In 2020, the Forbidden City, known as the first of the five major palaces in the world, ushered in its 600th anniversary. The Forbidden City is the essence of ancient Chinese court architecture. It is one of the largest and best-preserved wooden structures in the world. Jointly produced by the Central Radio and Television Corporation and the Palace Museum, and produced by the Film and Television Drama Documentary Center of the Central Radio and Television Station, the three-episode documentary "I Am in the Forbidden City for 600 Years" is 50 minutes each, recording the craftsmen who carefully care for the Forbidden City inside the palace walls, showing the wonderful connection between the people outside the palace walls and the city, and telling the story of the eternal youth of the Forbidden City. From December 31 to January 2, it was broadcast on CCTV Documentary Channel, CCTV, Bilibili and other platforms. It has become a phenomenon-level work that is both acclaimed and popular in the New Year's Eve culture.
1. Unveil the mystery of the Forbidden City complex "Danchen Yonggu", highlighting the ingenuity and inheritance of the new and old Forbidden City people
The Forbidden City is an important symbol of contemporary Chinese's identity and common history, and the ancient buildings of the Forbidden City are the most powerful witnesses and speakers of the Forbidden City in the past 600 years, and are the cultural support for contemporary Chinese to look back at history and imagine the future. "I am in the Forbidden City for 600 years" starts from unveiling the mystery of the Forbidden City complex "Danchen Yonggu", Dan, is the red of the palace wall, Chen, for the deep palace. "Danchen Yonggu" means that the red heavy palace will always maintain its youthful vitality.
First of all, it highlights the role of the old craftsmen in the restoration of ancient buildings with the highest difficulty. Such as the corner tower, a collection of Chinese architectural complex structures and exquisite shapes, it is also one of the landmark buildings of the Forbidden City, with nine beams, eighteen columns and seventy-two ridges. In 1956, the northwest corner tower was badly damaged due to perennial rain leakage and decaying wooden structures. Its renovation has thus become the largest, most complete and most difficult project in the Forbidden City after the founding of New China. Mr. Shan Shiyuan and Yu Zhuoyun are the experts of the older generation of the Forbidden City, and Ma Jinkao and Weng Keliang are the first and second generation of Great Carpenters of the Forbidden City in New China. This is a successful collaboration between researchers and craftsmen. It also provides detailed reference materials for later generations. Xia Rongxiang, who entered the Forbidden City in 1975 and retired in 2017, spent 42 spring and autumn seasons here. As the third generation of carpenters in the Forbidden City, he participated in the renovation of two corner towers. The exhibition was imminent, and Di Yajing of the Ministry of Ancient Construction asked Mr. Xia Rongxiang to come and guide the design of the exhibits. Xia Rongxiang has been focusing on teaching craftsmen to young Forbidden City people. Young faces, generation after generation, cycle after cycle; The ancient techniques, too, are perpetuated in them. Li Yongge, the representative of the third generation of great carpenters in the Forbidden City, has participated in almost all the overhaul projects of the Forbidden City since the 1980s. Thirty years ago, he had participated in the renovation of the Yangxin Hall. He was one of the few people who could read wood. Now, he has passed on his accumulation bit by bit to his descendants. Wang Hui, a young and middle-aged Forbidden City man, is proficient enough to read the language of tiles. Ancient buildings were repaired, and thus passed down from generation to generation.
Second, highlight the stories of young Forbidden City people growing up in learning. For example, the young generation qi fei and others carried out inspections of ancient buildings and carefully checked 6,000 points. Then shuttle around the different areas to point out the discussion and record the content with a pen. Qi Fei also took a picture of the Yangxin Temple Ridge Beast to be repaired. Zhang Fengbing, a newcomer who focused on training, specialized in paint paintings and repaired the defective paintings of the Chengqian Palace. When Liu Renhao was still a graduate student, he participated in the renovation and protection project of Qianlong Garden. After graduation, she entered the Ancient Construction Department of the Forbidden City. Relying on the opportunity for the overall repair and protection of the Qianlong Garden, Liu Renhao studied almost all types of adhesives. He also lectured to younger teachers and sisters, and grew up with the renovation of the Qianlong Garden. Old experts also learn new technologies such as Yang Hong came to Qianlong Garden to carry out the work of color painting protection with Fu Peng, familiar with and learn the latest technology. The painted paintings of the restored Qianlong Garden, landscapes, figures, flowers, insects and fish, come to life. Experts not only hope to continue the life of cultural relics, but also look forward to the establishment of a set of scientific programs for the protection of cultural relics, providing institutional and normative reference for similar repair projects inside and outside the Forbidden City.
Second, popularize the knowledge of the restoration of ancient buildings in the Forbidden City, and decipher the cultural relics containing chinese civilization information
Spring is born and summer is long, and autumn harvest is hidden in winter. The ancient forbidden city buildings, which are also difficult to escape the laws of nature, are gradually aging. However, the gorgeous imperial palace still survives to this day, relying on the uninterrupted "repair and maintenance" of the craftsmen of the Forbidden City for hundreds of years. Generation after generation of craftsmen have used their skills and wisdom to rejuvenate and continue the life of this ancient architectural complex.
First of all, it delicately describes the ingenuity to preserve the historical information of cultural relics and maximize the use of original materials
With a total area of more than 720,000 square meters, the Forbidden City is known as the "Sea of Temples", which is magnificent and spectacular, and can be called an unparalleled architectural masterpiece. For 600 years, this palace has suffered countless major illnesses and disasters such as lightning strikes, burning, and decay. In the process of restoring these ancient buildings, the first thing is to retain the historical information of cultural relics and maximize the use of original materials and components. For example, there was a serious decay inside one of the columns within the wall of the West Side Hall of the Yangxin Hall. Historical information shows that when the Yangxin Hall was built, the national strength was not very good, and the wood used was not of high quality materials. Through expert consultations from all sides and scanning by detection instruments, Wang Hui, Zhang Dian and other ancient building restorers have formulated that some of the original wood can be preserved in this repair, and the history attached to it can also be preserved. Another example is the ceiling painting of the main hall of the Chengqian Palace, which is likely to have been painted when Kangxi rebuilt it in 36 years, and is more than 320 years old. The years loosened the connection between the painted painting and the roof, and the painting in the corner shattered into several pieces. Today, they are sent to a group of young people, under the guidance of the teacher, to preserve the original paintings and materials to the greatest extent, and after repairing and restoring, the roof of the palace is re-decorated.
Secondly, decrypt the "unique work" of the "eight masterpieces" in the "repair and maintenance of the years". The construction of ancient Chinese palaces, with a set of strict and high-standard construction methods, was summarized by later craftsmen as "eight masterpieces": earthwork, woodwork, stonework, tile work, paint work, color painting, timber work, mounting paste. In the first place is the "soil work" that builds the foundation. Archaeological excavations from the Ming zhongdu site, which are similar to the era, have been built alternately from layers of rubble and rammed earth, and the excavated part alone has as many as eighteen floors. This "soilwork" process was continued and further optimized by the Forbidden City. Such a thick and solid underground structure not only ensures that the palace on which it is built remains unchanged after six hundred years of cold and heat, but also means that the dynasty can continue forever, which is for "Danchen Forever Solid". Another example is Wazuo, the Ming Dynasty, Shanxi's glass technology and Jingdezhen porcelain are on a par with jingdezhen porcelain, when the Forbidden City in Beijing was built, the three major glass families in Shanxi were involved. In the Yuan Dynasty, the Imperial Court set up the Liuli Bureau in Mentougou, Beijing, specifically for the supply of the royal family. In the Ming and Qing dynasties, many of the glass of the Forbidden City also came from here. Today, the Forbidden City has a large wall as a plastering test area. The trainees and retired teacher Fu Wu Shengmao learn the technique of plastering on the wall. Teaches the technical details of the holes that are dragged to the ashes. Large wall plastering is divided into two major steps: bottoming and covering. Its basic raw material is hemp knife ash. Chopped hemp is mixed in hydrated lime to effectively prevent wall cracking. Laterite powder is also added to the ash of the knife, which is the secret of the iconic color of the palace walls of the Forbidden City.
Again, it is interesting to decipher the truth of legends such as "the roof of the Forbidden City does not fall on the birds and does not grow grass". The roof is made of glazed tiles, which is not afraid of water and fire, but also has its own life gate. It is the seeds of plants brought by the wind to bring grass seeds and bird droppings, and once they sprout and take root in the gaps in the tiles, it will cause serious consequences such as rain leakage, rotten wooden beams, and even collapsed houses. In the records of the Ministry of Internal Affairs of the Qing Dynasty, every spring and autumn, the Forbidden City must organize special personnel to fly over the wall to drive away the natural enemies of the tile surface. The film also reveals the different grasses of different temples. For example, the Qianlong Emperor modeled the appearance of the Taihe Hall to build his retirement residence, where he once held the world-famous "Feast of a Thousand Sorrows", and its auspicious roof has always been a fertile soil for the growth of the earth. He also took the opportunity of overhaul to interestingly decipher the roof beam of the main hall of the Fengxian Hall, which is rare in a hundred years, decorated with gold spindle paintings, and the entire roof is shining. Decrypt the special transparent tiles of the Yangxin Hall, take the opportunity of overhaul, remove these tiles, and take them to study. The final conclusion was that it was not mica, but a shell called "Sea Moon".
Third, the production is well-made, the TV expression is innovative, and the humanistic documentary is created
The style presented by the film is both thick and bright, the picture is neat, the light is exquisite, the editing is smooth, the production is excellent, and the appreciation and ideology are both. The knowledge points of the cultural relics of the Forbidden City will be described in a relaxed and humorous manner and the pace of speed and slowness, showing the audience the ancestral civilization and survival wisdom contained in the architecture of the Forbidden City. Stimulate young people's growing curiosity and curiosity about traditional Chinese culture. The narrative structure adopts a marching structure and a plate structure that intersects time and space, with a grand vision, from Fengyang to the Forbidden City, highlighting the extraordinary ingenuity of the Forbidden City. Innovative international aesthetic narrative expression fully embodies the dialogue between contemporary people and architectural relics, past and present. Let the viewer deeply feel the profound and colorful architectural culture of the Forbidden City. The rigorous and serious work attitude and superb professional skills of the ancient building repair masters and apprentices have stimulated national pride and awakened a sense of national identity, and at the microscopic level, they have also activated the audience's yearning and pursuit of the spirit of craftsmanship, representing the spirit of exploration and the sense of responsibility of the times of contemporary documentary creators in China.
With profound cultural connotation and artistic heritage, the film is well-made with ingenuity, creating a high-quality humanistic documentary, and is also a fine product of the external cultural dissemination of the "going out" project, and cultivates cultural self-confidence in "moisturizing and silent". As the film says, the reason why Danchen is eternal is because the forbidden city has been passed down from generation to generation. In the long relay, everyone's time and responsibility were finally left with red walls and yellow tiles, full of lights, and the Forbidden City, which can be said for six hundred years. (Wang Yongli)
Source: China Net