The National Palace Museum has organized "Painting Animation: One Hundred Horses". In an effort to fully showcase the exquisite brushworks of horses from the Qing court painter Lang Shining, the digital equipment was upgraded from four projectors to six high lumen projectors, together with the seamless fusion technology, a brand-new vision of animation wall was born.

The production basis of this film is to remain loyal to the original painting, by incorporating the latest high-end animation technology, herd of horses from the painting are gorgeously rendered, especially poses and activities such as playfully wrestling, leisure and recreation, galloping horses or ford crossing. Amazing horse actions are vividly presented before the audience. The story revolves around horse officers taking care of horses throughout a day of work, starting from the break of dawn and morning activities, to afternoon thundershower, evening dusk and returning home under starry night, audiences can fully experience the changes around the clock and the nature's beauty of shifting between sunshine and rain.

Giuseppe Castiglione(1688-1766), also known by his Chinese name Lang Shining, was a Milanese and Jesuit missionary from Italy. At the age of 27, he was sent to China for missionary work and served in the Qing court with his painting expertise through three successive reigns under Kangxi, Yongzheng, and Qianlong. This painting, a masterpiece representative of his early works, was completed in 1728.

This long handscroll painting depicts a scene of a herd of horses out in the pasture. The hundred steeds are shown in a variety of poses and activities as they leisurely make their way around the pastures and trees. Every detail is realistically done, and the composition is intricate and beautifully colored. Castiglione uses refined gradations of light and shadow to render an exceptionally lifelike scene. He was very good at combining traditional Chinese themes and techniques with Western pigments and their perspective methods, revealing a true meeting between East and West. The placement and depiction of the trees and landscape elements clearly reveal the deep atmospheric effect often found in Western art. Even the sizes of the horses vary with the distance and are shown in relative proportion. Furthermore, the painting method for the distant mountain rocks is distinct from that seen in traditional Chinese brushwork, with layered pigments also visible among the trees.