1 .Breakout of Oil Painting After crushing the "gang of four"in October 1976, Deng Xiaoping returned to political power , and all China advocated “emancipating the mind , and seeking truth from facts”.Following this , peo-ple began to break through extreme leftist thought , and re -think the gains and losses which came from nationalization . It was only then that oil painting could experience a spring of letting “all flowers bloom together and all schools of thought contend together” .For instance,“Conquering the President’ s Mansion” painted by Chen Yifei and Wei Jingshan in 1977 used the former Soviet U-nion ’ s realism and French Romanticism; Gao Xiaohua , a representative of scar fine art School , painted “Why” and “Catch the Train” in 1978, which both presented the former Soviet Union ’ s realism style;“Father” painted by Luo Zhongli in 1980 shows the American surrealism style; “The Spring Wind Has Woken Up” painted by He Duolin in 1982 illustrates American realism style;“ Tibet Series ” by Chen Dangqing in 1982 re-flects Courbet ’ s realistic style; “Qu Qiubai in Prison” painted by Xin Shanyi in 1984 incorpo-rates a French Classical Style; “Field” made by Wang Yuqi in 1984 is a work painted with Rem-brandt ’ s realistic style; “Girls from the North”painted by Yang Feiyun in 1987 has a French clas-sical realism style .Of course , there were also art-ists who formed a “national form” from painting murals. These included Yuan Yunsheng , Xiao Huixiang, Li Huaji, Liu Bingjiang , even the“Nationalistic” painter , Wu Guanzhong . During this period, the creation of oil paint-ings had very specific, individual features.All works came from the painters ’ individual feelings and desires, and this broke away from having to choose a single “national style”.These works are the result of human -oriented rules which respec-ted artistic rules, and originated from the artists’ life experiences.In the process of history, Chinese figure painting s changed dramatically.For exam-ple, Xu Beihong, Jiang Zhaohe, Ye Qianyu, Li Hu, Lu Chen, Liu Dawei, Shi Guoliang, He Jiay-ing, etc.absorbed the techniques of western oil painting, and created a new system of Chinese fig-ure painting that is quite different from original Chinese figure painting.Hence, the “nationaliza-tion” of painting existed in name only. 2.Direction of Cartoon The “nationalization” of cartoons reflects the needs of popularization and education in a specific period of China, and is a product stimulated by the“nationalization” of oil painting.In the period of the Great Leap Forward and planned economy after the liberation , “nationalization” was defined as“a mature symbol of art and literature of an era and a class.” Even though education -oriented cartoons have been changed into “artistic car-toons” and received many prizes in international competitions through the efforts of the old genera-tion of cartoon artists, it still strayed away from the entertainment function of cartoons .For a long peri-od, cartoon animations could not reflect reality, that “constraint our creative mind , and the themes of cartoon films were limited in a very narrow cir-cle.” This created five problems as follows: 1) Lack of themes which reflected reality and the future: Traditional folk stories, historical sto-ries, myths, etc.are not able to satisfy present - day teen -agers’ education.Children not only need to have an education in ancient cultural con-cepts, but they also need to think about their real life, including imaging and explorating the fu-ture technological society. 2) Misdirection in the restoration of historical materials : the repeated interpretation of history limits the creativity and imagination of cartoons. Historical material must be combined with a realis-tic spirit.Only innovation based on tradition is the key for the cartoon’ s success. 3) The differences between ancient arts and modern cartoon films: Puppet shows, paper cut-tings, shadow plays, and Beijing Opera, were in-cluded on the first heritage protection list in 2006. These ancient arts are facing a serious crisis of sur-vival.Current American and Japanese animated cartoons seek to include science into the films, and create a forceful impact by using new tech-niques. 4) The contradiction between Chinese paint-ing’ s“xieye” (a kind of spontaneous expression in which the internal spirit of the object is re-vealed) and western painting’ s“simulation:Tra-ditional Chinese painting is based on xieyi, and western painting is based on simulation.There-fore, western painting is closer to the painted el-ement of film. 5) The global themes selected by Americans and Japanese versus the self -reclusive theme se-lected by Chinese.Americans have selected classi-cal stories from all over the world and make re -creations, but we only depend on our own tradi-tional national stories.Hence, a so -called “na-tionality priority” principle has been formed. Conculsion While stepping into a market economy , and-with the cartoon’ s returning to its entertainment function, it is not proper for us to put forward the slogan of “nationalization ” again.Chinese artists already have psychological barriers which are not good for the development of cartoon industry .Some cartoon films, such as “Mr.Black”, “Pleasant Goat and Gray Wolf”,“The Story of Effendi” etc. are very popular among the children.Actually, they can become the industry ’ s first products. However, opportunities have been lost due to some people’ s conservative thinking.The cartoon film has developed in China for more than 80 years, but why is it still in a weak position when the feature films, TV plays, and computer games experienced such a vigorous development?One reason is that cartoon has been positioned in “flowing painting”, limited by “nationalization” and has lost its enter-tainment function.Oil painting broke out from the constraints of “nationalization” and made great a-chievements in 1980s.How long will current car-toons be bounded by the “incantation of the Golden Hoop”?