Feature: "Qi Tianle" character costume reproduction
The first program of the 2022 CCTV Lantern Festival Gala, "Qi Tianle", is the fairy scene of folk music players. A number of folk musicians gathered on the stage to bring a double feast of sight and sound with various traditional instruments. With the sound of music, we can relive the legend of that year and go to the "Covenant of Time and Space".
HuafuZhi will present the costume culture background behind the broadcast of "Qi Lotte" through this series of special features. The topic contains a total of 8 professional papers, each article will deeply analyze the background of the restoration of character costumes in a program, all articles are guided by Jiang Jinrui, a famous costume educator, professor and teaching supervisor of Beijing Fashion Institute, as the general counsel of the topic. This series aims to guide the academic research of clothing culture, disseminate and carry forward the excellent traditional Chinese costume culture.
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The origin of mozi's costume art reproduction in "Qi Tianle"
Zhang Ting Ivy Music
Abstract: The "Hundred Schools of Thought" in the Warring States period pushed the cultural prosperity of this period to a climax, and it was also a stage of frequent changes in the liturgical music system. The issues debated by the Hundred Sons and Hundreds of Families, such as the relationship between heaven and man, the relationship between ancient and modern times, and the degree of etiquette and law, had an impact on the clothing and clothing at that time. Through the inspiration for artistic reproduction through "Mozi Sees the King of Jing, The Brocade Blows Sheng", the article provides an artistic reproduction plan for the costume modeling of the Mozi characters in the CCTV Lantern Evening Program "Qi Tianle" by collecting the historical documents and excavated cultural relics of the Warring States straight robes, leather belts, hooks and knees. At the same time, it also enables the traditional costume culture to be better disseminated through the platform of the Lantern Party.
Keywords: Mozi costume; Qi Tianle; Warring States costume
From the late Spring and Autumn Period to the early Warring States Period, it should be the period of coexistence of new music and Gagaku, and in the Seven Kingdoms period, new music is the main performance content. Xinle mainly refers to some music other than the orthodox music of the Central Plains. That is, the folk music of "Zheng, Wei, Chen, Chu, Song" and other countries. Most of the princes pursued the pleasure of sound and color, and the large number of musical instruments such as the qin, the ser, the sheng, the chi, and the drum showed the prosperity of the silk bamboo music at that time.[1] Many schools of thought were also influenced by the idea of "Six Pleasures of Shibitong" at that time, and they practiced music. For example, Mozi, in the Lü's Spring and Autumn, Shen Da Lan Guiyin, recorded: "Mozi saw the King of Jing, and the brocade was blown." Because of the "Han Gao temptation": "Mozi is good and frugal, not happy, Jin and Sheng are not obedient to him, but for it, because of the desire of the King of Jing." Volume 44 of the "Art and Literature Cluster" says: "Mozi blows the sheng, Mozi is not happy, and YuLe has yes and no." According to historical records, it is a historical fact that Mozi once wore a brocade robe and blew a sheng for the king of Chu.
As an ancient Chinese thinker, educator, scientist, military scientist, founder and main representative of the Mojia School, Mozi must have his own aesthetic ideas on clothing. Therefore, the reproduction of Mozi's costume art in the Lantern Party program "Qi Tianle" must not only conform to the aesthetic characteristics of the times, but also contain Mozi's personal costume concept, and the occasion of attendance is also to be considered. "Mozi sees the King of Jing, And the Brocade Blows The Sheng" has become the inspiration for the artistic reproduction of "Mozi Blowing Sheng" in the 2022 CCTV Lantern Gala "Qi Tianle".
One
Artistic characteristics of Warring States costumes and aesthetic ideas of Mozi costumes
The "Hundred Schools of Thought" of the Warring States period pushed the cultural prosperity of the period to a climax. Its main manifestation is that in the free cultural form, many unified styles have been broken, and local styles have continued to emerge. The issues debated by the Hundred Sons and Hundreds of Families, such as the relationship between heaven and man, the relationship between ancient and modern times, and the degree of etiquette and law, had an impact on the clothing and clothing at that time. Confucianism advocated that clothing and clothing should be based on the etiquette system of the Western Zhou Dynasty; the Mo family advocated that clothing and clothing and living utensils should be used for the purpose of still use; later Xun Qing advocated the hierarchical difference of clothing; and Han Fei advocated advocating nature and opposing modification [2].
Mozi stood on the opposite side of the Confucian concept of etiquette with the slogan of "fu liturgy" and put forward a more applicable idea of clothing. Its propositions have a practical character, which is mainly manifested in two aspects. First, pay attention to the actual function of clothing. Mozi believes that "for the sake of obedience: winter is practiced, enough to be light and refined; summer is in the silk, enough to be light and delicate." This is the case[3]. From this, it can be seen that Mozi believes that the principle of making clothes is to pay attention to practicality, and it is unnecessary to pay too much attention. Second, simplicity is beauty. Mozi advocated that all "simple and practical" things are beautiful, taking this as the standard, he judged things completely from the point of view of having no practical utility in material life, he believed that "simplicity" was the most practical at that time, so people should maintain a level of simplicity in food, clothing, housing and transportation [4].
Mozi advocated frugality and also put it into himself, "Zhuangzi Tianxia Chapter": "Let the ink people of the future generations mostly take Qiu Brown as clothing, and take The Qiao qiao as the clothing." Although Mozi wears "Qiu Brown" in her daily life, mozi will also wear a brocade robe when she plays when she sees the King of Jing. The Dictionary of Ancient Chinese Costumes interprets the "brocade" here as "exquisite and gorgeous colorful clothes." Mostly worn by dignitaries. However, in the artistic reproduction of "Mozi Blowing Sheng", combined with Mozi's view of clothing, the idea of "moderation" of Mozi is integrated into the artistic reproduction of Jinyi, and the overall feeling of simplicity and simplicity is presented, as shown in Figure 1. At the same time, the "brown" element is retained, dyeing the fabric brown, as shown in Figure 2. to highlight the character image.
Figure 1
Mozi clothing front (Image source: provided by the designer)
Figure 2
Brown dyed fabric (Image source: courtesy of the designer)
Two
Deep cloth historical materials and artistic reproduction
During the Spring and Autumn Period and the Warring States Period, the deep coat was a relatively widely used garment, which could be worn by tianzi, princes, ministers of culture and military affairs, and scholars, and was a clothing that was inferior to the imperial dress, and was used as a ceremonial dress by the common people.[5] Deep clothing has the meaning of hiding the body deeply, and it can be said that it is a reformed clothing. According to records, there are two main types of deep clothing: curved and straight[2]. It is recorded in the "Records of History" that "Mozi was the doctor of the Song Dynasty", so combined with the idea of "thrift" proposed by Mozi, the clothing shape system adopted a straight-heeled deep coat.
The straight robe of the middle Warring States period unearthed from Masan is the earliest physical object seen so far. From the physical point of view, the style of the brocade robe and the Zen robe is basically the same, that is, the front body, the back body and the two sleeves are each one piece, and the width of each piece is roughly equal to the amplitude of the cloth itself. The longest sleeve of the robe unearthed from the Mashan Chu Tomb is the small diamond-shaped brocade cotton robe N15 (Figure 3), which is 345 cm; the shortest sleeve exhibition, the phoenix flower pattern embroidered light yellow silk cotton robe N10, also has 158 cm [6]. The excavated cultural relics also better helped the artistic reproduction of the Mozi straight robe. Refer to the structural diagram of the small diamond-shaped brocade cotton robe N15, and carry out the artistic reproduction of the structure of the Mozi clothing, as shown in Figure 4.
Figure 3
Small diamond-shaped brocade cotton robe (Image source: Baidu image)
Figure 4
Mozi straight hem structure diagram (Image source: provided by the designer)
Three
Historical and artistic reproduction of leather belts and hooks
Belts made of leather, also known as "belts", are usually made of raw leather, and belts made of cooked leather are called "wei belts" and have no decorations on them. "Explanation of Words": "鞶, big belt also." Yi is known as 'or tin belt'. Men wear silk, women wear silk. "As shown in Figure 5.
Figure 5
Warring States wear hook bronze man (Source: Shen Congwen", "Research on Ancient Chinese Costumes")
Figure 6
Hooks excavated from the Houma Warring States Tomb (Source: Shen Congwen's "Research on Ancient Chinese Costumes")
Since about the Spring and Autumn Period, the use of hooks has been more popular, and through the Warring States to the Two Han Dynasties, hooks have become small household belongings that ancestors have never left [7]. It is mainly used for tying leather belts, and also belongs to the hook for belts. From some sculptural artworks from the Warring States period, we have found some details that can be understood in how the hook was used, as shown in Figure 6. At that time, the common practice should be to embed the hook button into one end of the leather belt, mostly on the right hand end, the hook string outward, and the curvature of the waist and abdomen, and the hook head hook hung in the perforation at the other end of the leather belt, as shown in Figures 7 and 8. One of the most excavated belt hooks is the copper belt hook. Copper is the earliest metal used by people, originally forging copper ore directly into the items that people need. Copper is widely used for its low melting point and high hardness. In the Warring States period, the copper belt hook was basically made of bronze, and the bronze was hard and suitable for the belt hook [8]. Therefore, Mozi's waist ornament with hook, chose bronze to restore the design.
Figure 7
Details of the Qin figurines with hooks (Source: Wang Renxiang's "Good Self-Restraint: Ancient Hooks and Buckles")
Figure 8
Qin Figurines pegging hooks (Source: Wang Renxiang's "Good Self-Restraint: Ancient Hooks and Buckles")
Four
Knee-deep historical exploration and artistic reproduction
"Mozi sees the King of Jing, and the brocade is blown" is a public social ceremonial occasion, so it is worn to show respect. During the Shang and Zhou Dynasties, the knees were mostly in the shape of axes, and the shape of sharp tools as clothing gave people a sense of viciousness and solemnity, which was used to symbolize the majesty of the slave-owning rulers. After entering the feudal society, the knee cover developed into a style of narrow upper and lower width, four straight lines, taking the meaning of solemnity, calmness, and integrity. Therefore, the knee-covering hem worn by Mozi is axe-shaped, as shown in Figure 9.
Figure 9
Axe-shaped mountain pattern knee covering (Image source: courtesy of the designer)
Figure 10
Mountain pattern in the twelve chapters (Source: Jia Xizeng's History of Chinese and Foreign Clothing)
From the perspective of the evolution of the knee covering, its coats are basically arranged in a symmetrical pattern of left and right, although the number of seals on the knee covering in previous dynasties is slightly different, but the crown robe knee covering is embroidered with dragon, fire and mountain. There are three reasons for this: First, under the influence of the five elements of yin and yang, the mountain is earth, and fire is born of earth, so it is under the ground. The second is the meaning of the seal itself: fire, representing the light, symbolizing the handling of government affairs brightly, justly and selflessly; the mountain, representing the earth road, symbolizes the emperor's ability to govern the world's water and soil; the flame faces upwards, symbolizing the obedience of the courtiers to the king's orders. The dragon symbolizes that the emperor is good at handling government affairs and can care for the suffering of the people. There are also provisions on the pattern on the knee covering, tianzi cover the knee with vermilion, the pattern with dragon, fire, and mountain patterns; the prince and below with fire pattern; the Qing Dafu mountain pattern, as shown in Figure 10; the soldier uses yellow leather without ornamentation, and there are also silk colors and plain colors to cover the knees. Mozi is a doctor of the Song Dynasty, and wears a mountain pattern knee cover according to the etiquette.
Five
epilogue
Mozi's view of clothing at that time showed its simple and practical side in the historical environment, and was an important part of his thinking, with great practical value and important practical influence [4]. But no matter who it is, what identity, the clothing needs on different occasions are also different, so the "Mozi Blowing Sheng" in the 2022 CCTV Lantern Party "Qi Tianle" program is an artistic reproduction based on the scene of "Mozi Sees the King of Jing". It is not mentioned in the "Zhuangzi Tianxia Chapter" that "the ink of the future generations will mostly take Qiu Brown as clothing and take the qiao qiao as the cloth." "Everyday attire. Through the interpretation of mozi's concept of clothing and the grasp of the aesthetic characteristics of the costumes of the times, the collection of historical documents and excavated cultural relics of the Warring States straight robes, leather belts, hooks and knees, the article provides an artistic reproduction plan for the costume modeling of Mozi characters in the CCTV Lantern Evening program "Qi Tianle".
bibliography
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General Counsel of "Qi Tianle": Jiang Jinrui
"Qi Tianle" styling design: Zhang Ting
"Qi Tianle" costume consultant: Jiang Jinrui Chen Shiyu
Learn more about Chinese costume culture