新中国最早教授动画专业课程的一位老师，对于彩色动画形象设计、制作以及配色等技术层面的发展贡献巨大。在那个几乎无资金可言的年代，新中国对待动画产业几乎是一无所知：钱家俊先生及其团队尝试多种技术，最终成功完成了新中国首部彩色動畫片《乌鸦为什么是黑色的》。

“一秒钟24格，每格需要绘制在赛璐璐片（塑料片）上的正反两面，一部戏20分钟，上万张赛璐璁片需精确无误。”当时，他们尝试广告颜料、水粉颜料等，都没有达到要求，最终通过反复试验，将水果汁、防腐剂等巧妙运用，以此实现防裂防霉。从现代审美角度看这部半个多世纪前的作品，或许旁白女声听起来有些突兀，或许童话般轻松的情节并不引人入胜；但丰富的大胆色彩搭配和自然流畅的行动依旧令人赞叹。

随后，他们又将研究转向我们的传统文化——国绘，从而创造出了属于我们自己的独特类型——中国水墨動畫。这类别应该被视为中国水墨绘技的一个分支，它打破了传统单线平涂模式，没有边缘线，一笔一划都是笔墨晕染带来的美感。而这种写意静态美，在移动中变得更加生机勃勃。第一部水墨動畫就是《小蝌蚪找妈妈》，钱家俊先生担任该影片技术指导，是整个团队核心人物，他许多技术首创，并经过验证后推广，其中包括“大虚”、“中虚”、“小虚”等标准，有些甚至被列为规范。

而影中的动物形象尤其值得一提，最经典莫过于虾形象，不就是很熟悉吗？这些都来源于齐白石名作，他为了这部电影还特别描绘了一些原稿。栩栩如生，所以活动起来更显灵气十足；神意重于外形，与极好地传承了中國傳統繪畫中的文化遗产。此外，故事简单，一群刚出生的蝌蚪走失了，在池塘里寻找它们青蛙妈妈，同时遇见各种伙伴。不仅展现故事，更以旁白推进剧情发展，以及池塘里的其他生物展示螃蟹、小乌龟、小鸡等景象。

Watercolor animation from the moment it was released, it immediately caused a sensation in the animation industry; this form with strong Chinese cultural flavor, pursuing artistic perfection, and complex production techniques. Without powerful original paintings by artists, it is impossible to create such beautiful animations. The Japanese animation industry even called it "a miracle," while France's Le Monde newspaper praised this film: "The soft colors of Chinese watercolor painting, the delicate brushwork, and the expressions of worry, hesitation, and joy make this film charming and poetic."

Following these excellent animated works from previous decades, one can easily observe their common advantages. On one hand are outstanding technical achievements at that time plus an earnest attitude from professionals; on the other hand are stories rooted in local culture or conveying meaningful content.

These fine qualities seemed to vanish for a long time; our domestic animated films were mostly low-browed or rough. Fortunately in recent years' "Big" series works like 《哪吒闹海》（Nahashenghai）、《三个和尚》（Santongxiansheng）and 《雪孩子》（Xuehaizi）， these elements seem to have returned gradually; they express cultural attitudes well received by market and audience alike - which is good news.

As for China's pioneer of animation technology creation - Mr. Qian Jiajun (錢家俊), his name may not be as widely recognized as Mr. Te Wei (特伟), who founded China's watercolor-style animation artistry but he played an indispensable role in promoting Chinese animation technology development over many years later generations admired him including directors like Ada (阿达) who directed “Three Men & A Baby,” Ding Xingchen (严定宪) who directed “Nezha Strikes Back,” Dai Tieliang (戴铁郎) who directed “Black Cat Police,” Lin Wenxiao (林文肖) who directed “Snow Child,” Hu Jingqing(胡进庆)who directed “Cormorant Fishing.” As we learn more about him our admiration grows deeper too though perhaps there might be some exaggeration when expressing our respect but what we can do is remember pay tribute to this creator whose contributions cannot be ignored any longer