User:Yang Lingyue

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Essay： Costumes: The Attire in Empresses in the Palace

Abstract Empresses in the Palace is one of the most popular Chinese TV dramas in recent decades. Audiences have scrutinized every detail of the show, from characters and plot to costumes and dialogue. The series owes its massive success to excellent production quality and the cast's stellar performances. Among these, the characters' costumes, which meticulously replicate the opulence of Qing Dynasty court attire, stand out. They reflect the personalities and psychological states of the characters, showcasing an exceptional attention to detail. This article examines the changes in Zhen Huan’s costumes over the ten-plus years of her life depicted in the drama, from her entry into the palace to her ascent as Empress Dowager. Keywords: Empresses in the Palace, costumes

Introduction The 76-episode TV drama Empresses in the Palace is adapted from the novel of the same name by Liu Lianzi. Directed by Zheng Xiaolong and produced by Beijing Television Art Center, it stars Sun Li, Chen Jianbin, and Ada Choi, among others. The story is set during the reign of Emperor Yongzheng in the Qing Dynasty and follows Zhen Huan, the protagonist, from her selection as a concubine in the imperial court to her transformation from an innocent young woman into a politically adept Empress Dowager amidst intense court rivalries.

The show premiered in 2011 and, according to data from Youku, remained immensely popular as of April 2022, with a heat index of approximately 8000. Over the past 13 years, it has consistently ranked among the top rewatched dramas. The enduring appeal of Empresses in the Palace stems from its superb production, particularly its costumes. The protagonist, Zhen Huan, dons 33 outfits throughout the series. Discussions frequently arise on social media, asking: "Which of Zhen Huan's outfits is your favorite?"

Zhen Huan’s costume choices evolve with her changing status in the palace. Below are some representative examples.

The Initial Ma Mian Skirt 1.At the beginning of the series, Zhen Huan wears a ma mian (horse-face) skirt adorned with ruyi patterns and motifs of abundant fruit. These designs not only symbolize good fortune but also express blessings for Zhen Huan’s character within the storyline.

2. The Light Purple Qipao Worn During the Selection Process During the selection process, Zhen Huan is dressed in a light purple qipao. The design is neither extravagant nor adorned with wide floral patterns, yet it remains uniquely captivating. This choice reflects Zhen Huan’s dual nature as both ordinary and distinct among the other candidates. The overall outfit lacks large floral decorations, with ruyi patterns subtly embellishing the sides. From the front, the design resembles a small tree, with the pattern spreading upward and the hemline becoming more intricate. This symbolizes Zhen Huan taking root in the imperial palace, foreshadowing her stable rise and eventual prominence in the future.

3.Zhen Huan's Initial Attire in the Palace Upon entering the palace, Zhen Huan initially feigned illness to protect herself. During this period, her clothing was plain, with simple and understated patterns, reflecting her low-profile approach to survival.

4.The Meeting with the Emperor It was not until her encounter with the Emperor that her attire began to feature more elaborate floral patterns, emphasizing her growing prominence and the narrative shift in her character’s exprience.File:Example4.jpg

5.Zhen Huan’s Rise to Favor As Zhen Huan gained the Emperor's favor, her outfits incorporated more intricate edging designs. Early designs featured lotus patterns, symbolizing her longing for love and detachment from the palace intrigue. One standout piece was a blue qipao edged with lotus motifs, complemented by dragonfly prints across the fabric. This design also reflected Zhen Huan's yearning for freedom amidst the constraints of her environment.File:Example5.jpg

6.Subtle Elegance with Peonies and Apricot Blossoms Later, peonies and apricot blossoms occasionally appeared in Zhen Huan’s wardrobe. When she privately met with her close friend Mei Zhuang, her attire was even more understated, with patterns so subtle that they seemed to blend seamlessly into the fabric. Even the auspicious patterns on her ceremonial outfits were subdued, reflecting her detachment and lack of ambition for power.File:Example6.jpg

7.After Hua Fei's Fall from Favor Following Hua Fei’s downfall, Zhen Huan’s costumes began to incorporate more peony motifs, and their symbolism grew richer. One striking example is a cloak adorned with a magpie flying onto a plum tree, with vividly printed plum blossoms. Compared to earlier designs, this outfit was more refined and majestic, symbolizing the magpie heralding the arrival of spring and foreshadowing Zhen Huan’s triumph after enduring hardship.File:Example7.jpg

8.Retreat to the Temple Unexpectedly, disillusioned with the court, Zhen Huan decided to enter a temple. Her temple attire was plain and austere, consistent with a life devoted to Buddhism. However, during a walk with Prince Guo in the mountains, her clothing featured subtle patterns for the first time in this period—a combination of butterflies, flowers, and green leaves. This design added a touch of charm to her otherwise simple garments, while also carrying profound symbolism, representing a fleeting moment of beauty and vitality in her otherwise somber existence.File:Example8.jpg

9. Becoming Niohuru Zhen Huan When Zhen Huan was granted the title Niohuru Zhen Huan, she wore a long robe embroidered with peonies, exuding simplicity and elegance. By the time she was preparing to re-enter the palace, she had already risen to the rank of a third-rank noblewoman. Her ceremonial attire followed historical records, featuring ruyi patterns and a mandarin square badge on her chest. The design included two frontal and six rear mang patterns on her ceremonial robe, layered over the auspicious dress she would wear after returning to the palace.File:Example9.jpg

10. Zhen Huan's Grand Attire After Returning to the Palace After re-entering the palace, Zhen Huan’s attire grew increasingly extravagant. Peonies adorned her outfits, emphasizing their luxurious elegance. Her cloak during this period was also decorated with ruyi and peony motifs, reflecting her elevated status in the court. The once-subdued auspicious patterns on her ceremonial outfits were replaced by bold dragon embroidery on the shoulders, front, back, cuffs, and seams, showcasing the grandeur and authority befitting her royal position.File:Example10.jpg

11. Zhen Huan as Empress Dowager As Empress Dowager, Zhen Huan wore ceremonial robes adorned with dragon patterns and five-colored clouds in her later years. These designs gave her an imposing presence, conveying a sense of authority that required no outward display of anger.File:Example11.jpg

Conclusion The use of clothing patterns in Empresses in the Palace not only inherited the traditional cultural symbolism of auspicious motifs but also highlighted the characters' roles and personalities. This method of integrating traditional attire patterns with character development enhanced the overall visual impact of the drama, perfectly complementing the designs and styles of the costumes. (Sun, 2018)

Glossary 词汇表 Empresses in the Palace 《后宫·甄嬛传》 Qing Dynasty 清朝 Ma Mian Skirt 马面裙 Ruyi Patterns 如意图案 Qipao 旗袍 Lotus Patterns 莲花图案 Peonies 牡丹花 Apricot Blossoms 杏花 Magpie and Plum Tree 喜鹊和梅树 Temple Attire 寺庙服饰 Niohuru Zhen Huan 钮祜禄·甄嬛 Dragon Patterns 龙纹图案 Five-Colored Clouds 五色祥云 Ceremonial Robes 礼服 Empress Dowager 皇太后

Questions: 1. Under what circumstances is Zhen Huan's attire in subdued colors? 2. Under what circumstances is Zhen Huan's attire in vibrant colors? 3. What are the characteristics of Zhen Huan's ceremonial attire after returning to the palace?

Reference [1]Liu, Liu. "An Analysis of the Dian Cui Craft in Qing Dynasty Court Headpieces Through Empresses in the Palace." Design, 2014, (09): 186-187. DOI:10.20055/j.cnki.1003-0069.2014.09.088. [2]Sun, Hui. "Research on the Application of Qing Dynasty Costume Culture in Empresses in the Palace." Liaoning Normal University, 2017. [3]Sun, Jiashan. "A Multi-Perspective Analysis of Empresses in the Palace." Theoretical Studies and Criticism of Literature and Art, 2012, (04): 27-35. DOI:10.16532/j.cnki.1002-9583.2012.04.024. [4]Zhang, Huiyu. "Cultural Revelation of Empresses in the Palace." Art Panorama, 2012, (05): 28-34. [5]Swatek, Catherine. "Staging Personhood: Costuming in Early Qing Drama, by Guojun Wang." T'oung Pao 109.1-2 (2023): 205-210.

服饰：《甄嬛传》中的服饰 摘要 《甄嬛传》是十几年以来中国影视作品中最火的一部电视剧，从人物到剧情到服饰到台词，中国人民“拿着放大镜”看《甄嬛传》。该剧的火爆离不开制片方的优良制作和演员的精湛演绎，其中人物的服饰复刻清朝宫廷服饰的雍容华贵，体现人物性格与心理，可谓细节满满。本文根据剧情节奏，介绍甄嬛从入宫到成为皇太后的十几年中，在人生不同阶段服饰的变化。 关键词：甄嬛传，服饰 介绍 76集长篇电视剧 《 后宫甄嬛传 》改 编自流潋紫所著的同名小说《后宫甄嬛传》，郑晓龙导演 ，北京电视艺术中心制作，孙俪、陈建斌、蔡少芬等人主演。讲述了清朝雍正年间，女主角甄嬛选秀入宫，在皇后、华妃等几方势力夹击与宫闱斗争中，从不谙世事的闺阁少女成长为善于权谋的圣母皇太后的故事。本剧于2011年上映，根据优酷视频播放平台数据显示，2022年4月，《甄嬛传》热度不减，热度值仍保持在8000左右，过去的13年里，《甄嬛传》稳居每年重刷TOP榜。《甄嬛传》经久不衰，因其各方面都是制作上乘，剧中的服装尤为如此，主人公甄嬛全剧中33套衣服，社交平台时不时发起这样的讨论：你觉得甄嬛哪一套衣服最好看？ 甄嬛的服饰选择随着她在宫中身份的变化而变化，下面选取几个典型案例进行介绍。 1.最初的马面裙施以如意纹路以及硕果累累的果实图案，不仅寓意吉祥更是对剧中人物甄 嬛的一种祝福。

2.选秀时，甄嬛着一身淡紫色旗装，没有华丽的设计，也没有宽边花纹陪衬，却又独一无二，体现了甄嬛在选秀的秀女中即普通又独特，整体衣服没有大片的花纹，侧面为如意图样，从正面看像是一颗小树，正面图案由下向上展开、底摆花纹更加明显，寓意着甄嬛将从此扎根皇宫、也预示着她的未来站得稳。

3.进宫后的甄嬛最初以病为由来保全自己，此时甄嬛的服饰素雅且图案单一。

4.直至与皇上遇见，服饰图案中才出现了大片的花纹来突显人物。

5.随后甄嬛得宠，服装中才出现镶滚的图案设计，最初设计为荷花，象征着甄嬛对爱情的憧憬以及对环境的漠视，一件蓝色荷花的镶滚图样，旗装整体印染蜻蜓，也体现了甄嬛对 自由的向往。

6.之后也间断出现了牡丹、杏花；私见眉庄时穿的服饰，图案更为素雅，几乎与衣服融为一体，剧中即使是吉服上的图案都比较低调，也体现了人物的与世无争。

7.到华妃失宠后，甄嬛的服饰则应用更多牡丹图样，服饰的寓意也更为丰富。其中一场身穿的斗篷，图案为喜鹊飞上梅，梅花也印染的十分逼真，较之前更是精巧更为大气，也隐喻着喜鹊早春报喜、甄嬛苦尽甘来。

8.可不曾想甄嬛看破红尘决心入寺，在寺中的衣服则为青灯古佛的大褂，其中甄嬛与果郡王漫步山间，甄嬛身上的服饰才有了些许花纹，为蝴蝶与花的组合配上绿叶，令人物在素净中不仅增添了情趣，又寓意深刻。

9.被封为钮祜禄甄嬛时，身穿牡丹刺绣长衫，素净可人，而当准备入宫时的甄嬛已是三品命妇，其中霞帔的图案紧随服饰史记载，如意花纹，胸前补子，服饰采用前行蟒二、后行蟒六；此时朝褂里穿的是进宫后的吉服。

10.进宫后的甄嬛在服饰图案上更加夸张，牡丹尽显雍容之态，此时的斗篷也为如意与牡丹花纹，可见甄嬛当时在宫中的地位，再出现的吉服图案已不是低调的图样，两肩、前后面、袖口以及连接处，都有龙腾刺绣，尽显皇室贵族风范。

11.到后期甄嬛当太后时所穿吉服饰有龙纹和五彩云，令人物给观众带来不怒自威的感觉。

《甄嬛传》中的服饰图案应用，在继承传统美好寓意的同时，也突出了剧中人物形象的设定。这样以传统服饰图案来衬托影视效果的方法，与服饰款式的作用相得益彰。（孙，2018）

词汇表 Empresses in the Palace 《后宫·甄嬛传》 Qing Dynasty 清朝 Ma Mian Skirt 马面裙 Ruyi Patterns 如意图案 Qipao 旗袍 Lotus Patterns 莲花图案 Peonies 牡丹花 Apricot Blossoms 杏花 Magpie and Plum Tree 喜鹊和梅树 Temple Attire 寺庙服饰 Niohuru Zhen Huan 钮祜禄·甄嬛 Dragon Patterns 龙纹图案 Five-Colored Clouds 五色祥云 Ceremonial Robes 礼服 Empress Dowager 皇太后

问题 1.什么情况下甄嬛的服饰色彩素雅？ 2.什么情况下甄嬛的服饰色彩浓烈？ 3.甄嬛回宫的吉服有什么特点？ 参考文献： [1]刘柳. 从《甄嬛传》浅析清代宫廷头饰中的点翠工艺[J]. 设计, 2014, (09): 186-187. DOI:10.20055/j.cnki.1003-0069.2014.09.088. [2]孙慧. 《甄嬛传》中清朝服饰文化应用研究[D]. 辽宁师范大学, 2017. [3]孙佳山. 多重视野下的《甄嬛传》[J]. 文艺理论与批评, 2012, (04): 27-35. DOI:10.16532/j.cnki.1002-9583.2012.04.024. [4]张慧瑜. 《后宫·甄嬛传》的文化启示录[J]. 艺术广角, 2012, (05): 28-34. [5]Swatek, Catherine. "Staging Personhood: Costuming in Early Qing Drama, by Guojun Wang." T'oung Pao 109.1-2 (2023): 205-210.