Costume dramas are highly typified and mature in domestic TV dramas. They are deeply loved by audiences around the world for their exquisite service and rich cultural connotations.
Under the multi-screen competition, Hanyingzu Huazhong, traditional aesthetics is changing from "additional points" to "basic points" in costume dramas. In recent years, the standard has improved significantly, and it has also received exceptionally stringent reviews from the audience.
These days, the ancient costume dramas such as "Imperial Poems", "The Great Song Palace Ci", "Long Ge Xing", "Li Ge Xing", "Wudang One Sword", "Little Girl Dress", "Yuzhao Ling" and other ancient costume dramas, following "Da Qin Fu" and "Dou Luo" After "Mainland", "Ling of Mountains and Rivers", "Zuo Son-in-law", "Shangyang Fu", "Brilliant Heart Like Jade" and "His Royal Highness Wolf", he competed on TV screens and online platforms.
Some of these new works embodies the advanced stage of costume aesthetics in terms of scenes, costumes, appliances, music, etc., and surprises people; at the same time, there are also dramas such as "You Fei", "I Am Such a Woman", "Wind Up Clothes", "Chong Er Legend" and other dramas. Fu Huadao was complained about, and even persuaded the audience, it can be a mirror.
One stitch and one embroidery, brocade embroidered costumes, one utensil and one object, set the elegant and ancient scene.
Costume dramas that pay attention to traditional aesthetics have constructed an ancient landscape of national cultural codes, echoing the aesthetic surge with culturally rooted demands of the current society, and are awakening the more basic, deeper and more lasting power of cultural confidence.
"Burning incense and tea, hanging pictures and flower arrangements, four kinds of meddling, not suitable for tired home." Song Dynasty Wu Zimu's "Menglianglu" recorded the four things, because several innovative Song Dynasty dramas released in recent years have a more visual sense.
In "Poems of the Great Song Dynasty Palace", the Zhenzong Zhao Heng and Liu E of the Song Dynasty played the piano, drinking, ordering tea, and embroidering. The scrolls are as beautiful as ancient paintings. The collection of characters in the opening of the film constitutes the ancient and interesting "Group Portrait of the Great Song Dynasty."
In the play, there are famous scenes that pay tribute to classic ancient paintings and antiquities such as "Han Gong Chunxiao Tu" and Song Huizong Zhao Ji's "Ruihe Tu" and "Ting Qin Tu".
"Knowing whether it should be green, fat, red and thin", "Qingpingle", "Crane Huating" and other dramas restore the exquisite beauty of the Chinese at that time with green tiles, Ru kilns, and "skinny gold" calligraphy, presenting a picture of political integrity and harmony. , The Great Song Dynasty ruled the world with a banquet.
"Da Qin Fu" truly follows "Historical Records" and so on, ranging from city chariots to small food and wine vessels, attendants Zheng Yi and Qin army generals in buns, battle robes, grid-like lacquered armor, and one knee kneeling posture. "Walking terracotta warriors and horses" demonstrates the self-confidence of generations of Qin people in the era of warring states and the Cold Weapon era.
The palaces of the Qin palace, the palace of the Zhao palace, and the Zheng Guoqu, the lacquer ware with tiger seat bird frame drum, the bronze lotus and crane square pot, the disassembled and assembled Qin arrow, red makeup and emerald eyebrows, all reflect the social production level and aesthetic style of the pre-Qin era.
This drama and "Miyue Biography" and other costume styles all reflect the history of the state of Chu admiring red, the state of Qin admiring black, and the state of Yan admiring white.
"Hundreds of thousands are like a game of Go, and the Twelfth Street is like a vegetable garden." Bai Juyi's poem "Climbing the Guanyin Terrace and Looking at the City" describes the city of Chang'an in Tang Dynasty.
In the 46 episodes of "The Twelve Hours of Chang'an", each episode has more than ten scenes, based on a large number of historical researches, in terms of architectural settings, utensils, character modeling, dialogues, etc., as close to the Tang Dynasty as possible and appropriate innovations.
Many figures use the Tang Dynasty frescoes as a model reference, and Tang Jun’s armor and saber are talked about by netizens.
"Chang'an Twelfth Hour Art Concept Map" is frequently searched along with "Fuhuadao".
In the meteorology of the prosperous Tang Dynasty, the "Watch Tower" is a high-rise building with functions such as observation, reconnaissance, and distant view. It was found in the architectural wares of the Han Dynasty and was often accompanied by warrior figurines.
Chang'an on this day is not an ancient element imagined or piled up by modern people, but a real and credible oriental aesthetic space.
In recent years, a batch of TV series adapted from empty fictional novels have mostly "implemented" historical dynasties and transformed them from fiction to reality.
The costumes and etiquette of "Langya Bang" refer to the history of the Southern and Northern Dynasties.
Characters appear in jade, and the wide-sleeved long clothes have dark patterns. They intentionally replace the luxurious gold, silver and bronze with thread-bound books, bamboo slips, and gauze curtains. The diagonal composition and the rule of thirds are like landscape paintings, and the colors are cool, highlighting the Wei and Jin Dynasties. Vigorous, engraved with the soul of restoring justice and revitalizing the mountains and rivers.
"Knowing whether it should be green, fat, red and thin", "Qingpingle", "Cracking Huating", the service, etiquette, etc. follow the Song system.
"Qing Ping Le" and "Langya Bang" are both created by the noon sunshine team, with low color saturation, symmetrical and beautiful composition, and meticulous and exquisite clothing.
There is no specific historical background in "Chen Qing Ling", "Celebrating More Than Years", and "Shanhe Ling", but just like the Tang poems in the play, "mountains and rivers are not important, it is important to meet friends", the young team's freehand imagination of ancient China and the traditions shown in the play Ancient poems and etiquette are recognized.
The "work" of overhead history is to save energy, and this kind of visual art processing that strives to be visible and sensible, strengthens the sense of history through aesthetics, effectively avoids suspension and rootlessness, and encourages the audience to generate image recognition and cultural and psychological recognition.
"High-value" costume dramas attract the younger generation and spread history and culture in a dialogue between ancient and modern.
The charm of the Qin and Han Dynasties, the demeanor of the Wei and Jin Dynasties, the atmosphere of the prosperous Tang Dynasty, the Qingya of the Song and Ming Dynasties, and the prosperous age of Kangxi and Qianlong all tried to innovate in the aesthetic style of film and television.
From the extensive production of "coarse linen" and "plastic sense", to the colorful "photo studio aesthetics", to today's well-made, antiquity landscapes that blend in reality and fiction, the advanced aesthetics of domestic costume dramas reflect the improvement of the film and television industry, highlighting A unique Chinese traditional aesthetic resource in the world's film and television industry.
[Clothing and crowning the country is beautiful and embroidered with China, the beauty of the uniform is with the same robe]
Qu Yuan's poem said: "Yu Youyou is fond of this strange dress, he is old and not declining." Kong Yingda, a descendant of Confucius in the Tang Dynasty, commented on "Shangshu Zhengyi": "Mianfu Huazhang refers to Hua, and the great country refers to summer." "Zhang Zhengyi": "China has great etiquette, so it is called Xia, and it has the beauty of clothing, which is called Hua." Hanfu is a traditional costume of the Chinese nation for thousands of years, carrying the outstanding craftsmanship and aesthetics of the Han nationality such as dyeing, weaving and embroidery. Inherited more than 30 Chinese intangible cultural heritage and arts and crafts, embodying traditional culture and national spirit, it is a unique symbol of "the country of clothes", "Splendid China" and oriental aesthetics.
Yun Xiang's clothes are so beautiful.
In "The Sideburns Are Not Begonia Red", Shang Xirui's makeup and costumes are extremely detailed, which has caused a wave of Peking Opera craze.
He held a magnifying glass and saw that the costume had a thread, but he refused to accept it: "Liang Hongyu hasn't gone out yet, so his armor is loose." The costumes of the opera are so sophisticated, and the costumes have various functions and values.
Regular clothes are of different grades and materials from formal dresses, official clothes, formal clothes, and home casual clothes; Han clothes are also divided into Shanxi, Tang, Song, Ming and so on.
The graceful and luxurious clothing of the Tang Dynasty, especially the women's clothing of the Tang Dynasty, is the peak of my country's clothing history and an excellent representative of my country's traditional clothing.
The costume of the representative "Daming Palace Ci" of the Tang Dynasty was designed by Ye Jintian, and the degree of restoration is comparable to "Practice Picture" and "Picture of Hairpin Lady", using elegant tulle to interpret the soft and poetic Tang Dynasty, leading to the trend of "full-chested skirt" .
"The Twelfth Hour in Chang'an" is worn by men more often than not, making the audience "like the wind of the Tang Dynasty".
Mankind has a long-lasting yearning for beauty and an eternal pursuit. China was the first to make and use jade in the world and used pearl accessories very early.
The pearl flower tin and pearl makeup in "Great Song Palace Ci" and "Qing Ping Le" can be seen inheritance; the shapes of Empress Cao and Liu E are restored according to ancient paintings.
"Crane Huating" copied the court of the Song Dynasty, and the robe and regular clothes of the emperor (衤 + gui) refer to the self-portrait of Song Huizong in the "Wang Xian Welcome Driving Picture" and "Listening to the Qin Picture" respectively.
"Knowing whether it should be green, fat, red, thin" refers to the "Tokyo Dream Hualu", reproduces the narrow-sleeved dress, men's straight and "red men and green women" wedding dress system.
The Song Dynasty advocated frugality, simplicity and elegance, and the costumes were more concise and rational than the gorgeous and complex Tang suits.
"Chen Qing Ling" uses the concept of the five elements of gold, wood, water, fire, earth and five elements to fictionalize the five great immortal families, and their respective family precepts and family decorations are all imaged and visualized.
The nine-petal lotus pattern of the Yunmengjiang clan, the cirrus cloud pattern of the Gusu Lan clan, the peony pattern of the Lanling Jin clan, and the sun pattern of the Wen clan of Qishan, all have ancient traditional decorations.
Wei Wuxian's black and gray shirt with sleeves, blue and white with wide sleeves and delicate pendants.
Lan's "rules the family by etiquette, and legislates with etiquette", and the wiping forehead also has the tradition of Qin Shijun's costumes, which can be seen in the "Chinese Ancient and Modern Notes" at the end of the Tang Dynasty, which focuses on the system of textual research on famous objects.
Guofeng and Tangfeng blended and influenced Hu Feng and Hefeng.
Although the domestic costume drama design still regards the Japanese style as the Tang style, "stretched" and "eight-sleeved", such as the narrow sleeves pinched waist and wearing tights, "Jade Hearts Like Jade" is not "Under the Brocade", like the wide robe with big sleeves. Chu Ying, the soul figure of the Nanliang era in the traditional Ming-made clothing and Japanese comic adaptation of the play "The Soul of Chess", became a "white impermanence" in a kimono, but the overall development of clothing is improving.
"Langya Bang", "Do you know it should be green, fat, red and thin" model Ru Meiqi, "Legend of the Sword and Fairy", "Step by Step Startling" and "Under the Brocade" model Chen Gufang, drawing on "The Legend of Lu Zhen" and other wonderful works The styling lessons of "Strategy of Yanxi Palace" and "The Sideburn Is Not Begonia Red" design Song Xiaotao, these stylists who "hidden" behind the scenes have their own aesthetics.
Styling designers such as Hetian Huimei, Ye Jintian, Zhang Shuping, Wu Baoling, Xi Zhongwen also came to help.
For example, Zhang Shuping's modeling team referred to the "All Tang Wen" and listed the production time of the Tang Dynasty armor, embroidery, accessories, etc. for "Tiansheng Long Song", and first made the armor.
The nail piece is made of pure metal, which has a better texture.
Wu Zetian's poem "opened the box to inspect the pomegranate dress", and it was red like a flower blooming in the "Tiansheng Long Song".
Qin Feng, who "Qiyue Wuyi" and "goes with his son", sang from "The Book of Songs" to "Da Qin Fu" and Hanfu circle.
In the film and television costumes, Hanfu is chivalrous and tender; in the personalized market, Hanfu is the empowerment of cultural self-confidence.
"As soon as you enter the ancient costume, it is as deep as the sea. From then on, the wallet is a passerby." Li Ziqi and other tens of millions of young people "entered into the pit" Hanfu, nicknamed "tongpao" in the circle.
Costume dramas and social media have allowed more young people to "plant grass" traditional culture.
[Building props Baibao flops, tools can be used to hide gifts to carry the road]
One city, one pond, one belt and one area, one bottle, one screen, one vegetable and one meal, the bowl of inheritance of culture, infiltrating the national style.
Costume dramas convey the aesthetic value of utensils with elegant traditional architecture, gourmet utensils, and flower arrangements.
The heroines of light comedies such as "Zuo Son", "Li Ge Xing", "Jade Heart Like Jade", "Little Girl Neon Clothes" and other light comedies go deep into dyeing workshops and embroidery workshops, pursuing independence, integrating into ancient industry and commerce and intangible culture, immersing and embroidering into the joy of the years In the 1980s and 1990s, "Red Sorghum", "Judou", "Scented Soul Girl", "Furong Town" and other films show that modern handicraft workshops have penetrated into ancient society.
Among them, the plot and costume making of "Li Ge Xing" cheerfully demonstrated tapestry, velvet, tie-dyeing, batik, seed embroidery, pan-jin embroidery and other intangible cultural heritage techniques.
In "Jade Hearts Like Jade", the three-fold circular arches of the Hou Mansion show the depth of the courtyard, the woodcarved grape racks are lifelike, and the armchairs are beautiful in shape, which outlines the daily aesthetics.
The protagonist Luo Shiniang crosses the hollow carved crescent window in the courtyard to the west. The crescent is opened, and the full moon is closed.
Outside the window is green, and there is a fan in front of the window.
Round, hexagonal, begonia, gourd-shaped fan, or lying on a fan frame, thin as a cicada's wings, with flowers, birds, and landscape embroidery.
Eleven Niang taught the embroidered ladies in the Xianling Pavilion of the Embroidery Workshop, and said that painting and embroidery are based on the draft, and the "Longevity Picture" and other embroidery embody the art of calligraphy and French painting; Hou Ye uses handmade lanterns, wooden swords and other handicrafts Gentle elegance and warmth.
The art in the TV series presents the well-known Ming-style furniture and handicrafts.
There are also plays with utensils.
"The Great Army Master Sima Yi" opens with the Qin and Han brick paintings to introduce the "monthly review" of official selection. From the wonderful game between Sima Yi and Yang Xiu and Cao Cao to the implementation of "Nine Grades Zhongzheng", the image interprets the cold and the rich, the Qingliu and The game of honor and ancestors and the subsequent flow of power relations between the Cao and Wei regimes; the upper and lower parts can be seen in the Wei and Jin Dynasties such as architectural costumes, official documents and bamboo slips, palace posts, chariots, eating utensils and so on.
The stone reliefs of the Han Dynasty often have the theme of cooking in the kitchen, and the stove in the Ming ware is also common.
The barbecue plot and the image of pounded rice on the portrait tiles of the Han Dynasty can be seen in Yangxiu's barbecue banquet; the "foodie" Sima Yi couple cultivated stigma as flowers; the kitchen at home is mainly made of wood and bamboo utensils, and the three-eyed stove cooks and cooks in the Han Dynasty.
The imagery of Guqin, bamboo, crane, incense burner, and bronze mirror complements the plot of the characters.
The counsellor Xun Yu, starring Wang Jinsong, interprets the appearance and demeanor of "Xun Ling Liuxiang" amidst the fragrant mist.
Calligraphy, painting, chess and tea such as "Skinny Golden Body" in "Crane Huating" have become important clues to the plot, reflecting the character and spiritual connotation of the characters.
"It's like seeing the wind's posture from flying sand, wheat waves, and ripples", Qian Zhongshu summarized this as "fake things."
The sliding and shaking mirrors in the costume drama complement the architectural props and ancient music.
The long shot of "The Great Song Palace" Qin Wang Yeyan reproduces the scene of the famous painting "Han Xizai Night Banquet", the arrow is on the string, showing the human contradiction and plot delay of Qin Wang as a "historical hostage".
"The Twelve Hours of Chang'an" opens two minutes to the end. The singer hugs the pipa and sings in the attic, singing Li Bai's new poem "Qingping Music·Forbidden Court Spring Day".
The singing voice is crisp and tactful, and the pipa is like a jade pan falling into a pearl, following the pitching camera to unfold the prosperity of the prosperous Tang Chang'an Shangyuan Festival.
"Chen Qing Ling" often shows the residences of the five families from top to bottom, from far to near, just like a picture scroll slowly unfolding.
Gusulan’s house is elegant and upright, and the clouds are deep. The pavilions, pavilions and gardens are hidden in the mountains and forests, which are quite reclusive in the Wei and Jin Dynasties.
Yangyang Huaxia, an ancient country of clothing, a country of rituals and music.
Artifacts, costumes and buildings have preserved the Chinese civilization and Chinese classical aesthetics in a complete, continuous and abundant form of material existence. This is a traditional aesthetic resource with Chinese characteristics that is different from Western aesthetics.
The beauty of classics is a metaphor for love in things, and love in pleasure.
[Chinese rhyme and elegant rituals and long music, piano and flute’s old sentiment and ancient style roaring]
The "new national style" in film and television is a complete set of audio-visual systems, including service, Taoism, music, etiquette, cifu, and regulations.
"Book of Rites·Yue Ji" believes: "Every sound is born from the heart." Original soundtrack (OST), background music (BGM), you can hear string sounds to know elegance.
Guqin, the earliest stringed instrument in China, has a history of more than 3,000 years and has been listed as a world intangible cultural heritage by UNESCO.
The guqin and si, Sheng, Dongxiao, Xun, Yinggu, Chime, Chime and other musical instruments and chime are incorporated into the ritual and music system.
"Chen Qing a song makes the world", Wei Wuxian's flute says "Chen Qing", Lan Zhan's guqin "Forgetting Machine", first-class spirit instruments are all related to rhythmic arts, and the names have meanings, and the details can be seen in the ingenuity.
Lin Hai, a musician who used to score "Daming Palace Ci" and other soundtracks, combines ancient elements with popular music, such as the theme song "Wuji", which resonates on the piano and flute, and has a rich ancient charm.
When Lan Zhan asked Ling, Lin Hai arranged the music randomly based on the gesture of playing the piano.
The mountains are high and the rivers are far away, and the sound of the piano is heard.
Melody is the memory device of time and space.
The theme song of "Langya Bang" is "Old Red Face" and "Wuji" and other singles loop.
The theme song of "Knowing or Not Knowing Should Be Green, Fat, Red, Thin" is adapted from Song Dynasty's graceful school Li Qingzhao's poem "Like a Dream, Rain and Wind Sudden Last Night". The female voice is melodious and melodious. Xiao Sheng, confided the heart song of "Do you know? Know whether", and made a voice in the column of CCTV's "Classic Ode to Spread".
"Chang'an Twelve Hours Fantasia" combines various instrumental music such as guqin, zither, pipa, flute, percussion, etc., lightly tapping the oriental artistic conception like ink painting, and it is popular in station B.
Accompanied by a crisp flower finger of the guzheng, a few beating plucked strings, "Zhen Huan Biography" takes the audience into the deep palace of the Qing Dynasty.
The soundtrack "Cool and Cool" in "Sansheng III Shili Peach Blossom" revolves the tunes of national instrumental music such as guzheng and bamboo flute.
The integration of music art and film and television is becoming more professional, such as "Tiansheng Long Song" and "Qingping Music", such as the placement of retro piano or playing fingering, using nails or picks to pick the pipa, etc., gradually build an elegant, auditory sense. The elegant ancient world.
Time is echoing, and ancient music is waiting for a new chapter.
He Mei
(The author of this edition is a doctoral student at the School of Art, Peking University)
Short comment
After being exquisite, don't let the content be too old-fashioned
Exquisite audio-visual expression has become an important part of film and television works, but it is important not to fall into the formalism of "the content is not old enough" and become "buy a tree for a pearl" and "a mirage."
Costume drama not only needs to be "good-looking", but also needs to be "best-looking".
After seductive, it is more necessary to nourish the heart.
After being pleasing to the eyes, it is even more important to appreciate it.
Each step has a story, and each grass and tree is always affectionate.
Culture must express the core values of historical spirit, times and features, and interact with real life.
From technique to art, from the end to the foundation, from hardware to software, from external to connotation, with the development of people’s aesthetics, and the advancement of new cultural history, micro-history, and popular cultural history research, ancient costume dramas and other literary and artistic works can be modeled from opera. , Intangible cultural heritage and traditional oriental aesthetics draw nourishment, trace the modern imprint of values, institutional culture, and spiritual civilization from material civilization, illuminate aesthetic ideals with historical rationality, and connect current life with traditional culture.
History is in the same line as reality and the future. The "how" of the past is closely related to the "how" of today and the future.
The aesthetic fulcrum of excellent traditional culture and the spirit of the times is the source of the ancient costume drama and the only way to continue the inner soul.
The aesthetics of ancient costumes are in the skin and bones, in my soil and my hometown.