On June 24, the costume palace love comedy "My Name is Liu Jinfeng", directed by Xu Huikang and starring Yoko Lame and Li Hongyi, was launched. The play is adapted from Ge Yang's novel "Queen Liu Heipang", which tells the love story between Liu Jinfeng, a village girl from Xianpa

On June 24, the ancient costume palace love comedy " My name is Liu Jinfeng" directed by Xu Huikang and starring Lame Yoko and Li Hongyi was launched. The play is adapted from Ge Yang's novel "Queen Liu Heipang", which tells the love story between Liu Jinfeng, a village girl from Xianpa Village who can speak fragrantly and capture strong men with her hands, and becomes a queen in the palace, and the "weak chicken" king. , belongs to the fictional historical background.

However, after the show started airing, what aroused great concern among netizens was not the plot and actors' performance, but the costumes, makeup and props in the show that were suspected of being "Japanese style".

"Replacing China with Japan": Does it mean that a deer is a horse or is it making a fuss out of a molehill?

In the character promotion poster of the play, the costume of the protagonist Liu Xie ( Wang Dong) was questioned by netizens as a pure kimono: the tasseled crown on Liu Xie's hat was accused of "no other country except Japan" ”, the black robe he is wearing is also considered to be highly similar to the Japanese public dress (which is very characteristic of Japanese national costumes and is the dress or uniform of Japanese high-ranking officials and nobles).

The male protagonist Duan Yunzhang (played by Li Hongyi) plays the emperor in the play. However, the robe he wears is not the dragon robe often worn by ancient Chinese emperors. It does not have an embroidered dragon pattern, but is instead printed with Japanese cherry blossoms. The overall pattern of the clothing is flat and the colors are single, unlike the Tang Dynasty clothing, which is full and majestic.

The costume of the heroine Liu Jinfeng (played by Yoko Harame) is considered to be in the same vein as the Japanese kimono and is a typical flat tailoring style. What is particularly striking is that the way the bow is tied on the side is not the ancient Chinese ribbon tying method. The clothes worn by Chai Tiezhou (played by Yang Wanli) were directly named by netizens: " This is a complete restoration of the status clothing of the Japanese servant class. is wearing a light red linen clothes from the hunting suit series. hunting suit is a square collar shirt with connected sleeves." The back part is only stitched, and the front part is open, and the armpits are not stitched like the armpit robe, and the cuff ties can be seen on the sleeves.”

Some netizens thought, “If you just look at the clothes, you won’t feel it at all. This is a drama that reflects the story of the ancient Chinese palace, and they thought it was a Japanese drama. Some people even think that this drama is so popular that it can be directly used in "The Tale of Genji". ". In addition to the phenomenon of "Japanese style" replacing "Chinese style", some netizens angrily pointed out that these fenghuadao represent the crew's contempt for traditional culture and their connivance for "cultural invasion", "in the name of Chinese palace drama" It presents Japanese clothing and even penetrates Japanese culture subtly."

However, some people do not agree with this view and evaluation. They believe that criticism and discussion of clothing issues in film and television dramas can exist, and can also help urge industry personnel to make corrections and progress, but it can only be discussed within the artistic field and does not need to rise to the level of too serious cultural opposition. In addition, Japan’s traditional clothing design is based on ancient Chinese traditional clothing. During the Han and Tang Dynasties, Japan sent Tang envoys to China for study and exchange. Therefore, the clothing has the same origin. “There are similarities, which is understandable. It is really unnecessary.” Go above the line and make a fuss out of a molehill."

How to make costumes for costume dramas: Restoration, truthfulness, and excellence

Costumes, makeup, and props in film and television dramas are crucial to shaping the characters, presenting the content and plot, and creating the atmosphere of the story. Suitable, appropriate, and exquisite service channels can make all elements of a film and television drama seamlessly integrated, while inappropriate and shoddy service channels will make it difficult for the audience to integrate into it, and may even greatly reduce the reputation of the entire series.

For costume dramas, serving the Tao is a top priority. On the one hand, the audience needs to rely on the environment, utensils, and clothing of a specific era to enter the plot; on the other hand, the audience will appreciate the literary and artistic works. At the same time, understand and learn the customs and culture in ancient history. Therefore, it is essential for costume dramas to respect and restore history.

In recent years, Chinese costume dramas have continued to make progress in serving the Way. Verification of historical data, strict research, and high-level restoration have become the standards for many excellent costume dramas.

's unique clothing and Taoist aesthetics represented by " Chang'an Twelve Hours " are widely praised. Especially in terms of clothing, it not only faithfully restores the original historical appearance, but also improves and innovates according to modern aesthetic concepts. For example, the men's round-neck robe has a magnificent design, and adds Hufu elements in subtle details, reflecting the international atmosphere of the prosperous Tang Dynasty; the design of the armor even refers to the temple statues in the temple, and is made Modular processing makes it not only in line with the characteristics of the times, but also suitable for wear. In this way, while watching film and television works, the audience not only enjoys a visual feast, but also learns valuable classical cultural knowledge, and the reputation of the series is naturally improved.

Looking back at the drama "My Name is Liu Jinfeng", although the plot is set in an imaginary era, its content does not break away from the Chinese cultural system. Therefore, when the costumes in the play do not conform to the traditional costume settings in Chinese history, the audience will have a sense of logical fragmentation, or even a sense of deception. The ambiguity in the positioning of has triggered unwarranted clothing controversies, which not only slights the traditional clothing culture of China and Japan, but also hurts the feelings of the audience.

Do a good job in exporting Chinese culture as a "new business card"

In recent years, with the improvement of China's cultural soft power, the film and television industry has developed rapidly and ushered in a golden period of its own development, increasingly reflecting the new style of the times and China's excellent traditional culture Domestic TV series have gone abroad and gained recognition from global platforms. For example, "The Legend of Zhen Huan", a well-produced series, has continued to gain popularity after it went overseas. "Zhen Huan experts" from all over the world have used "magnifying glasses" to carefully examine the plot, etiquette, cultural costumes, traditional props, etc. Consideration keeps the vitality of the plot and even culture flowing.

"Mei Changsu" and "Prince Jing" of " Nirvana in Fire" have gained numerous fans overseas, and this series has gained popularity in countries including the United States, South Korea, Singapore , Malaysia , Africa and other countries. The large number of orders within China has made excellent costume dramas the "new business card" of my country's cultural export.

Therefore, the production of Chinese costume dramas should strive for excellence. In terms of the design of the plot, it should be consistent with history. shows the unique political, economic, social and cultural features of the historical era, rigorously and correctly embodying traditional Chinese culture, so that people around the world can better understand China; in clothing , utensils, and environment, we should strictly respect history, try our best to restore history, show history with all our strength, and integrate it with current aesthetic concepts to make the audience feel comfortable and happy, and attract more overseas audiences; In terms of actor selection, we should focus on acting skills and abandon the "flow theory", so as to produce superb and excellent dramas and gain a firm foothold in the tide of cultural export. In the future, domestic film and television dramas must adhere to the high-quality strategy and "go overseas" to enter the market. While making the industry bigger and stronger, they will also bring my country's excellent culture to all parts of the world.

[Reporter] Zhang Siyi Intern Zhang Jiayi

[Author] Zhang Siyi

[Source] Southern Newspaper Media Group Southern + Client