In recent years, the production of historical dramas has increasingly emphasized the organic fusion of traditional cultural elements with storytelling, showcasing a more sophisticated and heartfelt approach to presenting traditional culture. From my perspective, the application of traditional cultural elements in historical dramas can be categorized into three levels: external, superficial, and internal depths.
Authentic Historical Restoration
Historical dramas have shown a growing emphasis on meticulous attention to costume and set design, striving for a faithful reconstruction of historical accuracy. Some productions adhere strictly to scholarly research, almost replicating characters' attire and appearances directly from ancient texts and paintings. This approach allows viewers to experience the true aesthetic charm of traditional Chinese clothing. For example, in "Serenade of Peaceful Joy," the portrayal of Emperor Renzong of Song (played by Wang Kai) closely mirrors historical portraits, achieving a striking visual realism akin to a 3D print from ancient paintings.
Beyond costumes, headwear serves as a crucial element of visual aesthetics for female characters. Instead of exaggerated hairstyles, integrating traditional intangible cultural heritage elements into hair accessories creates a sophisticated and refreshing visual appeal. For example, in "Ruyi's Royal Love in the Palace," the use of Tian-tsui ornaments on the hair of palace concubines reflects elegance and simplicity.
Tian-tsui ornaments, originating from the Han Dynasty, combine metals with feathers from kingfishers, showcasing the delicate and majestic aesthetics of the Orient.
The meticulous reproduction of historical scenes in historical dramas provides viewers with an immersive aesthetic experience. While some productions, like "The Longest Day In Chang'an," are renowned for highly restoring the streets and neighborhoods of Tang Dynasty Chang'an, the scarcity of surviving Tang architecture and photographic evidence means such reconstructions often involve imaginative elements.
Nevertheless, the recreation of authentic historical settings undoubtedly offers audiences a rare aesthetic experience. Subsequent dramas have increasingly recognized the importance of faithfully restoring historical scenes. For instance, "The Story of Ming Lan," renowned for its exquisite production, directly incorporates scenes resembling the famous painting "Along the River During the Qingming Festival." While this may seem like a shortcut in terms of artistic creation, such meticulous adherence to historical accuracy is genuinely commendable and enjoyable.
Reproduction of Traditional Cultural Arts and Crafts
If costume design serves as the external vessel carrying the beauty of traditional culture in historical dramas, then the display of traditional arts and crafts within these dramas further reveals the profound significance of traditional culture. It dynamically enriches these dramas with cultural depth and ambiance.
For example, in the drama "Dream of Splendor" from two years ago, it sparked interest in ancient Song Dynasty tea art techniques like "Diancha" and tea performances. These ancient tea art forms are not merely superficially depicted but intricately intertwined with character development and plot. The series even dedicated about an episode to portraying the protagonist Zhao Pan'er (played by Liu Yifei) engaging in tea competitions, elegantly showcasing one of the "Four Arts of the Song Dynasty" – incense burning, painting hanging, tea tasting, and flower arranging. The tea performances are particularly breathtaking, highlighting the ancient latte art techniques and the delicate artistry of painting on tea broth.
Beyond elegant ancient practices like tea art, elements such as classical dance, shadow puppetry, lion dances, and iron flower pounding captivate viewers with their visual impact. Their meticulous and highly authentic presentation is crucial. For instance, the classic "Jinghong Dance" performed by Zhen Huan (portrayed by Sun Li) in "Empresses in the Palace" remains a topic of enthusiastic discussion to this day.
Ancient culinary culture, an indispensable element of traditional Chinese culture rich with earthly flavors, when combined with historical context and exquisite utensils, becomes a visually aromatic feast that tantalizes both the eyes and taste buds. For instance, in "The Longest Day in Chang'an," featured delicacies like crystal persimmons, basin-cooked lamb, hand-grabbed lamb, and flatbreads not only evoke mouthwatering desires but also provide glimpses into Tang Dynasty culinary practices.
Spiritual Content and Aesthetic Context Presentation
These portrayals not only enrich the sensory experience of viewers but also serve as gateways into understanding the cultural richness embedded in historical periods. Thus, through the exploration of traditional arts, crafts, and culinary delights, historical dramas continue to deepen their connection to and portrayal of traditional Chinese culture, making these productions both educational and visually captivating.
Historical dramas not only portray traditional Chinese culture through costume and visual elements but also delve deeper into its essence by integrating literary and philosophical themes into their narratives. This transformation of tangible elements into intangible cultural motifs enriches the dramas with profound meanings and aesthetics.
One prominent approach is the integration of classical poetry and literary themes with character development and plot dynamics. For instance, in "Joy of Life," the use of poetry enhances scenes where Fan Xian recites poetry at banquets, leaving a lasting impression of the artistic power of poetry on the audience.
Another technique involves transforming poetry into visual actions, often seen in martial arts dramas adapted from Jin Yong's novels. For example, Duan Yu's signature move "Ningbo Weibu" in "The Demi-Gods and Semi-Devils," derived from Cao Zhi's poem "The Goddess of Luo River," vividly visualizes poetic expressions through martial arts, bridging the gap between the abstract and the concrete.
Aesthetic philosophies rooted in Confucianism and Daoism also elevate the overall visual and moral landscapes of these dramas. Concepts such as "sacrificing oneself for righteousness" and "the pursuit of lofty ideals despite obstacles" from Confucian thought imbue the scenes with a sense of grandeur and moral complexity. Daoist ideals of living freely and detached from worldly desires contribute to serene and contemplative visual compositions, portraying a profound aesthetic sensibility unique to Eastern culture.
For example, the Daoist attitude of leisurely seclusion and aesthetic mood expressed in "The little boat has passed, the river and sea carry on my remaining years" deeply influences the aesthetic standards of historical dramas. These literary and philosophical themes from traditional culture enhance the aesthetic level of period dramas. Outstanding historical dramas effectively incorporate classical poetry, art, and philosophical ideas, thereby spreading the essence of traditional culture like gentle rain nurturing spring flowers.
In summary, whether borrowing from formal aspects, inheriting artistic techniques, or fully presenting philosophical themes, the deep-rooted artistic charm accumulated over millennia in traditional culture indeed embellishes the quality and depth of period dramas. Within the profound richness of Chinese culture lies many treasures waiting to be discovered by period dramas. With dedication, the beauty of traditional culture is sure to shine brightly in dramas of historical themes.
