The portraits of figures inlaid on bronzes of the Eastern Zhou Dynasty were shaped around the themes of rituals such as Yishe, Banquet, Shooting, and Picking mulberry. They are the earliest character image narrative in China. If you look at it still, each figure on bronzes is an image of a certain fixed action. However, if the characters’ orientation, crown, spatial relations, and order of actions are compared with the relevant ritual records in "Yi Li", this is not a synchronic picture that Westerners called the "most fertile moment", but a diachronic picture in which a single (or two) characters "moving" according to their own positions and corresponding manners. Essentially, if there are four people on the image, it is most likely not multiple people, but one character performing a certain action program. For example, 7 people of Banquet portraits actually depicts only two roles, the presenter and the recipient, who are facing each other, and performing the "entering the hall-saluting at the lintel-spooning wine into winebowl-offering wine" ceremony in sequence. In the Shooting portraits, the 3 or 5 people in the hall are actually only one person called si she, who is performing a series of demonstrative actions (you she). Furthermore, the 5 people in the courtyard did not mean that they were going to the hall to shoot together, but "yi ou" (2 people) marched in an orderly manner and competed in the hall. In the Yishe portraits, a struggle between man and bird is completly presented, firstly the bird "swimming in the water-rising in the air-flying to the sky above the shooter", and then the shooter "kneeling on one knee to shoot-kneeling on both knees and raising the bow to maintain the rope-taking the rope off the bow and tying it to the stone tool". In the mulberry picking portraits of a dozen people, it is not a collective mulberry-picking activity scene, but a woman and a man completing the ritual of "climbing the mulberry tree-picking mulberry leaves-cutting mulberry leaves-delivering mulberry leaves-carrying mulberry basket together" in turn. Although these portraits are a little naive due to the restrictions of early visual perception and drawing rules, they ingeniously retain the time, performance and narrative of ritual performance, so that the characters in the portraits "moving" like a frame-by-frame animation. This movement of a single character is essentially an image narrative, which can be called a "character animation". As such, the portraits on the bronzes are quasi-real-time transfer of the ritual rehearsal in Zhou Dynasty, and are a kind of "character animation" completed in four-dimensional spacetime. The time dimension is its dominant dimension, and the architectural courtyard, mulberry forest, and waterfront are its narrative. Not only does a single character develop a narrative according to the temporal order, but even the height of the building platform, the position and direction of the stairs, and the spatial relationship between the building and the courtyard are also deformed due to the needs of character image narrative. Here, space is guided by time.