Guzhuang (costume)

{{See also|Xifu (Costume)|Dan role|label 1=Costumes in Chinese opera}}

In Chinese opera, plays depicting {{Transliteration|zh|guzhuang}} is called {{Transliteration|zh|guzhuangxi}} ({{Lang-zh|c=古装戏|p=gǔzhuāngxì|l=ancient costume drama}}), also known as {{Transliteration|zh|guzhuangxinxi}} ({{Lang-zh|c=古装新戏|p=gǔzhuāngxīnxì|l=ancient costume in new drama}}), or {{Transliteration|zh|guzhuanggewuju}} ({{Lang-zh|l=ancient-costume song-dance drama}}), were performed by Mei Lanfang.{{NoteTag|Guzhuang xinxi depicted plays which were adaptations of Chinese stories and folklores, such as Chang'e flies to the moon and Daiyu buries flowers.}}{{Cite book |last=Tian |first=Min |url=https://www.worldcat.org/oclc/774695418 |title=Mei Lanfang and the twentieth-century international stage : Chinese theatre placed and displaced |date=2012 |isbn=978-1-137-01043-8 |edition=1st |location=New York |oclc=774695418}}{{Cite book |last=Li |first=Ruru |url=https://www.worldcat.org/oclc/707092641 |title=The soul of Beijing opera : theatrical creativity and continuity in the changing world |date=2010 |publisher=Hong Kong University Press |isbn=978-988-220-580-2 |location=Hong Kong |oclc=707092641}}{{Rp|page=48}} {{Transliteration|zh|Guzhuangxi}} is an important concept in both the field of Chinese opera and to early Chinese film.{{Cite book |last=Macdonald |first=Sean |url=https://www.worldcat.org/oclc/932262066 |title=Animation in China : history, aesthetics, media |date=2016 |isbn=978-1-317-38215-7 |location=London |oclc=932262066}}{{Rp|page=81}}Mei Lanfang is also credited for having invented {{Transliteration|zh|guzhuangbanxiang}} ({{Lang-zh|c=古装扮相|p=gǔzhuāngbànxiāng|l=ancient-style stage images}}) which include the set of {{Transliteration|zh|guzhuang}} that he created along with {{Transliteration|zh|guzhuang tou}} ({{Lang-zh|l=ancient-style hairstyle}}).{{Cite book |last=Fan |first=Xing |url=https://www.worldcat.org/oclc/1031673079 |title=Staging revolution : artistry and aesthetics in model beijing opera during the cultural revolution |date=2018 |isbn=978-988-8455-16-4 |location=Hong Kong |oclc=1031673079}}{{Rp|page=213}}

This form of {{Transliteration|zh|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.{{NoteTag|This new category of role was called huashan (lit. 'flower shirt'), which combined the movements of qingyi, huadan, and martial dan.}}{{Rp|page=189}}{{Cite book |last=Ye |first=Tan |title=Historical dictionary of Chinese theater |date=2020 |isbn=978-1-5381-2064-4 |edition=Second |location=Lanham |oclc=1128888776}}{{Rp|page=11}} Therefore, Mei Lanfang designed new female costumes by referring to ancient Chinese sculptures{{Rp|page=11}}and to ancient Chinese paintings, especially women in classical Chinese scroll paintings, often based on from mythological figures.{{Rp|page=189}}{{Rp|page=48}} His goal was to make his costumes more elegant instead of making it look ancient.{{Rp|page=11}}His costume designs then became known as {{Transliteration|zh|guzhuang}} due to their relationship with ancient China, in particular the pre-Qing dynasty period from which his costumes designs were based.{{Rp|page=|pages=189, 327}}

The {{Transliteration|zh|guzhuang}} designed by Mei Lanfang is characterized with fitted waist.{{Rp|page=|pages=189, 327}} The {{Transliteration|zh|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.{{Rp|page=11}} Other performers such as Ouyang Yuqian and Feng Zihe also contributed to the development of the {{Transliteration|zh|guzhuang}} design.{{Rp|page=11}}

{{Transliteration|zh|Guzhuang}} are typically used in Chinese television drama and movies. They are often depicted in the {{Transliteration|zh|guzhuangpian}},{{Cite thesis |title=The Ancient as Enchantment: Cinematic Representation of the Past in Republican China |url=https://knowledge.uchicago.edu/record/1910 |publisher=The University of Chicago |date=2019 |doi=10.6082/uchicago.1910 |language=en |first=Yuqian |last=Yan}} {{Transliteration|zh|Wuxia}}, and {{Transliteration|zh|Xianxia}} genre.{{Rp|page=66}} {{Transliteration|zh|Guzhuang}} is also depicted in animations, including {{Transliteration|zh|donghua}} and Chinese-theme animations produced outside of China.{{Cite book |last=Zang |first=Na |title=Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019) |chapter=The Application of National Elements in Animation Costume Design |date=2019 |chapter-url=https://www.atlantis-press.com/proceedings/ichssr-19/125909109 |journal=Advances in Social Science, Education and Humanities Research |language=en |publisher=Atlantis Press |volume=319 |pages=189–192 |doi=10.2991/ichssr-19.2019.33 |isbn=978-94-6252-730-0|s2cid=198990188 }}

{{See also|Xifu (Costume)|label 1=Chinese opera costume}}

The first film produced in China was Dingjun Mountain in 1905 which depicted extracted scenes from a Beijing opera play performed by Tan Xinpei.{{Rp|page=289}} The film was based on the 70th and 71st chapters of the Romance of the Three Kingdoms.{{Cite web |date=2022 |title=The first film made by the Chinese themselves was directed by Ren Qingtai in 1905 and starring Tan Xinpei |url=https://inf.news/en/entertainment/6224a6ca43d5903601f7ee3f065be38c.html |website=iNews}} In terms of genre, it can be classified as {{Transliteration|zh|xiqupian}} ({{Lang-zh|c=戏曲片|p=xìqǔpiàn|l=Opera film}}), a historical costume film, or {{Transliteration|zh|Wuxia}}.{{Rp|page=|pages=289–290}} The 1920s was marked by the adaptation of traditional Chinese indigenous genre into cinema.{{Rp|page=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.{{Rp|page=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.{{NoteTag|The costumes which are typically worn in Huangmei opera are typically guzhuang-style. See page Xifu (costume) for more details}}{{Rp|page=291}}

File:Liang Shanbo and Zhu Yingtai (1954).jpg, a 1954 film.]]{{Transliteration|zh|Guzhuangpian}} ({{Lang-zh|c=古裝片|p=gǔzhuāngzpiàn|l=ancient costume film}}), also known as period costume film,{{Rp|page=292}} is indigenous genre to China and first emerged in the 1920s in China. This genre is similar to costume drama, period film, and historical film. However, by definition the term {{Transliteration|zh|gu}} ({{Lang-zh|c=古|p=gǔ|l=}}), 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.

{{Transliteration|zh|Guzhuang}} are therefore depicted in period drama (i.e. historical drama, which is also called {{Transliteration|zh|guzhuang}} drama) which are normally set in imperial China prior to 1911.{{Rp|page=189}} {{Transliteration|zh|Guzhuangpian}} also typically depict adaptations of traditional Chinese folktales, plays, and popular novels.{{Cite book |last=Xuelei |first=Huang |title=Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922-1938. |date=2014 |publisher=BRILL |isbn=978-90-04-27934-6 |location=Leiden |oclc=890982336}}{{Rp|page=41}} As a distinct genre, it is characterized by its focus on ancient history and historical personalities.{{Cite book |url=https://www.worldcat.org/oclc/781309627 |title=Art, Politics, and Commerce in Chinese Cinema |date=2010 |publisher=Hong Kong University Press |others=Ying Zhu, Stanley Rosen |isbn=978-988-220-528-4 |location=Hong Kong |oclc=781309627}}{{Rp|page=101}}

Some of the early Chinese movies depicting {{Transliteration|zh|guzhuang}} were based on Chinese opera play and Chinese folklore, such as {{Transliteration|zh|Liang Zhu tongshi}} (1926) and White Snake (1926) released by Tianyi Film Company;{{Cite book |last=Zhang |first=Yingjin |url=https://www.worldcat.org/oclc/56553397 |title=Chinese national cinema |date=2004 |publisher=Routledge |isbn=0-203-64583-9 |location=New York |oclc=56553397}}{{Rp|page=38}} Liang Shanbo and Zhu Yingtai produced in 1953 by the Shanghai Film Studio.{{Cite book |url=https://www.worldcat.org/oclc/884531940 |title=The Oxford handbook of Chinese cinemas |date=2013 |others=Eileen Cheng-yin Chow, Carlos Rojas |isbn=978-0-19-998331-5 |location=New York |oclc=884531940}}{{Rp|page=217}}

The tradition of {{Transliteration|zh|Wuxia}} is over two thousand years old having been passed through Chinese folklore, novels, historiography, and popular performing traditions (such as {{Transliteration|zh|Tanci}} and Chinese opera).{{Rp|page=|pages=290}} The origins of {{Transliteration|zh|Wuxia}} genre in cinema, however, is quite recent and emerged in the 20th century.{{Rp|page=|pages=290}} In cinema, the {{Transliteration|zh|Wuxia}} genre can be traced back to the {{Transliteration|zh|guzhuangpian}} and {{Transliteration|zh|shenguaipian}} genre as one of its derivatives.{{Cite book |title=A Companion to Chinese Cinema |date=2012 |editor=Yingjin Zhang |isbn=978-1-4443-5596-3 |location=New York |oclc=897591464}}{{Rp|page=292}}{{Rp|page=41}}{{Rp|page=292}}

The {{Transliteration|zh|shenguaipian}} ({{Lang-zh|c=神怪片}}) genre, which often depicts {{Transliteration|zh|Xian}}-immortals and demons, was also developed in the 20th century and was also a derivatives of the {{Transliteration|zh|guzhuangpian}}.{{Rp|page=41}}{{Rp|page=292}}

The {{Transliteration|zh|Wuxia}} genre was initiated by the Tianyi Film Company in 1925.{{Cite book |last=Teo |first=Stephen |title=Chinese martial arts cinema: the Wuxia tradition |date=2009 |isbn=978-0-7486-3251-0 |location=Edinburgh |oclc=398493357}}{{Rp|page=24}} The early {{Transliteration|zh|Wuxia}} genre, however, was also not always {{Transliteration|zh|guzhuangpian}};{{Rp|page=292}} and therefore, it did not always involve the wearing of {{Transliteration|zh|guzhuang}}.{{Rp|page=26}} In the 21st century, the {{Transliteration|zh|Wuxia}} genre can be a guzhuangpian and a {{Transliteration|zh|shenguaipian}} movie.{{Rp|page=293}} The {{Transliteration|zh|Wuxia}} genre tends to dress its characters into {{Transliteration|zh|guzhuang}}.{{Cite book |author1-link=Gary D. Rawnsley |last=Rawnsley |first=Gary D. |url=https://www.worldcat.org/oclc/1034981798 |title=Global Chinese cinema : the culture and politics of "Hero" |date=2010 |publisher=Routledge |author2-link=Ming-Yeh Rawnsley|author2=Ming-Yeh T. Rawnsley |isbn=978-1-135-28149-6 |location=New York, NY |oclc=1034981798}}{{Rp|page=95}}

The {{Transliteration|zh|Xianxia}} genre, which has grown in popularity in the 21st century,{{Cite book |title=Love stories in China: the politics of intimacy in the twenty-first century |date=2020 |editor=Wanning Sun |editor2=Ling Yang |isbn=978-0-429-27502-9 |location=London |oclc=1111577628}} is a sub-genre of {{Transliteration|zh|Wuxia}}.{{Cite book |title=Routledge handbook of cultural and creative industries in Asia |date=2019 |editor=Lorraine Lim |editor2=Hye-Kyung Lee |isbn=978-1-315-66050-9 |location=London |oclc=1078636862}} The Xianxia (genre) genre typically involves {{Transliteration|zh|Xian}}-immortals and immortality cultivation.

{{See also|Costume design}}

Most {{Transliteration|zh|guzhuang}} used in the production of television dramas, movies and animations do not conform to historical facts and/or are fantasy-inspired.{{Cite web |date=2021-01-05 |title=2021 latest updates on the Hanfu Movement - 2022 |url=https://www.newhanfu.com/1147.html |access-date=2022-05-31 |website=www.newhanfu.com |language=en-US}} Some {{Transliteration|zh|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. It is also possible for various ethnic Chinese elements to be mixed and matched when designing {{Transliteration|zh|guzhuang}}; combining modern fashion elements and/or western-style clothing elements can also be done.

When designing {{Transliteration|zh|guzhuang}} for films and television dramas, costumes designers consider the modern aesthetic taste of its audience while also conforming and respecting the historical reality.{{Cite journal |last=Gao |first=Yuemei |date=2020 |title=Research on the Innovative Design of Ancient Costumes in Chinese Film and Tv Plays in the New Era |url=https://webofproceedings.org/proceedings_series/ART2L/ICHCAD%202019/AD097.pdf |journal=2019 International Conference on Humanities, Cultures, Arts and Design |pages=481–485}} The {{Transliteration|zh|guzhuang}} used in the Xianxia (genre) 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.

Moreover, in most movies and television drama, the colours, style, and pattern of {{Transliteration|zh|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. Characters wearing {{Transliteration|zh|guzhuang}}, for example, can have a colour theme which reflect his initial personality; however, this colour theme may change throughout the character development. 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.

Examples of movies and dramas which uses {{Transliteration|zh|guzhuang}} are: The cave of the Silken Web (1927), Luoyang bridge (1928), Dragon Inn (1967), a Chinese Ghost Story (1987),{{Cite book |title=Hong Kong connections: transnational imagination in action cinema |date=2005 |publisher=Duke University Press |editor=Meaghan Morris |editor2=Siu Leung Li |editor3=Stephen Ching-kiu Chan |isbn=978-988-220-158-3 |location=Durham |oclc=642690004}}{{Rp|page=82}} The Swordsman (1990), Swordsman II (1992) and The East Is Red (1993), Ashes of Time (1994),{{Rp|page=66}} Hero (2002), House of Flying Daggers (2004), Curse of the golden flower (2006),{{Cite book |last=Teo |first=Stephen |url=https://www.jstor.org/stable/j.ctt1xwdjc |title=Art, Politics, and Commerce in Chinese Cinema |date=2010 |publisher=Hong Kong University Press |isbn=978-962-209-175-7 |pages=99–110 |chapter=6 The Martial Arts Film in Chinese Cinema: Historicism and the National|jstor=j.ctt1xwdjc }} The Empress of China (2014),{{Cite web |title=Fan Bingbing Shows Off Costumes in "The Empress of China" – JayneStars.com |url=https://www.jaynestars.com/tv-dramas/fan-bingbing-shows-off-costumes-in-the-empress-of-china/ |access-date=2022-06-01 |language=en-US}} The Journey of Flower (2015), The Princess Weiyoung (2016), Eternal Love (2017), Ruyi's Royal Love in the Palace (2018), The Untamed (2019),{{NoteTag|see page The Untamed: Design and Concept for more details.}} Mulan (2020 Film),{{Cite web |last=Mondor |first=Brooke |date=2021-04-25 |title=Why Mulan's Costume From The Live-Action Mulan Makes No Sense |url=https://www.looper.com/392189/why-mulans-costume-from-the-live-action-mulan-makes-no-sense/ |access-date=2022-06-01 |website=Looper.com |language=en-US}} and Word of Honour (2021), etc. Example of animations which depicts {{Transliteration|zh|guzhuang}} are: Mulan (1998 film), Kungfu panda.{{Cite book |last=Wang |first=WeiPeng |title=Proceedings of the 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016) |chapter=Research on application of Chinese culture in animated movie KungFu Panda |date=2017 |chapter-url=https://www.atlantis-press.com/proceedings/icemeet-16/25869147 |journal=Advances in Social Science, Education and Humanities Research |language=en |publisher=Atlantis Press |volume=87 |pages=420–422 |doi=10.2991/icemeet-16.2017.87 |isbn=978-94-6252-288-6}}

File:Hangzhou Library 38.jpg

{{Transliteration|zh|Guzhuang}} can be found in {{Transliteration|zh|Manhua}}, such as {{Transliteration|zh|gufeng manhua}} ({{Lang-zh|l=ancient-style manhua}}) and {{Transliteration|zh|shaonu manhua}}.{{Cite book |title=Contesting Chineseness: ethnicity, identity, and nation in China and Southeast Asia |date=2021 |editor=Chang-Yau Hoon |editor2=Ying-kit Chan |isbn=978-981-336-096-9 |location=Singapore |oclc=1244120099}}{{Rp|page=|pages=288–289}} {{Transliteration|zh|Shaonu manhua}} is a similar genre and a derivative of the shoujo manga;{{Rp|page=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, {{Transliteration|zh|shaonu manhua}} became distinct from the Japanese shoujo manga both in terms of visual aesthetics and storyline.{{Rp|page=288}} In the mid-2010s, {{Transliteration|zh|gufeng manhua}} and {{Transliteration|zh|gufeng shaonu manhua}} (i.e. stories adapted from Chinese history and legendary tales, and fictional love stories set in imperial China) became popular.{{Rp|page=289}} Examples of {{Transliteration|zh|guzhuang}} depicted in manhua can be found in Chang an Fantastic Night ({{Lang-zh|labels=no|c=长安幻夜}}) by Han Lu,{{Rp|page=291}} {{Transliteration|zh|You Yuan Jing Meng}} ({{Lang-zh|labels=no|c=游园惊梦}}) by Xia Da (released in 2008),{{Rp|page=288}} {{Transliteration|zh|Chang Ge Xing}} by Xia Da, {{Transliteration|zh|Gu Fang Bu Zi Shang}} ({{Lang-zh|labels=no|c=孤芳不自賞}}) by Feng Nong, etc. {{Transliteration|zh|Guzhuang}} can also be found in {{Transliteration|ko|manhwa}}, such as Bride of the Water God by Yun Mi-kyung, and in the Chinese-theme Japanese manga, such as {{Transliteration|ja|Saiunkoku Monogatari}} by Yura Kairi.

{{Main|Hanfu|}}

{{See also|Hanfu Movement}}File:武士.jpg

{{Transliteration|zh|Guzhuang}} is often confused with or misinterpreted as {{Transliteration|zh|Hanfu}} by most people who are not familiar with {{Transliteration|zh|Hanfu}}.{{Cite book |last1=Tang |first1=Lian |last2=Wang |first2=Chenyi |title=Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021) |chapter=The Research on the Comparison of Hanfu Fashion Short Videos on Douyin and Tik Tok |date=2022 |volume=631 |journal=Advances in Social Science, Education and Humanities Research |language=en |location=Paris, France |publisher=Atlantis Press |pages=64–69 |doi=10.2991/assehr.k.220105.014 |isbn=978-94-6239-512-1|s2cid=246330928 }} And, some {{Transliteration|zh|Hanfu}} enthusiasts also wear it instead of wearing {{Transliteration|zh|Hanfu}}. {{Transliteration|zh|Guzhuang}} is, however, also a factor of influence (among many others) to the design of modern {{Transliteration|zh|Hanfu}}; for example, the design of {{Transliteration|zh|Wei-Jin}} style ({{Lang-zh|c=魏晋风|p=Wèijìnfēng|l=Wei Jin style}}) {{Transliteration|zh|Hanfu}} is a relatively modern design which was influenced by Chinese movies and television drama series and does not exist in history.{{NoteTag|The Wei-jin style should not be confused with the Hanfu worn in the Wei and Jin dynasties, see page Hanfu for more details.}}{{Cite web |date=2020-10-24 |title=The Different Between Wei Jin Style & Wei Jin Dynasty Hanfu |url=https://www.newhanfu.com/7153.html |access-date=2022-05-31 |website=www.newhanfu.com |language=en-US}} {{Transliteration|zh|Guzhuang}} found in {{Transliteration|zh|Xianxia}} television drama have also left a deep impact on Chinese audience. Many {{Transliteration|zh|Xianxia}} fans also wear {{Transliteration|zh|Hanfu}} in their everyday lives, which then promote the growing {{Transliteration|zh|Hanfu}} industry.

Another {{Transliteration|zh|guzhuang}}-style costume which has influenced modern clothing in modern-day China is the {{Transliteration|zh|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 {{Transliteration|zh|Juzi Hongle}} ({{Lang-zh|c=橘子紅了|labels=no|l=Orange turned red}}), a drama set in the Republican era of China.{{Cite web |date=2022-08-18 |title=Chinese wedding dresses: Are we wearing cultural heritage or inventions of film and television dramas? |url=https://min.news/en/entertainment/a3a173a0210c59af7f6f85b0a8694ff9.html |website=iMedia}} Although the drama was set in the Republic of China, the costume was mainly inspired by the {{Transliteration|zh|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.{{Cite thesis |title=New meaning in traditional wedding dresses – Xiu He Fu and Long Feng Gua – in contemporary China / Li Yuling |url=http://studentsrepo.um.edu.my/11386/ |publisher=University of Malaya |date=2019 |degree=masters |first=Yuling |last=Li}} 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. As the {{Transliteration|zh|Xiuhefu}} gives a feeling of dignity and beauty to its wearer, the {{Transliteration|zh|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.{{Cite web |date=2022-08-18 |title=What is the difference between Xiuhefu and Fengguanxiapi? |url=https://inf.news/en/culture/dec4593d68de6026d51ee84b36c32e0f.html |website=iNews}}

{{Clear}}

• Hanfu
• Hanfu movement
• Qizhuang
• Chinese opera
• List of Chinese television series

{{Reflist|group=note}}

• The Cave of the Silken Web (1927)

Category:Performing arts

Category:Costume design