Wu Zetian, played by Yongmei in “The Wind Rises in Luoyang”, caused controversy, and scholars: Ancient Japanese aristocrats were not so chilling

A few days ago, Wu Zetian, a generation of empresses played by Yongmei in the TV series “Fengqi Luoyang”, caused controversy. Since his appearance, he has loose long hair and plain clothes, which is completely different from the common image of Wu Zetian with towering hair and gorgeous clothes in previous film and television dramas.

Some netizens praised this image as providing a new angle to interpret Wu Zetian and embodying a sense of beauty of “the road to simplicity”. Other netizens felt that this character’s appearance was inconsistent with historical facts, and even some netizens thought that it was similar to the image of Japanese Heian period aristocratic women hanging hair, questioning that the play Wu Zetian’s style was suspected of “replacing Tang with Wa”.

In this regard, Meng Hui, an expert member of the Xiang Culture Special Committee of the China Arts and Crafts Society, told the observer network that this shape has nothing to do with Wu Zetian, but also has nothing to do with the Tang Dynasty and the entire Chinese history, because the mainstream aesthetics of ancient China are the pursuit of gorgeousness and refinement. In addition, this look can not be said to be “replacing the Tang with the Wa”, because the exquisite makeup and clothing of Japanese female aristocrats is also a tradition, “When did the ancient Japanese aristocracy wear and makeup so cold?” ”

The image of Wu Zetian in “The Wind Rises in Luoyang”


Wu Zetian led to controversy,”

New interpretation


Replace Tang with the Wa


On December 1, “Fengqi Luoyang”, adapted from Ma Boyong’s novel “Luoyang”, began broadcasting. The play tells a series of stories that occurred during the Wuzhou period by a group of people from different classes to investigate the Luoyang unsolved case, and the “female saint” played by Yongmei in the play corresponds to the historical figure Wu Zetian, the founding monarch of Wuzhou who changed the name of the country to Zhou and fixed the capital Luoyang, and the only orthodox female emperor in Chinese history.

As the queen of the millennium topic, the big IP of the Tang Dynasty, Wu Zetian has been featured in many film and television dramas with the Tang Dynasty as the background. Not to mention, there are also many biographical TV series and movies. In “The Wind Rises in Luoyang”, Wu Zetian’s image is not the same as the image of common film and television dramas in the past.

In the second episode of the show, Wu Zetian, played by Berlin film queen Yongmei, appeared for the first time, and I saw her with her back to the courtiers, sitting on a futon in plain clothes, with long hair scattered and no headdress. When talking to the minister, she had a flat eyebrow, a smooth tone, and was not hurried.

As of the 24th episode broadcast on the evening of the 16th, this image of Wu Zetian has not changed in the play. And Wu Zetian, who was dressed in such plain clothes, gradually attracted the attention of netizens and caused a round of controversy around the character’s appearance.

Some netizens praised this character for subverting the past and providing a new angle to interpret Wu Zetian. These netizens believe that the empress at the peak of power, the plain clothes are the casualness of the emperor, and can also reflect a so-called “road to simplicity” beauty.

But other netizens felt inappropriate, they thought that even if the crew wanted to make a new interpretation of Wu Zetian, it should basically conform to the clothing and hairstyle of the Tang Dynasty.

Even some netizens also think that it is similar to the image of noble women in Japan’s Heian period with hanging hair, questioning that the play Wu Zetian’s style is suspected of “replacing Tang with Wa”.

Rokujo Concubine, or Rokujo Gosho, is a female character in the novel The Tale of Genji, set in the heyday of Japan’s Heian Dynasty

What is the image of Wu Zetian in film and television works?

In fact, before “The Wind Rises in Luoyang”, Wu Zetian’s film and television styling also experienced some controversy. Especially Liu Jialing’s version of Wu Zetian, whose “laurel eyebrows” makeup caused a lot of discussion at that time.

In 2010, the movie “Di Renjie’s Babel Empire” directed by Tsui Hark was released, in which Carina Lau played Wu Zetian, who was about to officially ascend the throne. And as soon as she appeared, in addition to her towering bun, the bizarre eyebrow shape was really eye-catching.

At that time, many viewers complained that this stubby eyebrow shape was strange and ugly. However, although “guiye eyebrows” are not common, they really existed in the Tang Dynasty. Yu Jia’an, the styling director of “Di Renjie’s Tongtian Empire”, also said that they deliberately adjusted their eyebrows into blocks with reference to the images of Tang Dynasty noble women in the mural.

In the Tang Dynasty ladies’ painting “Lady with Hairpins”, the woman’s eyebrow shape is a melon-shaped short eyebrow

In addition to facial makeup, unlike the plain clothes in “Feng Qi Luoyang”, each of Wu Zetian’s looks in “Di Renjie’s Tongtian Empire” is extremely gorgeous. Yu Jia’an once introduced that she deliberately made Carina Liu’s hairstyle towering and added many layers to her clothing. For example, in the training ground, Wu Zetian’s clothing has four layers of clothing, and each layer of clothing is four layers of material and embroidery to highlight Wu Zetian’s mighty momentum.

And Wu Zetian’s image of a high updo and gorgeous costumes can be seen in many film and television dramas.

Taking the 95th version of the “Wu Zetian” TV series as an example, Wu Zetian, played by Liu Xiaoqing, smiled brightly and brightly, which left a deep impression on many audiences. The styling in the play is also very exquisite, such as Wu Zetian when he was a girl, he combed a lively double bun, because he was not powerful, the headdress was a simple flower dian, a head rope, and his clothes were less embroidered.

After Wu Zetian was canonized as empress, her dress became obviously gorgeous, often combing a majestic updo, with various steps and rings.

When Wu Zetian became emperor, although her hairstyle was not as changeable as in her early years, and the color of her clothes was mostly bright yellow and dark black, the overall was more magnificent, majestic and noble.

Yang Shuyun, who was responsible for the costume design of the play, once said that his styling idea for the entire play is “a lifetime of honor and disgrace in makeup”.

In addition to the 95th version of Wu Zetian, Wu Zetian (played by Siqin Gaova) in “Wordless Tablet Song”, Wu Zetian (played by Gui Yalei) in “Words of the Daming Palace”, and Wu Zetian (played by Lv Zhong) in “Detective Di Renjie” are also in a tall bun, wearing jade, gemstones and other gold and silver ornaments, wearing dark clothing, looking quite majestic.

Siqin Gaova version of Wu Zetian

Gui Yalei version of Wu Zetian

Lü Zhong version Wu Zetian

There are so many film and television works that include the role of Wu Zetian that I will not list them all here. So aside from the image in film and television works, what should Wu Zetian look like in history?

Although the Empress Dowager is high in spring and autumn, she is good at self-smearing, although she does not feel its decline left and right

First of all, it is certain that the historical Wu Zetian should not be the image in “The Wind Rises in Luoyang”.

Meng Hui, an expert member of the China Arts and Crafts Society’s Incense Culture Special Committee who is the author of the “Manuscript of the History of Women’s Clothing in the Central Plains” and “The Story of the Fragrance of the Painting Hall”, said in an interview with the Observer Network that the shape of this plain dress in “Feng Qi Luoyang” has nothing to do with Wu Zetian, but also has nothing to do with the Tang Dynasty and the entire history of China. The Tang Dynasty did not have the concept of low-key luxury and connotation, but pursued high-profile luxury. “Not only the Tang people, but the entire history of China, is characterized by high-profile luxury.”

Meng Hui further introduced that the ancient Chinese popular color brocade, luo, yarn, and all kinds of high-end luxury silk, the upper class will not wear the clothes that seem to be made of cheap cloth in the play. Moreover, in ancient times, white clothing meant that this was undyed, colored, and low-grade clothing, which people with status would not wear.

It should be mentioned here that the underground palace of Famen Temple unearthed the “Empress Wu Embroidered Skirt One Waist” many years ago, and although this silk fabric is seriously decayed, it can still be seen that it is luxurious and exquisite. To a certain extent, it can also reflect the mainstream aesthetic tendencies of Wu Zetian’s society.

Meng Hui also pointed out that from the pre-Qin to the Qing dynasty, both men and women, hair must be combed well and cannot be draped. There are only two cases of hair captivity, one is to serve mourning, and the other is to become a criminal. And in the Tang Dynasty, women’s hairstyles and clothing styles changed richly, which is a constantly changing fashion history. The overall is gorgeous and luxurious, and the style is unbridled and very exaggerated.

At that time, Wu Zetian, like all other noble women of the Tang Dynasty, should have combed a high bun as an adult, and wore various gold and jade jewelry hairpins in the bun, including step shaking. wear a pullover-style long-sleeved shirt with narrow sleeves; Cover a half-arm (short-sleeved) short coat, this half-arm is generally made of colored brocade as the clothing, the material is relatively hard and straight, and it is also particularly gorgeous. The chest of the upper sleeve shirt and half of the arms was opened low, revealing the neck and part of the chest, so the ladies would wear necklaces. The lower body wears a long skirt that mops the floor, and sometimes a tulle skirt is worn over the long skirt of opaque clothing such as Luo Qi, and the feet are cocked. At the same time, they also wrap a drape around their shoulders, that is, a long shawl. These tops, skirts, and drapes are usually gorgeous and brightly colored, and processes such as embroidery, printing, and drawing are used on dresses, and pearl nailing, gold leaf, embroidery thread, etc. are also commonly used.

“If a person appears in front of others with his hair draped and dressed in white, it is provocation, it is madness, it is rude, disrespectful and offensive to all. Why did Wu Zetian offend herself, offend her world and Jiangshan? Meng Hui said.

In addition, Wu Zetian’s state of “facing the sky” in “Feng Qi Luoyang” is actually different from that of women in the Tang Dynasty. According to Meng Hui, in ancient times, women advocated heavy makeup, and everyone in the Tang Dynasty put or painted Hua Dan on their faces. In addition to sticking the sticker, Tang Dynasty women also had a very creative spirit to draw on their faces with their own hands. They often draw flowers on their foreheads, and on the sides of their cheeks are curved patterns similar to flowing clouds, flying clouds, and flying phoenixes, which are half abstract and half figurative, which especially tests the imagination of both the painting and the viewer. Therefore, about 1/3 of the area of a Tang Dynasty woman’s face with complete makeup is occupied by Hua Dian, and these golden or red small flowers are colorful and brilliant, which is even more eye-catching than the facial features themselves.

Tang Dynasty silk paintings unearthed in Dunhuang, Gansu, in the collection of the British Museum, originally preserved in the Dunhuang Tibetan Scripture Cave

Meng Hui believes that in this social atmosphere, Wu Zetian also attaches great importance to shaping the image through makeup and elaborate dressing, and she knows that in order to reign in the world, in addition to the performance of governing the country and the ability to defeat political opponents, persuasive demeanor is also important. For example, the “Zizhi Tongjian” recorded: “Although the Empress Dowager is high in spring and autumn, she is good at self-smearing, although she does not feel her decline left and right.” This shows that even as he is older, Wu Zetian attaches great importance to makeup. She took care of her personal image beautifully, so the subordinates around her thought that she was not old.

Meng Hui also joked that at that time, anyone who went to someone’s house with hair and white clothes would be immediately beaten out, and people would think that there was a “dead star”, and this person came deliberately with bad luck. If this person is still a woman without makeup, it will be even more terrifying, “people will immediately ask the mage to do it, to go to obscurity.”

In addition, in response to the questioning of netizens “replacing Tang with Wa”, Meng Hui believes that this plain hair style is not “replacing Tang with Wa”. Meng Hui said that it is also a tradition for Japanese female aristocrats to wear and dress delicately, “When did the ancient Japanese aristocracy have such cold clothes and makeup?” ”

The image of an aristocratic woman in the Japanese National Treasure “The Tale of Genji Picture Scroll”, although her hair hangs down, but her costumes are exquisite

As for why the producers of “Feng Qi Luoyang” chose this look, Meng Hui guessed that this is probably related to the specific interest of some people today, that is, they think that simplicity and simplicity are the highest realm.

“But there has never been such an idea in the Chinese of history, at least not in the mainstream. Everyone thinks that gorgeousness, delicacy and luxury can form beauty, not only the Tang Dynasty people did not advocate simplicity, but even Su Shi and their Song Dynasty literati did not have a simple concept. ”

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