在漫画的语言体系里，它是从人物唇边升起的那一抹云朵状的留白，是话语的容器，是思想的显影。当我们说“气泡王国”，我们谈论的不仅是漫画的形式特征，更是一种关于存在的隐喻——每一个气泡都是一个微缩的宇宙，其中悬浮着创作者的凝视、时代的回响，以及我们每个人未被言说的梦境。
《丁丁历险记之丁丁和蓝桔子》法文原版电影海报
JC动漫馆馆藏
In the language of comics, it is the cloud-like blank space that rises from a character’s lips; it is the vessel of speech and the visible imprint of thought. When we speak of “The Bubble Kingdom”, we are referring not only to a formal feature of comics, but also to a metaphor for existence itself — each bubble is a miniature universe, suspended with the creator’s gaze, the echoes of the age, and the unspoken dreams of every one of us.
“嘿！原来是卓汉和皮威！这可真是蓝精灵啊！
你们在这儿蓝精灵什么呢？”（蓝精灵语）
比利时，这片被夹在拉丁文化与日耳曼文化之间的狭长土地，却奇迹般地孕育了世界上密度最高的漫画家群体。这并非偶然。作为一个多语言、多文化的交汇之地，比利时人深谙“对话”的艺术——而漫画，恰恰是对话最自由的形态。从埃尔热开创的“清线派”美学，以近乎数学的精确勾勒出世界的轮廓，到贝约笔下那些蓝色小精灵以童真解构成人世界的荒诞；从杰夫·尼斯在《杰米历险记》中释放的狂野想象力，到弗朗甘在《加斯顿》里对现代职场生活的温柔嘲讽——比利时漫画从未将自身局限于“儿童的消遣”。它始终是一种严肃的、深刻的、甚至是带有哲学意味的视觉叙事。
Belgium, this narrow strip of land wedged between Latin and Germanic cultures, has miraculously nurtured the world's highest density of comic artists. This is no coincidence. As a convergence point of multiple languages and cultures, Belgians are deeply versed in the art of "dialogue" — and comics are precisely the freest form of dialogue. From the "Ligne Claire" (Clear Line) aesthetics pioneered by Hergé, which outlines the contours of the world with near-mathematical precision, to the blue Smurfs created by Peyo, which deconstruct the absurdity of the adult world with childlike innocence; from the wild imagination unleashed by Jef Nys in Jommeke, to the gentle mockery of modern workplace life by André Franquin in Gaston — Belgian comics have never confined themselves to a "children's pastime." They have always been a serious, profound, and even philosophical visual narrative.
安德烈·弗朗甘《加斯顿和他的汽车》漫画单页
JC动漫馆馆藏
本次展览汇聚了比利时漫画黄金时代的九大经典IP：丁丁、蓝精灵、杰米、加斯顿、苏苏和维维、怪叔迪基、长尾豹马修、超能小子班尼、卓汉与皮威。这些名字背后，是一个世纪以来欧洲社会变迁的微缩史。丁丁穿越战乱与冷战，以记者之眼见证世界的分裂与和解；蓝精灵在蘑菇村庄里构建的微型乌托邦，暗含着对权力结构的朴素反思；而加斯顿那个永远在迟到、永远在闯祸的办公室职员，则以荒诞的方式戳破了现代性许诺的“效率神话”。它们不仅仅是陪伴几代人成长的童年记忆，更是以通俗形式进行自我表达的文化实践。
This exhibition brings together nine classic IPs from the golden age of Belgian comics: Tintin, The Smurfs, Jommeke, Gaston, Suske and Wiske, Dickie, Marsupilami, Benoît Brisefer, and Johan and Peewit. Behind these names is a microcosm of the history of European social changes over the past century. Tintin traversed wars and the Cold War, witnessing the division and reconciliation of the world through the eyes of a reporter; the miniature utopia built by the Smurfs in their mushroom village implicitly contains a simple reflection on power structures; and Gaston, the office clerk who is always late and always causing trouble, punctures the "myth of efficiency" promised by modernity in an absurd manner. They are not merely childhood memories that have accompanied generations as they grew up, but also cultural practices of self-expression in a popular form.
咦？一朵蒲公英！
我要把它吹得到处都是……
就像拉鲁斯夫人说的那样……
嗯！呼 ——！
正因如此，当我们谈论比利时漫画时，我们谈论的是一种观看世界的方式。那种特有的“清线”——线条的纯净、背景的写实、人物的简练——并非技法的局限，而是一种世界观的外化：在纷繁复杂的现实中，以最清晰的目光捕捉本质。这与东方美学中“计白当黑”的智慧形成了奇妙的共振。或许正是这种内在的契合，让比利时漫画跨越了地理与文化的距离，在中国读者心中找到了深切的回响。
For this reason, when we talk about Belgian comics, we are talking about a way of looking at the world. That unique "clear line" — the purity of the lines, the realism of the backgrounds, and the simplicity of the characters — is not a limitation of technique, but an externalization of a worldview: capturing the essence with the clearest gaze amidst a complex and chaotic reality. This forms a fascinating resonance with the wisdom of "treating the white space as black" in Eastern aesthetics. Perhaps it is exactly this intrinsic alignment that has allowed Belgian comics to bridge the distance of geography and culture, finding a profound echo in the hearts of Chinese readers.
一只黑乌鸦劫走了西多尼娅，将她带到1851年，在那里她被介绍给嘟嘟俱乐部。原来西多尼娅所属的斯蒂夫里奇家族正遭受诅咒。苏苏、维维和莱克追随姑妈而去，试图拯救她并解除整个家族的诅咒。
威利·范德斯汀《苏苏和维维历险记：嘟嘟俱乐部》
漫画节选
本次展览由广东省文学艺术界联合会、广州市文学艺术界联合会、深圳市光明区文化广电旅游体育局担任指导单位，广东省动漫艺术家协会、比利时驻广州总领事馆与光明文化艺术中心联合主办，光明文化艺术中心美术馆执行策展。这是中比两国文化交流的一次重要实践，也是大湾区公众与欧洲漫画传统的一次深度相遇。展厅中，您将看到珍贵手稿上那些不经意的涂改痕迹——那是艺术家与自我对话的痕迹；您将在场景复原中走入漫画的时空，体验叙事如何将二维的纸面转化为立体的感知；而在互动区域，您或许会发现，那个属于比利时的“气泡”，其实一直漂浮在我们每个人的生命经验之中。
This exhibition is held under the guidance of the Guangdong Federation of Literary and Art Circles, the Guangzhou Federation of Literary and Art Circles, and Cuture, Media, Tourism and Sports Bureau of Guangming District, Shenzhen Municipality, and jointly organised by the Guangdong Animation and Comic Artists Association, the Consulate General of Belgium in Guangzhou, and the Guangming Culture and Art Center, with the Art Museum of the Guangming Culture and Art Center serving as the executing curator. It represents an important practice in cultural exchange between China and Belgium, and a profound encounter between the public of the Greater Bay Area and the European comic tradition. In the exhibition galleries, you will see the seemingly incidental marks of revision on precious manuscripts — traces of the artists’ dialogue with themselves; through reconstructed scenes, you will step into the time and space of comics and experience how narrative transforms the two-dimensional page into a three-dimensional perception; and in the interactive area, you may discover that this Belgian “bubble” has in fact long been floating within the lived experience of each of us.
展览的终章，我们特别呈现中比两国文化交流的成果。从1980年代《丁丁历险记》首次以中文版面世，到《蓝精灵》的动画片成为一代中国人的集体记忆；从两国漫画家的互访互展，到如今原创作品的相互译介——漫画，这个已经成为连接两种文明、两国民心的柔软而坚韧的纽带。
埃尔热与张充仁重逢照 1981年 JC动漫馆馆藏
20世纪30年代，比利时漫画家埃尔热在创作《丁丁历险记·蓝莲花》时，结识了中国留学生张充仁，后者帮他了解了真实的中国文化并共同创作，两人由此结下了延续近半个世纪的深厚友谊。
In the final chapter of the exhibition, we present the fruits of cultural exchange between China and Belgium. From the first Chinese editions of The Adventures of Tintin published in the 1980s, to The Smurfs animated series becoming part of the collective memory of a generation of Chinese audiences; from reciprocal visits and joint exhibitions by comic artists from both countries, to the mutual translation and introduction of original works today — comics have become a bond at once gentle and resilient, linking two civilisations and bringing the peoples of both nations closer at heart.
走进这个气泡王国，愿您放下成人的矜持，重拾面对世界时最初的那份好奇——在这里，每一个气泡都是一次对话——与艺术家对话，与时代对话，也与内心深处那个从未长大的自己对话。
As you step into this Bubble Kingdom, may you set aside the reserve of adulthood and rediscover that first curiosity with which you once faced the world — for here, every bubble is a dialogue: a dialogue with the artists, a dialogue with the times, and a dialogue with the self deep within who has never truly grown up.
10个月宝宝每天需要喝多少奶粉？
