{"id":7051375,"date":"2026-08-30T01:39:19","date_gmt":"2026-08-30T01:39:19","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/hybrid-ink-wash-and-the-new-wave-of-national-style-in-nobody-%e6%b5%aa%e6%b5%aa%e5%b1%b1%e5%b0%8f%e5%a6%96%e6%80%aa2025\/"},"modified":"2026-08-30T01:39:19","modified_gmt":"2026-08-30T01:39:19","slug":"hybrid-ink-wash-and-the-new-wave-of-national-style-in-nobody-%e6%b5%aa%e6%b5%aa%e5%b1%b1%e5%b0%8f%e5%a6%96%e6%80%aa2025","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=7051375","title":{"rendered":"Hybrid Ink-Wash and the New Wave of National Style in Nobody \u6d6a\u6d6a\u5c71\u5c0f\u5996\u602a(2025)"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>Led by Chinese animation pioneers such as Te Wei and Tadahito Mochinaga, who was also known as Fang Ming, the Shanghai Animation Film Studio (SAFS) established in the late 1950s a singular visual modernity through traditional ink-wash animation. Masterpieces such as <em>Cowboy\u2019s Flute<\/em> \u7267\u7b1b (Jiajun and Wei, 1963) (see figure 1) and <em>Feelings of Mountains and Waters<\/em> \u5c71\u6c34\u60c5 (Wei, 1988) rejected the hard lines and contours that define the figures and grounds of early American animation in the likes of Disney and Fleischer, as well as Japanese <em>senga-eiga<\/em> line-drawing films, in favor of <em>liubai<\/em> blank space and soft ink dispersion. In these animations, strokes stretch and meander, and shades condense and rarefy. These diverse textures and delicate polychromatic washes produced a distinctive animation language and an \u201caesthetics of absence\u201d (Du, 2019: 148).<\/p>\n<p>Building on SAFS\u2019s legacy, contemporary animations such as <em>Fog Hill of Five Elements<\/em> \u96fe\u5c71\u4e94\u884c (Lin, 2020-2023) and <em>Nobody<\/em> \u6d6a\u6d6a\u5c71\u5c0f\u5996\u602a (Yu, 2025) integrate digital tools with traditional handmade techniques. This creates a hybrid ink-wash form, which is an aesthetic that reshapes classical figure-ground philosophies to construct a dynamic, distinctly cinematic spatial reality. Understood this way, this text sets out to examine how the hybrid ink-wash style\u2019s flexibility is deployed to serve two primary functions. One for subverting traditional narrative hierarchies and expanding deep space via a highly fluid figure-ground relationship, and another that alternates between the concrete and the abstract.<\/p>\n<div id=\"attachment_7979\" style=\"width: 310px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Cowboys_Flute_1963_Jiajun_and_Wei_.png\"><img fetchpriority=\"high\" decoding=\"async\" aria-describedby=\"caption-attachment-7979\" class=\"size-medium wp-image-7979\" src=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Cowboys_Flute_1963_Jiajun_and_Wei_-300x195.png\" alt=\"\" width=\"300\" height=\"195\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Cowboys_Flute_1963_Jiajun_and_Wei_-300x195.png 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Cowboys_Flute_1963_Jiajun_and_Wei_.png 321w\" sizes=\"(max-width: 300px) 100vw, 300px\"\/><\/a><\/p>\n<p id=\"caption-attachment-7979\" class=\"wp-caption-text\"><strong>Figure 1. A screenshot from <em>Cowboy\u2019s Flute<\/em> (Jiajun and Wei, 1963) that shows the concealed figure, which exemplifies <em>liubai<\/em>. \u00a9 1963 Shanghai Animation Film Studio, all rights reserved.<\/strong><\/p>\n<\/div>\n<p>Recently named an Official Selection for the 2026 Annecy International Animation Film Festival, SAFS\u2019s 2025 hit <em>Nobody<\/em>, directed by Yu Shui, marks a pivotal stylistic shift in ink-wash painting from a cultural strategy used to distinguish Chinese animation from Western cartoons into a direct cinematic function. By blending traditional aesthetics with modern digital rendering that combines Chinese ink-wash, watercolor, and digital washes, <em>Nobody<\/em> creates a hybrid visuality designed for complex narrative expression. As the producer Chen Liaoyu (2025, translated by author) notes, the animation technique now \u201cserves the narrative and the cinematic space, rather than merely demonstrating\u2026 how beautiful ink-wash painting is.\u201d<\/p>\n<p>Emerging from this functional conception of ink-wash as a diegetic force, <em>Nobody<\/em> (2025) infuses mountainous landscapes and interior spaces, such as the King\u2019s Cave and the Little Thunderclap Temple, with dynamic, volumetric lighting and narrative color grading. By actively utilizing classical <em>liubai<\/em> alongside perspectival rules, this digitally enhanced aesthetic generates a pronounced spatial realism as the camera moves through the animated environments.<\/p>\n<p><strong>Landscape as Narrative Force<\/strong><\/p>\n<p>Rather than populating the hybrid landscapes with conventional deities, <em>Nobody<\/em> (2025) turns the environment itself into a subversive tool. Beyond mere visual appeal, this formal synthesis functions as an active spatial and narrative device driving the animation\u2019s underlying ideological critique. The plot also boldly shifts the narrative focus away from the canonical 16<sup>th<\/sup>-century Chinese novel <em>Journey to the West<\/em> that it was based on by replacing Tripitaka and his divine disciples with four lesser monsters \u00a0whose real names the audience never learns.<\/p>\n<p>Resisting the usual aestheticization and cutification of contemporary animation, the animation portrays the four protagonists\u2014a pig, weasel, gorilla, and toad\u2014as overworked peasants in drab garments, grounding their plight in a form of societal self-deprecation. Here, the visual complexity of the ink-wash background executes its most significant subversion. By blurring the boundaries between contoured figure and ground, the animation assimilates the four characters into the landscape (see figure 2). Reduced to high-contrast silhouettes that merge with the background, the established hierarchy is visually overturned. This spatial demotion reinforces the animation\u2019s focus on the marginalized, ordinary figures who, as suggested in the ending credits \u201cdare to begin.\u201d<\/p>\n<div id=\"attachment_7980\" style=\"width: 310px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-7980\" class=\"size-medium wp-image-7980\" src=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu-300x164.png\" alt=\"\" width=\"300\" height=\"164\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu-300x164.png 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu.png 468w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\"\/><\/a><\/p>\n<p id=\"caption-attachment-7980\" class=\"wp-caption-text\"><strong>Figure 2. Screenshot of the canonical Sun Wukong rendered in silhouette in <em>Nobody<\/em> (Yu, 2025). \u00a9 2025 Shanghai Film Group, Shanghai Animation Film Studio, all rights reserved.<\/strong><\/p>\n<\/div>\n<p><strong>Minimalism versus Spectacle<\/strong><\/p>\n<p>The structural sophistication of the digital integration of characters and background does not negate the visual economy of the animation. Rather, the integration retains the minimalist core principles of traditional aesthetics. When contrasted with Chinese CGI-driven blockbusters like <em>Ne Zha 2<\/em> \u54ea\u5412\u4e4b\u9b54\u7ae5\u95f9\u6d77 (Yang, 2025), the calculated restraint of <em>Nobody<\/em> (2025) serves as a defining counterpoint. While <em>Ne Zha 2<\/em> (2025) exemplifies what Mihaela Mihailova (2025) terms \u201cspectacular digital maximalism\u201d to describe the pushing of hyperkinetic action to overwhelm the senses, <em>Nobody<\/em> (2025) privileges stillness. Despite the digital virtuosity of its backgrounds, environmental movement is limited to the slow drift of clouds or village smoke. This preservation of <em>liubai<\/em> blank space and soft ink dispersion creates depth without sensory overload, directing attention to the characters\u2019 journey and the thematic concerns.<\/p>\n<p><strong>Animating Space<\/strong><\/p>\n<p>Despite the affective minimalism of <em>Nobody<\/em> (2025), the hybrid ink-wash style displays spatial dynamism through shifts in foreground and background that resemble optical rack focus, where diffuse patches of color acquire hard edges matching the characters\u2019 contours (see figure 3). The foreground and background relationship here, towards the end of the scene where the four protagonists stop by the pig\u2019s hometown, undergoes multiple changes of focus that resemble rack focus shots. This agility in redefining action zones, combined with <em>liubai<\/em>, introduces playfulness into otherwise static backgrounds while maintaining narrative momentum.<\/p>\n<div id=\"attachment_7981\" style=\"width: 310px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-7981\" class=\"size-medium wp-image-7981\" src=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2-300x202.png\" alt=\"\" width=\"300\" height=\"202\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2-300x202.png 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2-1024x689.png 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2-768x517.png 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2026\/04\/Nobody_2025_Yu_2.png 1115w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\"\/><\/a><\/p>\n<p id=\"caption-attachment-7981\" class=\"wp-caption-text\"><strong>Figure 3. Original background layout of the Little Pig Monster\u2019s hometown with a minimalist <em>liubai<\/em> design that undergo changes through rack focus in <em>Nobody<\/em> (Yu, 2025). \u00a9 Shanghai Animation Film Studio, all rights reserved.<\/strong><\/p>\n<\/div>\n<p>The pulling of a translucent element along the vertical z-axis from background to the foreground for distinct focus shift illustrates Daniel Morgan\u2019s observation that such techniques create \u201ca new and complex relation between the planes of the action\u201d (Morgan, 2020: 301). Through this digitally augmented approach, <em>Nobody<\/em> (2025) grants 2D animation greater freedom along the z-axis, introducing new spatial complexity into the traditionally flat animation technique. In doing so, <em>Nobody<\/em> articulates a cinematic philosophy that is both minimalist and spatially dynamic, transforming the ink-wash background from a passive backdrop into an active, generative element of the film.<\/p>\n<hr\/>\n<p><strong>References<\/strong><\/p>\n<p>Chen, Liaoyu and Ding, Ning. (2025 December 11). The Distinctive Ink-Wash Visuals of <em>Nobody<\/em>. <em>Wen Wei Po<\/em>. <a href=\"https:\/\/www.wenweipo.com\/a\/202512\/11\/AP6939d152e4b0a034017d70fa.html\">https:\/\/www.wenweipo.com\/a\/202512\/11\/AP6939d152e4b0a034017d70fa.html<\/a><\/p>\n<p>Du, Daisy Yan. (2019) <em>Animated Encounters: Transnational Movements of Chinese Animation, 1940s\u20131970s<\/em>. University of Hawai\u2019i Press.<\/p>\n<p>Mihailova, Mihaela. (2025 March 17) \u201cSpectacular Digital Maximalism: Some Thoughts on <em>Ne Zha 2<\/em> (2025).\u201d <em>Association for Chinese Animation Studies<\/em>. <a href=\"https:\/\/acas.world\/2025\/03\/17\/spectacular-digital-maximalism-some-thoughts-on-ne-zha-2\/\">https:\/\/acas.world\/2025\/03\/17\/spectacular-digital-maximalism-some-thoughts-on-ne-zha-2\/<\/a><\/p>\n<p>Morgan, Daniel. (2020) \u201cTowards a Natural History of Animated Backgrounds.\u201d <em>Screen<\/em> 61(2), pp. 296\u2013305.<\/p>\n<p>Shangying Yuan Cultural Technology Development Co., Ltd.\u00a0 (2025) <em>Nobody: Film Art Collectio<\/em><em>n <\/em>\u6d6a\u6d6a\u5c71\u5c0f\u5996\u602a\u7535\u5f71\u827a\u672f\u753b\u96c6<em>.<\/em> Zhejiang People\u2019s Fine Arts Press.<\/p>\n<p>Wu, Weihua. (2009) \u201cIn Memory of Meishu Film: Catachresis and Metaphor in Theorizing Chinese Animation.\u201d <em>Animation: An Interdisciplinary Journal<\/em> 4(1), pp. 31\u201354.<\/p>\n<hr\/>\n<p><em><strong>Dong Yang<\/strong> obtained his Ph.D. in Comparative Literature from the University of Georgia in 2022 and is a visiting assistant professor of Chinese and East Asian Studies at Emory University (Oxford College) teaching East Asian animation, Global New Wave cinema, and film theory and film philosophy. His current research focuses on the concealment and abstraction of the animated image as audiovisual and narrative strategies in contemporary Chinese and Japanese animation. His other writings on animation have appeared in <\/em>Film-Philosophy<em>, <\/em>Canadian Journal of Film and Media Studies<em>, and the Association for Chinese Animation Studies.<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Led by Chinese animation pioneers such as Te Wei and Tadahito Mochinaga, who was also known as Fang Ming, the Shanghai Animation Film Studio (SAFS) established in the late 1950s a singular visual modernity through traditional ink-wash animation. Masterpieces such as Cowboy\u2019s Flute \u7267\u7b1b (Jiajun and Wei, 1963) (see figure 1) and Feelings of Mountains [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":7051377,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[1186,213864,5306,1539,2466,213865],"dealstore":[],"offerexpiration":[],"class_list":["post-7051375","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-hybrid","tag-inkwash","tag-national","tag-style","tag-wave","tag-213865"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hybrid Ink-Wash and the New Wave of National Style in Nobody \u6d6a\u6d6a\u5c71\u5c0f\u5996\u602a(2025) - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=7051375\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hybrid Ink-Wash and the New Wave of National Style in Nobody \u6d6a\u6d6a\u5c71\u5c0f\u5996\u602a(2025) - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Led by Chinese animation pioneers such as Te Wei and Tadahito Mochinaga, who was also known as Fang Ming, the Shanghai Animation Film Studio (SAFS) established in the late 1950s a singular visual modernity through traditional ink-wash animation. 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