In 1999, a "Yongzheng Dynasty" set a peak in the ratings of historical dramas, and the screenwriter Liu Heping, a talented man from Hunan, also became famous all over the world with this drama. After eight years, he returned again and came up with a historical masterpiece "Ming Dynasty 1566" that surpassed his predecessor, pushing the historical drama to an unprecedented height.
Since the release of "Ming Dynasty 1566", it has aroused strong repercussions in the fields of historiography, culture and entertainment, and has also been favored and sought after by audiences across the country.
Douban is a gathering place for young people who love film and television in China, and the score of film and television dramas is the vane of moviegoers, which has intuitive reference value. "Daming Dynasty 1566" has long occupied the top position on the Douban scoring list, as high as an astonishing 98 points, so far there is no surpass in domestic historical dramas, and the young audience's love for the show can be seen.
The historical drama has more than 700,000 words of text and 46 episodes, but the speed with which it works is a miracle in itself. Liu Heping began to create in March 2005, started filming in March of the following year, and moved to the screen in early 2007 to meet the audience, so fast that industry insiders were jaw-dropping.
As for the material and narrative techniques of the play, it can also be said to be remarkable and unique. "Daming Dynasty 1566" dares to be the first in the world in terms of materials, focusing on the specific time and space of the last five years of the Jiajing Dynasty, and choosing a key turning point of the feudal system from prosperity to decline - the Zhu Ming Dynasty in 1566, revealing a hidden historical story to people.
In terms of narrative techniques, "Ming Dynasty 1566" dares to break the shackles of "jokes" and "correct sayings", using official revision of history as the skeleton, supplemented by artistic creation to fill in flesh and blood, objectively, three-dimensionally, and truthfully reproduce the political situation and social outlook of the late Jiajing period.
The whole play takes a national policy of "changing rice to mulberry" as the main context, interspersed with the struggle between Qingliu and the Yan Party, and the sadness and helplessness of the three generations of emperors of Jiajing who are caught in the whirlpool of struggle. The three story lines are criss-crossed, with clear priorities and priorities, go hand in hand, and slowly unfold a historical drama with ups and downs.
When many people watched this drama for the first time, they thought that this was a historical drama headed by Xu, Gao, and Zhang "Qingliu" and "Yan Party" headed by Yan Song's father and son. In fact, on the promotional poster of the play, the protagonists in the play: Jiajing and Hai Rui!
Jiajing is a loner at the pinnacle of power, and Hai Jui is a lonely brave man at the moral high ground, which is not only the core of the creation of the whole play, but also the core driving force for the development of the story.
As Liu Heping said, the performance of the play is jokingly called "Tai Chi writing" by industry insiders. Jiajing is Taiyin, Hai Rui is the sun, and the other characters are gossip, revolving around the poles, and together they perform a wonderful historical drama.
Therefore, the wrestling between Emperor Jiajing and the paranoid minister Hai Rui is not only the pinnacle duel between the hero and the hero, but also the biggest highlight of the whole play.
Jiajing was one of the unique and wonderful emperors of the Zhu Ming Dynasty. He often boasted of being Emperor Wen of the Han Dynasty, advocating the rule of inaction, as a monarch who ignored the government and politics, and avoided the cultivation of alchemy in the Jingshe of Xiyuan, and did not ascend to the court for 27 years, but he was still able to firmly hold the military and political power in his hands.
Such an emperor, compared with Yongzheng, who worked hard to clean up the court and implement a new policy, cannot be called "strange".
In terms of governing the country, Jiajing also advocated "the simultaneous use of loyalty and treachery, and the same stream of turbidity" and vigorously engaged in checks and balances of power to maintain the operation of the state apparatus. He reused the traitorous minister Yan Song, so that he entered the cabinet to worship the prime minister and controlled the government for more than 20 years, and also focused on promoting Xu Jie, Gao Gong, Zhang Juzheng and other Qingliu leaders, forming a force that can compete with Yan Song and maintain the stability of the balance of power.
For this trick, Jiajing was very proud, and even on his deathbed, he came up with a set of "water of the Yellow River" and "water of the Yangtze River". As everyone knows, it is his seemingly very clever trick of controlling people that has become the source of the corruption of the officials of the Zhu Ming Dynasty and the decline of the country.
Jiajing is also a master of male guessing, he doesn't trust anyone, he likes to be suspicious of people, and he also likes to be suspicious, and often gives his courtiers a sense of unfathomable oppression of holy will. When encountering things, he often does not open his mouth, rarely gives clear instructions, and only writes two words for the courtiers to guess for themselves.
For example, he asked Yan Song and Xu Jiehui to discuss the word "Zhen", and later asked Xu, Gao, and Zhang to discuss the words "good rain and bright moon" with King Yu.
What Jiajing thought in his heart, in fact, no one really knew, only the courtiers guessed and thought for themselves with their smart minds, and then came up with the answer and handed it to him for the final decision.
The advantage of this is that the courtiers have never been able to grasp Jiajing's true intentions, and they have always been in a state of nervous suspicion. And Jiajing also relied on this method to achieve the ultimate goal of not being in court for 27 years, but still being able to monopolize power and play with civil and military officials.
Jiajing, who seems to have a fluttering robe and is unrestrained, does not wear a dragon robe and does not go to the court, has a very free and comfortable life. But in fact, he was not comfortable at all, he had a country and a society that he couldn't shirk on his shoulders, his life was monotonous and boring, he was very lonely, and he couldn't extricate himself from the prison of the spirit, until he met the paranoid Hai Rui, and he was completely freed.
Hai Rui's experience is very simple, he was originally a teacher of the Hainan County Ya, and he lived a stable life at home with his wife, children and widowed mother. Later, Chun'an County, Zhejiang Province suffered a man-made disaster, and he was appointed as the governor of Chun'an County, and after taking office, he relied on his righteousness to destroy the embankment and flood the fields, which was a heart-wrenching man-made disaster, and made great contributions to the overthrow of the Yan Party.
Later, when Hai Rui was transferred to the capital and served as the head of the household department, a letter from the ministers was secretive, scolding Jiajing to the point of almost insaneness, and pushing the whole play to a climax.
According to Liu Heping, Hai Jui is also a spiritual prisoner. He drew the ground with the moral standards of Confucius and Mencius, not only did he abide by the rules and not go beyond Lei Chi, but also used this set of moral standards to demand the entire feudal officialdom, and finally became a tragic figure like Jiajing.
From a secular point of view, there is no distinction between home and country, and Hai Rui, who regards the country as his home, has failed to the extreme. He was paranoid about pulling Jiajing out and performing the duties of the Holy Monarch, but because of this, the family suffered a tragedy, the widow had no one to fulfill his filial piety, and his wife and children were all killed on the way home, and he did not fulfill his responsibilities to the family.
But it is precisely because of this that Hai Jui has become the most loved and admired image of Qing officials in feudal history.
In history, Hai Rui couldn't even afford a coffin after his death, so he still bought a thin coffin with the help of his colleagues. On the way back to his hometown from Nanjing, the shops along the river were closed, and the people rushed to the riverside to see the crying, and the scene was spectacular and moving.
The Emperor of Xiongchai and the paranoid ministers, Jiajing and Hai Rui are both spiritual prisoners in extreme environments, and the wrestling struggle between the two and the sense of sympathy for each other have supported the landmark historical masterpiece "Ming Dynasty 1566"!
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