Guzhuang (Chinese: 古装; pinyin: gǔzhuāng; lit. 189 and in the Wuxia and Xianxia genre. 189 refers to a style of Chinese costume attire which are styled or inspired by ancient Chinese clothing (typically Hanfu or Qizhuang). While the style of guzhuang is based on ancient Chinese clothing, guzhuang show historical inaccuracies. Chinese: 古装新戏; pinyin: gǔzhuāngxīnxì; lit. In Chinese opera, plays depicting guzhuang is called guzhuangxi (Chinese: 古装戏; pinyin: gǔzhuāngxì; lit. 81Mei Lanfang is also credited for having invented guzhuangbanxiang (Chinese: 古装扮相; pinyin: gǔzhuāngbànxiāng; lit. 48 Guzhuangxi is an important concept in both the field of Chinese opera and to early Chinese film. This form of guzhuang emerged in 1915 when new Chinese opera costumes had to be created for a new category of female role which had also been developed by Mei Lanfang. 48 His goal was to make his costumes more elegant instead of making it look ancient. 11and to ancient Chinese paintings, especially women in classical Chinese scroll paintings, often based on from mythological figures. 11His costume designs then became known as guzhuang due to their relationship with ancient China, in particular the pre-Qing dynasty period from which his costumes designs were based. 189,327 The guzhuang developed by Mei Lanfang different from the traditional Chinese opera costumes in some aspects: the skirts were longer; the skirt was worn under the jacket to make the character look slimmer; the water sleeves were longer and wider; and the accessories were less gaudy. The guzhuang designed by Mei Lanfang is characterized with fitted waist. 11 Other performers such as Ouyang Yuqian and Feng Zihe also contributed to the development of the guzhuang design. Guzhuang are typically used in Chinese television drama and movies. 66 Guzhuang is also depicted in animations, including donghua and Chinese-theme animations produced outside of China. Wuxia, and Xianxia genre. The first film produced in China was Dingjun Mountain in 1905 which depicted extracted scenes from a Beijing opera play performed by Tan Xinpei. In terms of genre, it can be classified as xiqupian (Chinese: 戏曲片; pinyin: xìqǔpiàn; lit. 289-290 The 1920s was marked by the adaptation of traditional Chinese indigenous genre into cinema. 289 The film was based on the 70th and 71st chapters of the Romance of the Three Kingdoms. 289 These genres were adapted from Chinese literature and from the Chinese opera stage play as a countermovement against the prevalence of European and American film products. 290 The Tianyi Film Company was a major studio which specialized in Chinese genres at that time; its succeeding company, the Shaw Brothers Studio in Hong Kong continued to produce indigenous Chinese genres, such as Huangmei opera films and guzhuang epics. 292 is indigenous genre to China and first emerged in the 1920s in China. Guzhuangpian (Chinese: 古裝片; pinyin: gǔzhuāngzpiàn; lit. This genre is similar to costume drama, period film, and historical film. However, by definition the term gu (Chinese: 古; pinyin: gǔ), which literally means “ancient”, does not refer to films and dramas which are set in the Republic of China as the Republican period is a symbol of modernity and the end of tradition. 189 Guzhuangpian also typically depict adaptations of traditional Chinese folktales, plays, and popular novels. 38 Liang Shanbo and Zhu Yingtai produced in 1953 by the Shanghai Film Studio. 41 As a distinct genre, it is characterized by its focus on ancient history and historical personalities. 290 The origins of Wuxia genre in cinema, however, is quite recent and emerged in the 20th century. The tradition of Wuxia is over two thousand years old having been passed through Chinese folklore, novels, historiography, and popular performing traditions (such as Tanci and Chinese opera). 290 In cinema, the Wuxia genre can be traced back to the guzhuangpian and shenguaipian genre as one of its derivatives. The shenguaipian (Chinese: 神怪片) genre, which often depicts Xian-immortals and demons, was also developed in the 20th century and was also a derivatives of the guzhuangpian. 292 and therefore, it did not always involve the wearing of guzhuang. 293 The Wuxia genre tends to dress its characters into guzhuang. 26 In the 21st century, the Wuxia genre can be a guzhuangpian and a shenguaipian movie. The Xianxia genre typically involves Xian-immortals and immortality cultivation. Most guzhuang used in the production of television dramas, movies and animations do not conform to historical facts and/or are fantasy-inspired. It is also possible for various ethnic Chinese elements to be mixed and matched when designing guzhuang; combining modern fashion elements and/or western-style clothing elements can also be done. When designing guzhuang for films and television dramas, costumes designers consider the modern aesthetic taste of its audience while also conforming and respecting the historical reality. Some guzhuang are based on different existing historical clothing worn in different dynasties, and/or inspired by Chinese opera costumes, and murals (e.g. Dunhuang frescoes); they would sometimes have features, or have attire, added, removed, simplified, to create a desired visual impact or to meet the production needs. Moreover, in most movies and television drama, the colours, style, and pattern of guzhuang are also based on the characters found in the script; these costumes characteristics are used to better shape the character’s image and to allow the audience better understand the character through his visual image and to allow for the distinction between characters. The guzhuang used in the Xianxia genre, for example, is based on the historical hanfu, but is modernized in terms of design resulting in the guzhuang being different from its historical version. It is also impossible for costume designers to fully restore garment and garment-related artefacts; and therefore, guzhuang designers need to innovate their costume designs based on historical facts. Characters wearing guzhuang, for example, can have a colour theme which reflect his initial personality; however, this colour theme may change throughout the character development. 286 it originally followed similar visual aesthetics as the Japanese shoujo manga in its early development before starting to develop Chinese characteristics between the 2000s and early 2010, after 2010s, shaonu manhua became distinct from the Japanese shoujo manga both in terms of visual aesthetics and storyline. 288 In the mid-2010s, gufeng manhua and gufeng shaonu manhua (i.e. stories adapted from Chinese history and legendary tales, and fictional love stories set in imperial China) became popular. Guzhuang can be found in Manhua, such as gufeng manhua (lit. 288 Chang Ge Xing by Xia Da, Gu Fang Bu Zi Shang (孤芳不自賞) by Feng Nong, etc. Guzhuang can also be found in manhwa, such as Bride of the Water God by Yun Mi-kyung, and in the Chinese-theme Japanese manga, such as Saiunkoku Monogatari by Yura Kairi. Guzhuang is often confused with or misinterpreted as Hanfu by most people who are not familiar with Hanfu. And, some Hanfu enthusiasts also wear it instead of wearing Hanfu. Guzhuang is, however, also a factor of influence (among many others) to the design of modern Hanfu; for example, the design of Wei-Jin style (Chinese: 魏晋风; pinyin: Wèijìnfēng; lit. Hanfu is a relatively modern design which was influenced by Chinese movies and television drama series and does not exist in history. Guzhuang found in Xianxia television drama have also left a deep impact on Chinese audience. Another guzhuang-style costume which has influenced modern clothing in modern-day China is the Xiuhefu designed by costume designer Ye Jintian in 2001 for the role of drama female character Xiu He, played by Chinese actress Zhou Xun, in the Chinese television drama Juzi Hongle (橘子紅了; ‘Orange turned red’), a drama set in the Republican era of China. Although the drama was set in the Republic of China, the costume was mainly inspired by the Hanfu of the Qing dynasty, especially those used in the late years of the Qing dynasty in the 1910s as part of the bridal attire. While basing himself on the clothing of the Qing dynasty, Ye Jintian, however, did not fully respected the historical accuracy of the dress and instead mixed several elements together from similar eras in his costume design. Many Xianxia fans also wear Hanfu in their everyday lives, which then promote the growing Hanfu industry. As the Xiuhefu gives a feeling of dignity and beauty to its wearer, the Xiuhefu designed by Ye Jintian became progressively popular and eventually became a form of traditional Chinese-style wedding dress chosen by many Chinese brides during their marriage nowadays. This new category of role was called huashan (lit. Guzhuang xinxi depicted plays which were adaptations of Chinese stories and folklores, such as Chang’e flies to the moon and Daiyu buries flowers. The Untamed: Design and Concept for more details. The costumes which are typically worn in Huangmei opera are typically guzhuang-style. The Wei-jin style should not be confused with the Hanfu worn in the Wei and Jin dynasties, see page Hanfu for more details. Honolulu: University of Hawaiʻi Press. Bonds, Alexandra B. (2008). Beijing opera costumes: the visual communication of character and culture. Gao, Yuemei (2020). “Research on the Innovative Design of Ancient Costumes in Chinese Film and Tv Plays in the New Era” (PDF). Yujuan, Jing (2021). Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama (Master thesis). Zhang, Yingjin (1998). Encyclopedia of Chinese film. Zhiwei Xiao. London: Routledge. Xu, Jiaxuan (2019). Exploring Hanfu (Fashion Clothing and Textile Design thesis). Teo, Stephen (2019). Wong Kar-Wai. Tian, Min (2012). Mei Lanfang and the twentieth-century international stage : Chinese theatre placed and displaced (1st ed.). Li, Ruru (2010). The soul of Beijing opera : theatrical creativity and continuity in the changing world. Macdonald, Sean (2016). Animation in China : history, aesthetics, media. Hong Kong: Hong Kong University Press. Fan, Xing (2018). Staging revolution : artistry and aesthetics in model beijing opera during the cultural revolution. Ye, Tan (2020). Historical dictionary of Chinese theater (Second ed.). Yan, Yuqian (2019). The Ancient as Enchantment: Cinematic Representation of the Past in Republican China (Thesis). The University of Chicago. Zang, Na (2019). “The Application of National Elements in Animation Costume Design”. 319. Atlantis Press. pp. Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019). Vol. Xuelei, Huang (2014). Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922-1938. Leiden: BRILL. Yingjin Zhang, ed. (2012). A Companion to Chinese Cinema. Art, Politics, and Commerce in Chinese Cinema. Ying Zhu, Stanley Rosen. Hong Kong: Hong Kong University Press. Zhang, Yingjin (2004). Chinese national cinema. Eileen Cheng-yin Chow, Carlos Rojas. Teo, Stephen (2009). Chinese martial arts cinema: the Wuxia tradition. The Oxford handbook of Chinese cinemas. Rawnsley, Gary D.; Ming-Yeh T. Rawnsley (2010). Global Chinese cinema : the culture and politics of “Hero”. New York, NY: Routledge. 2020). Love stories in China: the politics of intimacy in the twenty-first century. Wanning Sun; Ling Yang, eds. Lorraine Lim; Hye-Kyung Lee, eds. Meaghan Morris; Siu Leung Li; Stephen Ching-kiu Chan, eds. 2005). Hong Kong connections: transnational imagination in action cinema. 2019). Routledge handbook of cultural and creative industries in Asia. Teo, Stephen (2010). “6 The Martial Arts Film in Chinese Cinema: Historicism and the National”. Durham: Duke University Press. Hong Kong University Press. Mondor, Brooke (2021-04-25). “Why Mulan’s Costume From The Live-Action Mulan Makes No Sense”. Art, Politics, and Commerce in Chinese Cinema. Proceedings of the 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Vol. 87. Atlantis Press. pp. Wang, WeiPeng (2017). “Research on application of Chinese culture in animated movie KungFu Panda”. Chang-Yau Hoon; Ying-kit Chan, eds. 2021). Contesting Chineseness: ethnicity, identity, and nation in China and Southeast Asia. Tang, Lian; Wang, Chenyi (2022). “The Research on the Comparison of Hanfu Fashion Short Videos on Douyin and Tik Tok”. 631. Paris, France: Atlantis Press. Li, Yuling (2019). New meaning in traditional wedding dresses – Xiu He Fu and Long Feng Gua – in contemporary China / Li Yuling (masters thesis). Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021). Vol. This page was last edited on 18 November 2024, at 20:32 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
If you liked this article and you would certainly like to receive more details concerning cheongsam top 3xx kindly check out our web page.