How beautiful can the costumes in "Long Moon Ember Ming" be?
The masks worn by Tangtai Ember and Ye Xiwu in the market were shocked by the layers of delicacy across the screen, and they couldn't help but want to take out their hands and touch them on the screen.
After watching the drama for decades, who doesn't want to break the rumored dimensional wall.
So far, only one person has crawled over from the other end of the screen, called Sadako.
Just kidding, the time is 2023, and it is not impossible to break the dimensional wall.
On April 22, the 5th Chinese Costume Day was held at the Changchun Immortal Museum in Beijing's Yuanmingyuan Park, and the "Long Moon Ember" experience exhibition was also held here.
From the costumes and costumes in "Long Moon Ember Ming" are on display, the Coser of the nine characters in the play takes turns, and visitors can directly turn into Tangtai Ember and Ye Xiwu on the spot.
The beauty of breaking the dimensional wall
Let the costumes of "Long Moon Ember Ming" enter the offline, this offline experience exhibition is not a simple display.
The site can be basically divided into lecture hall area, exhibition area and experience area.
Among them, the costumes and videos from "Long Moon Ember Ming" are displayed in the exhibition area. Compared with the shooting in the play, these costumes walk through the dimensional wall and into the line, but they reveal the multi-layered beauty that is difficult to show by the lens.
Whether it is the costume of the Tangtai Ember that looks dark, but is mixed with the flame pattern pattern of Dunhuang aesthetics.
Or, the scroll fan that inadvertently appears in the play, which uses the most representative color matching depictions of red, blue, black, yellow and white in Dunhuang murals, which is extremely exquisite.
The details in these shots that are difficult to zoom in and watch have attracted the amazement of many Chinese costume fans at the scene.
This offline experience exhibition is not only watching, but also the experience area can also experience the stunning gold tracing art in the poster of "Long Moon Ember Ming", which can be said to be an all-round experience of the same style in the play.
In addition, in the exhibition area of the lecture hall, in addition to Huang Wei, the costume design director of "Long Moon Ember Ming", and Wang Xiaonan, director of Youku Humanistic and Cultural Content Center, who revealed the behind-the-scenes story on the spot, there were also a group of Cosers who performed the characters in the play live, and the teenagers after 00 to the grandmother Hanfu lovers took turns on the stage, making the story in the play a live version.
Building a bridge between the audience and "Long Moon Ember" from the three dimensions of exhibition, experience and live interpretation, this offline experience exhibition not only feels the drama, but also brings the beauty of the inherited culture in this play to the public.
Huang Wei, the costume design director of Dunhuang aesthetics and traditional costume aesthetics and fantasy, said in a speech on the spot that the costumes of the entire play decided to be innovative from the beginning, but it is not a fantasy after empty thinking, on the one hand, it must be able to assist the actors to complete the performance, on the other hand, it is hoped that these fairy characters have unique Chinese aesthetic characteristics.
Therefore, at the beginning of receiving the design of "Long Moon Ember Ming", Huang Wei led the team to Dunhuang to visit and study, consult experts and scholars, and refer to cave paintings, paintings and other materials, and did a lot of homework to have the color matching of the flying image in the costumes of Li Susu's play, Ye Bingchang's shawl, armband, and handprint holding flowers, which are also verified from the murals.
These costume styles with a national charm grow and change with the characters and stories. The male protagonist Tangtai Ember lived a very humble and lonely life when he was a proton, so he designed some grayscale color matching clothing to express his inner loneliness and desolation. When they enter the demonization stage, they begin to wear black, and under the light gauze can be seen the flame patterns inspired by the Dunhuang cave paintings, catering to the inner changes of the characters.
It's just that these beautiful costumes at the exhibition are not easy in the production process, just the streamers of characters such as Li Susu and Ye Bingchang allow Huang Wei and her team to cut the shape again and again, and constantly improve the fabric, because it must be light and fluttering, these are the aesthetic details in the Dunhuang murals, and it is also the secret of the amazing costumes in this play today.
As Huang Wei said, focusing on making the design more in line with the needs and more exquisite details is the consensus of the crew and her, and it is for this reason that they let the classical Chinese aesthetics and the aesthetics of young people merge.
A ten-year road of integration
The path of aesthetic integration that Huang Wei insists on is an attempt at the play "Long Moon Ember Ming", but Youku began to cultivate the field of humanities as early as ten years ago.
Wang Xiaonan, director of Youku Humanities and Culture Content Center, said frankly that according to data analysis, in the past five years, young people's attention to traditional culture has been heating up, so Youku this year focused on the topic of "cultural travel", from reading tens of thousands of books, traveling thousands of miles, meeting hundreds of people, constantly thinking, and constantly telling to combine culture and travel.
The third season of "Walking the World", which is being broadcast, takes Jiangnan as a clue and strives to show the essence of Chinese culture from ancient times to the present.
The program focuses on nearly 60 workers who focus on traditional culture, involving silk, seal carving, papermaking, Chinese painting, Kunqu opera, ancient architecture and other fields, analyzing from different dimensions where the foundation of this aesthetic comes from under the smoke and rain in Jiangnan.
In the past, the cultural relics restorers of the Forbidden City broke into the public eye, and this craftsmanship also exists in the Zhejiang Provincial Museum.
Wang Fan, a little-known restorer of ancient books, and his colleagues restore broken, soaked and burned precious ancient books day after day, because many of the papers have been flocculated, and during the stitching process, these restorers do not even dare to breathe, because a few coughs will damage the fragments.
These extremely slow progress is unimaginably arduous, but it allows these books to be read by future generations and traditional knowledge to be passed on.
It is also because of the deep cultivation in the field of humanities, which also leads to Wang Xiaonan's belief that the future direction must be that traditional culture cultivates new elements of culture, uses new perspectives to make young people willing to understand traditional culture, and nurtures new germs from thousands of years of accumulation to promote the inheritance of traditional culture from generation to generation.
In Wang Xiaonan's speech, you can also glimpse the layout of Youku over the years.
From 2002 to 2003, Youku broadcast "Shine! "Chinese Civilization" allows Chen Kun as a debunker, with the camera from the beauty and mystery behind the bronze divine tree in the Sanxingdui, all the way to the ultimate aesthetics of the treasures of the Tang Dynasty, with the collision of first-line actors and experts and scholars, from the two levels of emotion and rationality, these treasures in the museum become flexible and enduring.
In recent years, Henan Satellite TV's wonderful tour series party in the traditional festival drama version has shocked the audience's attention almost every time, and the party of this series is also jointly created by Youku, not only the traditional color matching and dance are amazing;
The cultural stories and traditional aesthetics behind traditional festivals such as Lantern Festival, Qingming Festival, Mid-Autumn Festival and Chongyang have also been put on the screen.
Just as Wang Xiaonan said this time, we must use the current new way to interpret the inheritance, so that the culture accumulated over thousands of years becomes flexible, so that young people fall in love with this unique trend, which also promotes the Hanfu culture that young people are keen on in recent years.
Now the Dunhuang aesthetics and costume aesthetics in "Long Moon Ember Ming" have gained a great reputation, which is a new attempt by Youku as a TOP of the Xian Xia drama label, and it is also an overnight achievement after years of deep cultivation in the field of humanities.
As a platform side, it was decided before the start that the fairy could not be completely ethereal, which gave Huang Wei's team a creative space and blended traditional aesthetics and fantasy fairy tales.
A new branch of oriental aesthetics
On the one hand, the Dunhuang-style costumes created by Huang Wei and her team are resistant to the smack, and on the other hand, the special effects team of "The Wandering Earth 2" creates the picture texture, allowing tradition and technology to interact, so that there is a real and illusionary visual impact.
As one of the activities of the Chinese Costume Day, the offline exhibition of "Long Moon Ember Ming" also allows many fans of traditional costumes and drama fans to truly see the gorgeous and detailed details of these costume props, which not only breaks the dimensional wall, but also allows these details to enter life.
Traditional aesthetics is not old-fashioned, but from cultural accumulation to give birth to new branches.
Just like the story of "Long Moon Ember Ming", the protagonists are divided into triangles, telling a huge interlacing and interpreting the meaning of love. In this huge structure, the costumes with traditional aesthetics give the fantasy story a sense of landing and become believable.
Nowadays, to let the costumes in the play enter the fairy tale, is to let the viewers cross the screen and feel the intention of the behind-the-scenes work in the fictional plot.
Over the years, there have been countless voices discussing how traditional culture can be inherited and how to be accepted by young people, Youku has been working hard to combine new themes with traditional culture from different perspectives to today's cultural communication.
This is the nourishment of long-termism and a testimony to perseverance.
At the same time, it also shows the responsibility of a platform.