How long have you not seen classical beauty in costume dramas?
Before, Douban had a hot topic: the demise of the classical beauty experienced by hand.
Comparison sheets are posted.
Only then did I suddenly realize.
The classical beauty of the courtyard in the costume drama is deep, the willow leaves are bent, the light makeup is thick, and the classical beauty that is suitable for it has long been lost.
Open the costume/puppet drama of the present day and see the rather modern makeup of Ichimizu.
Often let people have black eyes, men and women cry.
From Zhao Lusi's new drama "Guozijian came a female disciple"
Just want to ask, am I on the wrong set?
Or is this a modern person who put on a long coat and didn't even change makeup to perform cosplay.
Red fire trance, black chicken mackerel.
The demise of classical beauties began with the invasion of Korean-style one-word eyebrows into costume dramas.
For example, "Flowers and Bones".
The strange girl and her fairy master staged a story of love and murder and sadism on the screen of vomiting blood, spitting blood×2, spitting blood × 3.
But I'm sorry, sadomasochism can't cry.
After all, my eyes are polluted by the eyebrows of this drama no matter who is unified, no matter who is thick and thick enough to catch people's eyes, top 1, to cry.
It seems to be after this drama.
This kind of one-word eyebrow or large flat eyebrow, it has become a semi-permanent costume shape that comes out from time to time to stain the eyes.
Please, are all the stylists undercover sent by Xiao Li of the next crew?
The so-called classical beauty, one of the beauties lies in the eyebrows.
The correct way to open a pair of beautiful eyebrows, obviously there has been a god-level demonstration.
87 edition of "Dream of the Red Chamber".
"Two bends seem to be crouching and not frowning, and a pair of eyes that seem to be happy and not happy." This is the famous dai yu chi eyebrow (juàn, referring to the eyebrow like a touch of light smoke).
In order to restore the eyebrows.
The stylist Yang Shuyun studied a number of ancient historical materials such as the yuanshan eyebrows of the "Xijing Miscellaneous Records" and the Hanyan eyebrows of the "Yang Taizhen Wai biography", and finally decided to design Daiyu's eyebrows as a figure-eight eyebrow with a low brow tail.
Dai Yu's actor Chen Xiaoxu refused at first, waiting until he really shaved his eyebrows and drew the inverted figure eight eyebrows high and low.
Chen Xiaoxu himself was infected: "How can I look so pitiful?" ”
If Dai Yu is the kind of sick and weak beauty who seems to be crouching, tearful and slightly breathless, then Bao Chao is different.
In order to fit everyone's beautiful personality and show the richness and luster of the girl.
The eyebrows designed by Yang Shuyun for Baochao are more rounded Autumn Wave eyebrows.
Slightly arched, moderate thickness, rounded and elegant.
A classical beauty whose "lips are not dotted and red, and eyebrows are not painted but green" has it.
Of course, in addition to the eyebrow shape, the birth of a classical beauty is naturally indispensable with the corresponding makeup, hairstyle and clothing.
Dai Yu's lily bun style hairstyle when she first entered Jia Province, and Bao Chao's hairstyle that has always been symmetrical left and right, are all inevitable for shaping characters and becoming one.
And cherish the craftsmanship that you once had.
The hairstyles of the actresses in the "Dream of the Red Chamber" crew are all real hairs that they spend a few hours combing in the morning, which is completely different from the hoods they use now.
The domestic costume drama of the old school is precisely because of a "ingenuity" that it has left so many classic classical beauty portraits.
Chen Hong's mink cicada in romance of the Three Kingdoms;
Yang Guifei of Lin Fangbing in "Emperor Ming of Tang";
The king of Zhu Lin's daughter kingdom in Journey to the West;
In "Wu Zetian", from the age of 15 to the 83-year-old Liu Xiaoqing's version of Wu Zetian;
There is also Miao Yiyi's Helan Minyue, the most beautiful Shangguan Wan'er.
In 2000's "Daming Palace Words", Zhou Xun was agile, Chen Hong was elegant, and Gui Yalei was noble.
Three generations of women, different makeup, the same as the beauty of the ancient paintings, the classical atmosphere is strong.
The classical beauty of the past, quiet as a virgin, moving like a rabbit.
Jing is like an ancient painting.
The dynamics are amazing.
Look at Baochao fluttering butterflies, a good delicate;
The king of the daughter country tearfully bid farewell to the Tang monks, which made people pity into their hearts.
The fairies dance, and they are also beautiful in each world.
For example, Yang Guifei's song "Neon Dress Feather Song" is plump and amorous, seductive and not kitsch;
The Helan Dance of "Daming Palace Words" is exquisitely dangerous and ingeniously sexy;
"Journey to the West" Chang'e Dance, who is a fairy-like person, how beautiful and noble and temperamental.
And now the beauty fairies, standing together, often can't tell who is who;
A dance, most of the questions and embarrassments that came to the face.
I miss that simple film and television era.
At that time, to shape the beauty of the screen, there was never a need to rely on white glowing filters, and there was no face grinding to the invisible microdermabrasion technology.
Makeup artists and stylists work together to shape people and participate in the narrative.
"Marrying the Wrong Flower Palanquin to the Lang" is also from the hand of stylist Yang Shuyun.
Yang Shuyun entered the crew, counted the yin and yang mistakes, and was pulled to save the scene temporarily, but he also came with such a hand, and he depicted the "ancient puppet originator" who has been a god so far.
Interestingly, this drama adapted from Xi Silk's novel is also a story about two pairs of CP yin and yang, first married and then loved.
And even if you haven't seen the play and don't understand the characters, it doesn't affect their classical beauty.
The two heroines, one is a more dignified and handsome girl, and the other is the daughter of a chivalrous and unreasonable martial artist.
Look at makeup, styling to recognize people.
On the way out of the opening chapter, sheltered from the rain and stopped, the temple met by chance. Lifting the hijab, I saw that one was wearing a cumbersome and expensive hair ornament, and the other was a simple hairpin with a single insert.
The same is a partial classical style of the wedding red dress, but the details are different, different personalities, temperaments come out.
At that time, this drama was popular, and Yang Shuyun, who must win the award for modeling, also wondered how this one did not have an award? Later, I learned about it, saying that entertainment films are not awarded.
But a few years later, the news came: "On the Wrong Flower Car" won an award in Singapore.
What prize did you get? "Asia's Most Beautiful Bride" selection. The "double yolk egg" flower fell to their own home and rated the two heroines.
Strange and happy thing! And see the great success of this drama.
"On the Wrong Flower Car" is a new era idol drama born in 2001.
Further on, Yang Shuyun and costume designer Li Jianqun are more cooperative and tacit, contributing to their own super-first-class aesthetics in several historical dramas directed by Chen Jialin.
For example, "Tang Ming Huang" and the movie version of [Yang Guifei] jointly won back the Feitian Award and the Hundred Flowers Award.
More screen (screen) history contributed to the image of Lin Fangbing and Zhou Jie, two insurmountable Yang Guifei.
Lavishly decorated bandeau, light and semi-sheer tulle sleeves, towering buns and exaggerated jewelry flowers...
A makeup design based on the "Lady of the Hairpin Flower".
It provides a reference standard for almost all later Tang Dynasty costume dramas.
The effort behind it is also unimaginable to people at present.
For example, Li Jianqun once entered Dunhuang four times and Xi'an seven times, copied countless murals, studied countless classics, and designed thousands of costumes.
Later, the acclaimed makeup expression situation and story like "The Biography of Zhen Huan" was realized in 1992.
When she was a girl, her hair ornaments were mostly made of blooming flowers, and her costumes were light and crisp.
With the advancement of the plot of entering the palace, Yang Yuhuan's hair ornaments began to turn into precious metals inlaid with gemstones, appearing prosperous and heavy.
In the last scene of "The Death of Ma Songyi", the director asked to set off the atmosphere and pursue the high purity of the makeup.
So there were a thousand designs, and after a thousand kinds of thinking, the noble concubine was dressed in plain white.
A single cloak took more than ten meters, and the noble concubine walked slowly, the wind blew the yarn, a beautiful and holy picture of death.
No one is unmoved.
Later, someone once asked Yang Shuyun: Why are the current costume dramas less and less classical?
Poplar Shuyun said:
"How many ancient paintings I have seen, how many works I have copied, how many historical materials and materials I have read, and how many essences of sister art I have absorbed. People today will not and are not willing to make so much effort, and their love for China's five-thousand-year-old national tradition is lacking. ”
The death of classical beauties on the screen.
What dies is also the spirit of the craftsman who was obsessed with plastic arts and devoted time and energy to research and create.
The more shoddy is made, and the audience's expectations are also reduced.
Just like some time ago, Liu Yifei starred in "Dream Hualu", Liu Yifei posted a photo with Liu Yan and Lin Yun's costume style.
It was praised by netizens for "good looking", in everyone's words -
"After all, they're finally not wearing loose hair."
At present, under the minimalist costume aesthetic style, ten costume dramas, eight are both male and female, copy and paste flowing hair styles, and tie a high ponytail at most.
The effort-consuming coiled hair and bun have been saved, and the pleasing headdress has been removed.
Obviously, each actor is not a fairy in the sky, or a rich flower in the world, but each one is also like a fallen servant who can't even match the rings and accessories.
You said that the Fairy Drama everyone was dressed in white.
Why did all the costume dramas start mass-producing the male and female protagonists of the white wholesale?
And, is this really because of beauty, or is it because of convenience and saving money?
Under the minimalist shape, it is combined with a rather modern style of large flat eyebrows, false eyelashes, and large beautiful pupil makeup.
Watching costume dramas, people often wonder, this is a cross-over drama, right?
Or a costume cosplay in the studio?
Please see the previous "Flowers Good Moon and Round", this modern makeup and scrawled casual costumes.
Just ask who can recognize that this is the 2021 remake of "On the Wrong Flower Car to Marry the Lang"?
Zhao Lusi's "Guozijian Came a Female Disciple", the heroine wore a brown batik Korean shawl hair throughout the whole process.
This is a modern person, is it a modern person, right?
Ju Jingyi's "Biography of Jia Nan", the "Ju-style Makeup" with big red lips and heavy eyeliner, from "The Legend of the New White Lady" to "The Legend of Yun Xi" all the way to the new drama.
A set of makeup semi-permanent, tragic white filters added.
The ancient meaning is nothing, and the expensive dolls in the whole boutique window have a sense of sight.
The overall regression of domestic costume dramas, the downgrading of makeup is the first to bear the brunt.
There are no more beautiful and poetic classical beauties.
Even the word classical, listening to it, is incompatible with the assembly line costume production market that seeks speed and stability.
Beauty needs to be poured with painstaking efforts.
Unfortunately, there are fast-food creations, illogical plots, actors with a daily salary of 2.08 million, and shoddy everything.
On the contrary, there is no respect for aesthetics, and respect for the audience.
If this continues, domestic costume dramas may as well be buried.