The aesthetics of costume dramas seem to have moved from the perfunctory style of funeral style to the perfunctory style of cake flower arrangement.
In Yu Zheng's new drama "Five Blessings", the headdresses on the actors' heads caused netizens to collectively complain.
Bailu's headdress makes people feel very painful in the back of their heads, like an AI-generated picture.
It seems to have become richer, but the proportions of the headdress and the color matching have not been thought out in depth, so the effect is not satisfactory.
Everyone generally believes that the aesthetics of Xianxia dramas and costume dramas are far inferior to those in the past, and they are even not as good-looking as some Internet celebrity bloggers.
Image source network, invasion and deletion.
In fact, from another point of view, we think that the current Xianxia drama is not beautiful, and it has a lot to do with aesthetics: aesthetics needs to be looked at with aesthetic experience.
Therefore, while we watch the play, we are also in the process of aesthetic styling in the play.
When it comes to what the shape of Xianxia drama should be, I have to talk about the Xianji aesthetics in oriental aesthetics.
Image source network, invasion and deletion.
A while ago, the protection of cultural relics in Shanxi was connected to the hot search, which made people worry at the same time, and also made more Chinese art well-known.
Among them, the murals of Yongle Palace, which is known as the treasure of China, are also known to more people, and the murals just vividly reflect the appearance of the oriental immortals.
In the national style ceremony that is still talked about today, the costumes for the murals of Yongle Palace are also eye-catching.
Today, the sheep will start from the murals of Yongle Palace to talk to you about the aesthetics of the Oriental Fairy Ji.
The background color of the oriental fairy queen aesthetics is gorgeous.
When it comes to Oriental Xianji, people often think of the Dunhuang murals of the Buddhist caves.
Buddhism originated in ancient India, so the shapes in the Dunhuang murals also borrowed from it, and in Buddhism it is more used as a Buddha than an immortal.
Therefore, even if the Dunhuang murals have extremely high artistic value, they cannot truly reflect the beauty of the Oriental Immortals.
The murals in the Yongle Palace in Shanxi Province depict Taoism that originated in the land of China, and what we call immortals also originated from this.
Therefore, this is the art that truly depicts the immortals originating from traditional China, and it is also the best of the aesthetics of the immortals.
Left: Yongle Palace murals; Right: Dunhuang murals.
The murals of Yongle Palace inherit the charm of the Tang Dynasty, depicting the scene of the immortal gods in Taoism, and compared with the Dunhuang murals, they are also more in line with the traditional sense of the Oriental immortals.
For the design of female characters, not only are there various exaggerated hairstyles, but the decorations on the body are gorgeous.
Even some jade girls who are not of high grade are full of jewels, graceful and dignified.
Not only the depiction of female characters, but also the male characters.
It can be said that in the aesthetics of Oriental Xianji, both men and women have a very high pursuit of decoration.
In contrast to the aesthetics of the fairy is when depicting mortal things.
In the murals of Yongle Palace, there is a picture of Lu Dongbin's life, in which the color of the painting ** decoration is less and elegant, and it is more concise.
This contrast between the ornate and concise clothing is the difference between the aesthetics of Xianji and ordinary people at that time.
Looking at the modern Xianxia style from the perspective of Xianji aesthetics, it can only be said that such a simple shape is closer to the clothing style of ordinary people in the past.
If you really want to compare it with Xianji, it is not an exaggeration to say that it is a dimensionality reduction blow.
But whether it is the Dunhuang murals or the Yongle Palace murals, in all the murals in China, the depiction of Xianji is far from the shape of modern Xianxia.
The reason for this is not only the laziness of the crew, but also the invasion of external aesthetics.
The current Xianxia style is a product of aesthetic retreat.
From the perspective of aesthetic invasion, it is not South Korea that has had the deepest influence on Eastern aesthetics, but Japan.
Japan not only learned the aesthetics of the Tang Dynasty from China, but also developed it into a part of Japanese aesthetics, and exported the changed Tang culture to China.
Therefore, the film and television dramas we see now have Japanese aesthetics to a certain extent, and it is easy to understand the shadows of 'mourning', 'mystery' and 'loneliness'.
Japanese aesthetics have their own uniqueness, but applying them to the aesthetics of Oriental senhime not only does not integrate, but even has a sense of contradiction.
Let us, who have seen the real oriental aesthetics, when facing the mixture of Japanese aesthetics in the aesthetics of Oriental senhime, it is a phenomenon that forces people's aesthetics to retreat.
And even if you compare the most traditional Tang Dynasty character works with the aesthetics of Xianji, there is still a very big difference.
Why can the aesthetics of fairy Ji be gorgeous, can be colorful, but not elegant?
This should be said from the material value in the aesthetics of Xianji.
When we look at the murals, we will think that the colors are magnificent and intense.
However, in the process of painting the murals, the pigments used are all natural gemstones ground into powder and painted with glue, of which large blue-green patches are mostly turquoise powder.
When the sun is good, you can enter the temple and look at the murals from the side, and you can even see the brilliance on the murals, like the feeling of the starry sky and the Milky Way.
On the headdresses and ornaments of the figures, they are often depicted by the techniques of leaching and pasting gold and piling gold, and the gold dust and gold leaf used in them are all real gold.
In other words, when we look at the mural, it is not an exaggeration to think that the whole mural is a wall of jewels and gold.
On the other hand, in the murals of Yongle Palace, for the depiction of the mortal Lu Dongbin, a large amount of white is used.
Most of this white pigment is composed of clam powder, which is a powder made from a white clam shell, which cannot be said to be two grades from the material used to paint the immortals, and it is also very different.
This technique of painting murals using precious stones, i.e. mineral pigments, is also used in Dunhuang murals.
It can also be understood that this use of gemstones as pigments is a way of worshipping the Buddha and immortals that people painted at that time, and it was also a way to distinguish between mortals and immortals.
Therefore, the oriental Xianji aesthetics can be gorgeous, can be elaborate, or even extravagant enough to shape the body with gold, but it must not be perfunctory.
It is gratifying that the heated discussion on Xianji aesthetics also shows that more and more people are paying attention to and attaching importance to oriental aesthetics.
This is not only related to the improvement of aesthetics, but also to our cultural self-information about oriental aesthetics.
Once you have seen true beauty, you will not compromise on beauty.
In the category of aesthetics, aesthetic experience is needed when looking at beauty.
While watching the play, in addition to the process of aesthetic modeling in the play, it is also a process of aesthetic improvement.
In such a process, more and more people realize that the aesthetic degradation of Xianji's shape is now.
The apricot fairy in "Journey to the West" is more gorgeous than the fox fairy in the current play.
We have already seen from works of art what the true beauty of Senji should look like, and we will not easily compromise on beauty.
And this kind of uncompromising is also a good embodiment of cultural self-confidence.
The more time and space are traversed, the more they have survived thousands of years, and the true oriental aesthetics that have been preserved by layers of precipitation are thicker and more worthy of the passage of time.
Oriental aesthetics amazes everyone every time it appears, because this is the origin of all surrounding oriental aesthetics.
We ourselves have long stood on the shoulders of giants in aesthetics and aesthetics.
Therefore, only by showing the true oriental fairy queen aesthetics in Xianxia dramas can it resist people's requirements for the beauty of fairy in their minds.
What makes Uncle happy is that more and more people are now presenting the aesthetics of Oriental Xianji in front of people in a way that is restored to the greatest extent.
This not only makes everyone more aware of the beauty of oriental aesthetics, but also sounds the alarm for those lazy and slippery crews.
The audience's questioning of the shape of Xianxia and the exploration of Xianji aesthetics are still the essence of the exploration of oriental aesthetics.
The improvement of aesthetics and aesthetic power comes from the experience of oneself and life.
It comes from grasping the soul of the classic works of oriental aesthetics.