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In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series. | In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series. | ||
| − | 1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings. For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance. | + | 1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings.[[File:Example(Peng Peixin).jpg]] For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance. |
2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality. | 2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality. | ||
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3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception. | 3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception. | ||
| − | 4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states. | + | 4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states. |
The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange. | The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange. | ||
Latest revision as of 03:29, 19 June 2025
The Application and Embodiment of Chinese Cinematic Aesthetics in The Legend of Zang Hai
202330092205 彭佩欣 Peng Peixin
Abstract: The Legend of Zang Hai (Zang Hai Zhuan) was the most popular Chinese historical political drama of 2025, another masterpiece directed by Zheng Xiaolong following The Legend of Zhen Huan. Every aspect, from characters and plot to dialogue and settings, demonstrates meticulous craftsmanship. The series garnered widespread acclaims both domestically and internationally. Its success stems not only from the production team's high-quality execution and the actors' superb performances but also from its cinematography, which is deeply imbued with the characteristics of Chinese aesthetics. This essay aims to conduct an in-depth analysis of the multi-dimensional features of Chinese cinematic aesthetics in The Legend of Zang Hai , exploring how it utilizes various techniques to shape artistic conception (yijing), convey spirit-resonance (qiyun), and intricately interweave with narrative. In doing so, it showcases artistic appeal while achieving cultural transmission.
Keywords: The Legend of Zang Hai (Zang Hai Zhuan), Chinese Aesthetics, Artistic Conception (Yijing), Lively Spirit-Resonance (Qiyun Shengsheng), Focus Perspective, Color Aesthetics
In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series.
1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings..jpg)
For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance.
2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality.
3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception.
4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states.
The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange.
References: (1) Zong, Baihua. (1981). A Stroll through Aesthetics M M. Shanghai: Shanghai People's Publishing House. (2) Ye, Lang. (2015). Beauty Lies in the Image-Conception M M. Beijing: Beijing United Publishing Co., Ltd. (3) Xie, He. (1959). The Record of the Classification of Old Painters (Guhuapinlu) M M. Beijing: People's Fine Arts Publishing House. (4) Wang, Qiang. (2020). The Transformation and Application of 'Qiyun Shengsheng' in Contemporary Film and Television Creation J J. Journal of Beijing Film Academy, (02). (5) Bachelard, Gaston. (2014). The Poetics of Space. (Pan Yihai, Trans.). Shanghai: Shanghai Translation Publishing House. (Original work published 1958) (6) Barnard, Malcolm. (2004). Approaches to Understanding Visual Culture. (Li Benbing, Trans.). Beijing: China Renmin University Press. (Original work published 2001)
Terms and Expressions: Artistic Conception (Yijing)意境 Empty Shot空镜头 Layered Lighting and Shadow光影层次 Lively Spirit-Resonance (Qiyun Shengsheng)气韵生动 Camera Movement 运镜 Viewing Journey (Youguan)游观 Flowing with Grace行云流水 Focus Perspective焦点透视 Dynamic Balance 动态平衡 Color Aesthetics色彩美学 Bamboo Green and Ink Black青墨色 Cyan-Blue青蓝色 Navy Blue藏青色 Dark Red and Deep Brown 暗红与深褐 Martial World (Jianghu) 江湖 Cultural Calling Card 文化名片 Spirit-Resonance (Qiyun)气韵 Color Collision 色彩碰撞 Questions: 1.What aspects of Chinese cinematic aesthetics are applied in The Legend of Zang Hai according to this paper? Crafting "Artistic Conception" (Yijing); Pursuing "Lively Spirit-Resonance" (Qiyun Shengsheng); Breaking "Focus Perspective"; Employing "Color Aesthetics" 2.What is the function of applying "Lively Spirit-Resonance" (Qiyun Shengsheng)? Immersive Storytelling & Emotional Flow; Expressing Vitality & Inner State 3.How are the profound implications conveyed in The Legend of Zang Hai ? Empty Shots.
《藏海传》中中式镜头美学的运用与体现
彭佩欣
摘要：《藏海传》是2025年最火爆的中国古装权谋剧，是郑晓龙导演继《甄嬛传》之后又打造的一部佳剧。从人物到剧情到台词到场景，每一个环节都独具匠心，该剧在海内外收获了一众好评，该剧的成功不仅离不开制作方的精良制作和演员的精湛演绎，而且其中的镜头场景极具中式美学的特征。本文旨在深入剖析《藏海传》中中式镜头美学的多维特征，探究其如何依托各类手法塑造意境、传递神韵，并与剧情叙事紧密交织，既展现艺术魅力，又实现文化传承。
关键词：藏海传，中式美学，意境，气韵生动，焦点透视，色彩美学
近年来，众多国产电视剧在镜头美学上下功夫，特别是国产古装剧，将东方美学传播至海外各地，给影迷们贡献视觉盛宴。《藏海传》作为2025年国产古装剧的视觉美学标杆，其镜头语言深度植根于中国传统艺术精神。该剧中体现的中式美学通过独特视觉表示出来，延续和发展中华优秀传统文化。《藏海传》用独特的镜头语言将古典意境、气韵、空间观念等要素娓娓道来，为观众带来别具一格的视觉盛宴与文化浸润。下面会对《藏海传》中中式镜头美学的几个突出的多维特征进行介绍。
1.“意境”的营造。（叶 2015） 《藏海传》善于用空镜头来传达深远意蕴。如雪落庭院场景，空无一人的庭院中，雪花静静飘落堆积，无声的画面尽显萧索凄冷，为即将上演的权谋争斗、人物命运转折提前铺陈出凝重氛围，引得观众心生涟漪，提前沉浸其中。同时《藏海传》对光影层次的运用更是意境营造的妙笔，纱帘后，朦胧光影勾勒出人物婉约身姿、迷离面容，似真似幻，宛如从古画中走出。烛火下，剪影翩跹，人物或喜或悲、或谋或思的情绪隐匿于明暗交替间，含蓄又炽热，让观众透过光影间隙窥探人物心底隐秘，如临古典诗词所绘之境，余韵悠长。
2.“气韵生动”的追求。（王 2020） 《藏海传》中镜头缓缓推进于藏海在墓地中发现的壁画，长长的壁画宛如一幅古朴长卷（谢 1959），随着镜头推进徐徐展开，画面逐步聚焦壁画内容，不仅推动情节发展，还用运镜模拟出“游观”体验。观众同步和主人公窥探壁画奥秘，感受神秘氛围，气韵随之流动绵延。与此同时，人物动作也与镜头运动配合巧妙。如人物行礼时，镜头微微下沉、缓慢推进，身体前倾、双手交叠的恭敬动作纤毫毕现，礼法的庄重与人物的敬畏汇于画面。这一连串动作与镜头配合严丝合缝，仿若行云流水，尽展人物气韵与生命活力。
3.“焦点透视”的突破。（巴什拉 2014） 宫廷上朝场景中，文官和武官对称分布在大殿左右两侧，然而并非静态，侧留宫廷侍卫伫立，人物虽未处中心，却在对称框架里衍生出动态平衡。视线可自由穿梭于人物、建筑间隙，领略空间层次，挣脱西方透视桎梏，尽显东方自由空间观。
4.“色彩美学”的碰撞。（巴纳德 2004） 该剧整体色彩以中国传统颜色为主。宫廷场景，红墙金瓦，彰显皇家威严尊贵；江湖场景，青墨色晕染，竹海清流，还原自然的清幽本色；人物服饰，官场服饰采用青蓝色，象征沉稳庄重，郡主服饰采用红色和藏青色，凸显人物身份尊贵和性格活泼。危机四伏时，暗红和深褐充斥画面，营造压抑紧张的气氛。色彩的碰撞调和，精准锚定情绪坐标，强化叙事氛围，让观众一眼洞悉剧情走向、人物状态。
《藏海传》深度拥抱中式镜头美学，从意境营造的空镜头、光影，到气韵生动的运镜、动作配合，从焦点透视的打破到传统色彩美学的浸润，构造出极具东方神韵的影视奇观。它为国产电视剧创作开辟出中式美学新径，以传统文化为创意富矿，挖掘出深厚文化底蕴、独特艺术魅力；对外而言，更是一张响当当的文化名片，向世界昭示中华美学的博大精深，吸引全球目光聚焦东方影视，为文化输出、文明互鉴添砖加瓦。
参考文献 (1)宗白华. 《美学散步》[M]. 上海：上海人民出版社，1981. (2)叶朗. 《美在意象》[M]. 北京：北京联合出版公司，2015. (3)谢赫. 《古画品录》[M]. 北京：人民美术出版社，1959. (4)王强. 《“气韵生动” 在当代影视创作中的转化与应用》[J]. 《北京电影学院学报》，2020（02）. (5)[法] 加斯东・巴什拉. 《空间的诗学》[M]. 潘译海，译. 上海：上海译文出版社，2014. (6)[英] 马尔科姆・巴纳德. 《理解视觉文化的方法》[M]. 李本丙，译. 北京：中国人民大学出版社，2004. 问题： 1.本文讲了哪几个《藏海传》中中式镜头美学的运用？ 2.“气韵生动”的运用有什么作用？ 3.《藏海传》的深远意蕴通过什么来传达？ 我在此保证，我没有使用AI的帮助来写这门课程的期末论文。