中国动画曾经是新中国前三十年水准高、作品丰富的艺术门类之一,老一辈中国动画人开创的“中国动画学派”成为中国艺术史上的一个“神话”。上世纪80年代中间,新一代中国动画人丰富并拓展了这个学派的内涵,也通过自己的实践创造出一批具有原创力的优秀美术电影作品,阿达便是这中间有代表性的一位导演。然而在学术界和批评界,关于中国当代动画史发展的线索,始终缺乏足够的梳理,对于阿达等优秀艺术家的个案所做的研究也停留在一般性介绍层面,以至于我们并没有充分发掘并实践动画研究的全部可能和价值。本期何非的文章,以文化普遍主义的理论视角切入阿达的个案,提出阿达与中国动画学派之间的历史联系并非一般的继承,而是一种超越与发展。文章夹叙夹议,新见迭出,值得推荐。 Chinese animation used to be one of the top art genres in the first three decades of New China. The Chinese animation school created by the older Chinese animators became a “mythology” in the history of Chinese art. In the mid-1980s, a new generation of Chinese animators enriched and expanded the connotation of this school, and also created a series of excellent art film works with original works through their own practice. Ada is one of the representative directors . However, in academia and critical circles, the clues on the development of Chinese contemporary animation history have always been lacking enough to sort out. The research on the case of Ada and other outstanding artists remains at the level of general introduction, so that we have not fully explored The possibilities and values ​​of the practice animation research. In this issue, Hefei’s article plunges into Ada’s case from the perspective of cultural universalism and argues that the historical link between Ada and the Chinese animation school is not a general succession, but a transcendence and development. Symposium folder article, see the new after another, it is recommended.