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The Nine-Colored Deer is an animated film adapted from the story of the Dunhuang mural The Deer King's Birth Story, produced by the Shanghai Fine Arts Film Studio in 1981. From Cave 257 in Dunhuang to the TV screen, the presentation of the Nine-Colored Deer is inseparable from the filming team's deep patriotism and innovative production spirit.

In 2024, "Nine-Colored Deer" was broadcast on the "Revisiting Classics" channel, which once again attracted the attention and discussion of the audience. During the summer vacation, Dunhuang tourism continues to be hot. The China Television Art Committee invited Mr. Hu Yongkai, a famous painter and character designer of the film, to write an article to recall the creation process of "Nine-Colored Deer" and take the audience to appreciate the unique charm of "Nine-Colored Deer" given by Dunhuang art.

A bold attempt to nationalize cartoons

Although the animated film "The Nine-Colored Deer" was completed in 1981, it was the lifelong wish of Mr. Qian Jiajun, one of the pioneers of Chinese animated films. As early as the 1950s, he planned this topic with Mr. Pan Xiezi, a master of fine brushwork and heavy color painting, and Mr. Pan also wrote the script.

In 1980, it was a prosperous spring. The leaders of Shanghai Fine Arts Film Studio, represented by the famous artist Mr. Te Wei, finally listed "The Nine-Colored Deer" as the key topic of the year and quickly established a creative team with Mr. Qian Jiajun as the director. The studio leaders believed that showing the world-famous Dunhuang murals on the animation screen was a bold attempt to nationalize cartoons and a glorious mission to promote Chinese culture to the world.

Go to Dunhuang to collect folk songs and pay tribute to traditional art

The Deer King's Birth Story, painted on the west wall of Cave 257, is an important work among the Dunhuang murals. It is highly ideological and artistic. Some people call it the earliest comic strip in China. The simple shapes, flexible lines and brilliant colors of the Northern Wei style in the murals all demonstrate the highest achievement of Dunhuang art, and it can be said to be a treasure among treasures.

In June 1980, led by director Qian Jiajun, I, background designer Feng Jiannan, and scenery artist Wang Yini set out from Shanghai to Dunhuang for research and study. We first went to the Ministry of Culture in Beijing to get a letter of introduction (the Dunhuang Grottoes were not open to the public at that time), then went to the Gansu Provincial Museum in Lanzhou to collect materials, and then followed the historical Silk Road, out of Jiayuguan, through Wuwei, Zhangye, Jiuquan, and finally arrived at Dunhuang, which we had been thinking about day and night.

Hu Yongkai in Jiayuguan in June 1980

The equipment of the Dunhuang Research Institute was still very simple at that time, but the researchers carried out a lot of arduous work with a lofty sense of mission, which deeply moved us. With their cooperation and help, we were fortunate to have an in-depth investigation of the main caves in Dunhuang for nearly a month.

Seeing the lofty art palace in our minds, we forgot all the fatigue. However, it is an unprecedented challenge to bring the brilliant colors of Dunhuang murals and the mottled effects formed by the years to the animation screen. The difficulty is beyond words. In order to use the reflected light of the sun in the cave to copy and learn, the main creators did not take time to eat on time, overcame the discomfort caused by acclimatization, drew a lot of sketches, and copied a number of works. This is a process of paying tribute to and learning from tradition.

Despite his advanced age, Mr. Qian Jiajun discussed and researched with everyone, collecting materials during the day and organizing materials at night, discussing and improving the script, brewing composition and modeling, exploring expression techniques... For nearly a month, except for sleeping, he was almost entirely devoted to the early creation of the film.

Director Qian Jiajun (2nd from left), character designer Hu Yongkai (2nd from right), background designer Feng Jiannan (1st from left), and scenery artist Wang Yini (1st from right) of The Nine-Colored Deer in Dunhuang in June 1980

Contribute to the construction of the "Chinese School of Animation Film"

Thanks to the thorough preparation, after returning to Shanghai, under the leadership of Mr. Qian Jiajun, the storyboard script, character modeling and background design were completed in one go. The factory leaders also invited Mr. Dai Tielang as the deputy director, and Du Chunfu, Fan Madi, Wang Shirong, Lu Chengfa, Tong Xuezhi, You Xianrui, Gu Jianguo and other creative personnel to strengthen the filming team. Everyone went deep into life, went all out, strived for excellence, and devoted themselves to the intense work. Although they encountered various unexpected difficulties after the start of filming, they were finally overcome one by one.

The music of the film was composed by the famous composer Wu Yingju and the new talent Cai Lu. The famous actors Ding Jianhua and Yu Ding from Shanghai Dubbing Studio did excellent dubbing for the film. The Nine-Colored Deer was finally completed as planned in 1981. After its release, it received wide acclaim from all walks of life and became the eternal memory of a generation.

The Nine-Colored Deer is a representative work in the history of Chinese animated films. It is another successful exploration of the nationalization of animated films and has made an important contribution to enriching the "Chinese School of Animated Films". The Nine-Colored Deer transforms "karma" into a new theme of "boundless love", which also has realistic and far-reaching educational significance for young people.