特伟漫画作品

 1915年8月22日，特伟出生在上海的1 个富庶家庭 。 特伟自幼痴迷文艺，爱好 看连环画，经常长时间留在小书摊上看连环画。刚开始仅仅是喜欢看，随着时间的推移，开始进行涂鸦。以后 ，对连环画中的抽象 进行临摹，不久就将画中的人物抽象 画的活灵活现 了 。

1928年，因家道中落，初二的特伟从上海尚贤中学辍学 。而他却并没有因而 而放弃本身 的梦想，而常到城隍庙人像画馆门口偷艺的他，在短时间内便掌握了碳素画人像技术。以后 ，他凭借该技术到广告画社当了学徒，以此养家糊口，并以漫画向报社投稿，《中西科学之比较》是他的处女作 。

抗日和平 爆发后，与叶浅予、张乐平等8人成立了救亡漫画宣扬 队，并在上海漫画界救亡协会出版漫画刊物《救亡漫画》 。1940年年初，特伟率领漫画宣扬 队从桂林转战重庆，出版漫画刊物《抗战漫画》 。

1941年，由重庆至香港，参与组织新美术会 ;随后，为《华商报》编辑周刊《新美术周刊》 ;同时，出版画集《特伟讽刺画集》和《风云集》 。太平洋和平 爆发后，在桂林、重庆等地参与举办画展《香港的受难》 。1944年，在云南参加抗敌演剧第5 队 。1945年，开始在云南担任中学教师 。

1947年，重返香港后，参与组织人间画会，同时在周刊《群众周刊》上连载长篇漫画《大独裁者》 。1949年2月，由夏衍、黄新波介绍，在香港加入了中国共产党 ;同年，担任长春电影制片厂美术片组厂长 。1950年代初，在夏衍的约请 下，他率队从长春到上海，在上海成立美术电影制片厂，担任领导和制片工作 。

1951年，执导个人首部动画短片《小铁柱》 。1953年，执导动画短片《采蘑菇》 。1954年，执导动画短片《好朋友》 ，该片获得中国文明 部1949-1955年优秀影片奖美术片二等奖 。1955年，上海美术电影制片厂拍摄完成彩色动画片《乌鸦为什么 是黑的》，中国美术电影从此进入了彩色片时期。但由于 这1 时期的国产动画作品多半模仿苏联动画，《乌鸦为什么 是黑的》被威尼斯动画电影节评委当做苏联的作品，特伟从此下定决心，提出了"探民族风格之路"的口号 。

1956年，在上海电影制片厂美术片组开始了动画片创作 ;同年，与李克弱联合执导动画短片《骄傲的将军》，该片采用京剧脸谱搭配传统服饰的外型 设计、揉入京剧舞台元素，影片讲述了一名 得胜归来的将军骄傲自满，荒废武艺兵法，最初 被敌人活捉的故事 。

1957年，担任上海美术电影制片厂的厂长 。1960年，执导中国第1 部水墨动画短片《小蝌蚪找妈妈》 ，该片获得第1届大众电影百花奖最好 美术奖 、戛纳国际电影节荣誉奖等奖项 。1963年，与钱家骏联合执导以牧童寻牛的故事为明线的水墨动画短片《牧笛》 ，该片获得丹麦顾登塞国际童话电影节金质奖 。

1976年，与沈祖慰联合执导动画短片《金色的大雁》 。1981年，特伟在日本京都举办中国水墨动画展;1月，在杂志《百科知识》上发表著文《富有民族特色的中国美术电影》。

1984年，与严定宪、林文肖联合执导动画电影《金猴降妖》，该片根据中国古典作品《西游记》中的故事改编 ，影片获得中国电影金鸡奖最好 美术片奖 、美国芝加哥国际儿童电影节动画故事片1 等奖 。

1988年，执导水墨动画短片《山水情》，该动画短片将中国绘画、音乐、诗与哲学融为1 体 ，获得第1届 上海国际动画电影节大奖 、第6届保加利亚瓦尔纳国际动画电影节优秀影片奖等奖项 。1989年，特伟获得第1届中国电影节荣誉奖 。

1995年，国际动画学会(ASIFA)授予特伟"毕生 成就奖"，他同样成 为首个获此奖项的中国人 。2004年，在纪录片《万氏兄弟和《大闹天宫》》中出镜。2010年，获得中国动漫艺术毕生 成就奖 。

 特伟不仅仅是一名 高瞻远瞩的美术电影人，更是一名 成就 很深的动画艺术家。创造具有中国气派的民族风格，这是特伟在创作上的1 个次要 特点。特伟的坚持走民族化道路的动画创作思想并不是仅仅局限于对中国传统民间神话故事进行创作和改编，而是既要民族化也要古代 化，体现出时代的精神 。特伟的动画片作品中角色和场景都坚持着走民族风格的路线。传统艺术对特伟的动画片外型 有着很大的影响。他的动画作品中，民族性就像血液1 样不停的流淌，使作品的每1 处都体现出勃勃生机 。就题材选择来看，特伟宠爱 借鉴中国的传统文学。就情节处理来看，特伟喜欢淡化情节的表达，展示 出了浓郁的中国气息 (吉林艺术学院邹蕾、天津大学李浩源、江南大学沈艾雯综合评)。

 2015年8月21日，上海影城4楼第1 会议室召开了纪念特伟诞辰100周年的座谈会 。

 On August 22, 1915, Tewei was born in a wealthy family in Shanghai. Since his childhood, Twai has been obsessed with literature and art. He likes to watch comic strips. He often stays at a small bookstall for a long time to read comic strips. At first, just like to watch, as time goes on, began to graffiti. Later, the image in the comic strip was copied, and soon the figure in the comic strip was vividly portrayed.

In 1928, Tewei dropped out of Shangxian Middle School in Shanghai in his second year of junior high school because of his declining family background. But he did not give up his dream, and he often learned the art of carbon painting in a short time when he was stealing art from the Portrait Gallery of Town God's Temple. Later, he became an apprentice to an advertising and painting agency to support his family, and contributed to the newspaper with cartoons. The Comparison of Chinese and Western Sciences was his first work.

After the outbreak of the War of Resistance Against Japan, eight people, Ye Shaoyu and Zhang Leping, set up a salvation cartoon propaganda team, and published the cartoon magazine Salvation Cartoon in Shanghai Cartoon Society. At the beginning of 1940, Tewei led the cartoon propaganda team from Guilin to Chongqing, publishing the cartoon magazine "Anti-Japanese War Cartoons".

In 1941, from Chongqing to Hong Kong, he participated in the organization of the New Art Club. Later, he edited the weekly New Art Weekly for the Chinese Business Journal. At the same time, he published the collection of paintings "Tewei Satirical Paintings" and "Fengyun Gathering". After the outbreak of the Pacific War, he participated in the exhibition "The Victims of Hong Kong" in Guilin, Chongqing and other places. In 1944, he joined the Fifth Team of Anti-enemy Opera in Yunnan. In 1945, he began to work as a middle school teacher in Yunnan.

In 1947, after returning to Hong Kong, he participated in the organization of the World Painting Fair. At the same time, he serialized a long cartoon "The Great Dictator" in the weekly "Mass Weekly". In February 1949, introduced by Xia Yan and Huang Xinbo, he joined the Communist Party of China in Hong Kong. In the same year, he served as director of the fine arts film group of Changchun Film Studio. In the early 1950s, at the invitation of Xia Yan, he led his team from Changchun to Shanghai and set up an art film studio in Shanghai, where he served as a leader and producer.

In 1951, he directed his first animated short film, Little Iron Column. In 1953, he directed the animated short film "Collecting Mushrooms". In 1954, he directed the animated short film "Good Friends", which won the second prize of Fine Arts in the 1949-1955 Excellent Film Award of the Ministry of Culture of China. In 1955, the Shanghai Fine Arts Film Studio completed the production of the color animation "Why is the Crow Black". Since then, the Chinese fine arts film has entered the period of color film. But because most of the domestic animation works in this period imitated Soviet animation, "Why is the Crow Black" was regarded as the work of the Soviet Union by the judges of the Venice Animation Film Festival. From then on, Twai made up his mind and put forward the slogan of "exploring the way of national style".

In 1956, the Shanghai Film Studio Art Film Group began to create animated cartoons; in the same year, Li Kewei co-directed the animated short film Pride General, which used Peking Opera Facebook with traditional costume design, blended into Peking Opera stage elements, the film tells of a winning general's pride and complacency, abandoned martial arts. Art of war, the story of being captured alive by the enemy.

In 1957, he was the director of Shanghai Fine Arts Film Studio. In 1960, he directed the first Chinese ink animated short film "Little Tadpoles Looking for Mother", which won the Best Art Award of the 1st Popular Film Hundred Flowers Award and the Honorary Award of Cannes International Film Festival. In 1963, he and Qian Jiajun co-directed the ink-and-wash animated short film "Pastoral Flute" with the story of cattle hunting as the bright line, which won the Golden Prize of the International Fairy Tale Film Festival in Gudense, Denmark.

In 1976, he co-directed the animated short film Golden Goose with Shen Zushu. In 1981, Tevey held a Chinese ink animation exhibition in Kyoto, Japan; in January, he published the article "Chinese Fine Arts Film with National Characteristics" in the magazine Encyclopedia Knowledge.

In 1984, he co-directed the animated film Golden Monkey Down the Demon with Yan Dingxian and Lin Wenxiao, which was adapted from the story in the classical Chinese work Journey to the West. The film won the Golden Rooster Award for Best Art Film in Chinese Film and the first prize for animated feature film in the Chicago International Children's Film Festival.

In 1988, he directed the short animated film "Landscape Situation", which integrates Chinese painting, music, poetry and philosophy, and won the awards of the 1st Shanghai International Animated Film Festival and the 6th Bulgarian Varna International Animated Film Festival for Excellent Films. In 1989, Tewei won the honorary prize of the 1st China Film Festival.

In 1995, the International Society of Animation (ASIFA) awarded Twai the Lifelong Achievement Award, and he became the first Chinese to win the award. In 2004, he appeared in the documentary "The Wan Brothers and the Heavenly Palace". In 2010, he won the Lifelong Achievement Award of Chinese Animation Art.