What are the minutes in The Longest Day in Chang 'an that take you back to the advanced aesthetics of the Tang Dynasty?

The most common dress of Chang 'an officials, Shu Ren and soldiers, Hu Han's mix and match style is "lack of crotch robe"

The Taoist costumes referred to in the Tang Dynasty, the desire of the civilized class for Taoism in the Tang Dynasty, and the prevailing atmosphere of learning Taoism (such costumes were finally determined under the guidance of the Chinese Taoist Association). In the Tang Dynasty, the brocade Hu clothing absorbed the official clothing improved from the Western Region Hu clothing and the Central Plains robe clothing, and scarlet was a common dress color for middle and senior officials. Jacquard patterns and clothing colors all reflect the official rank. In the prosperous Tang Dynasty, women wore short shirts and skirts that reached their chests. In the Tang Dynasty, which took breast enhancement as the beauty, this kind of clothing could modify women's figure and look graceful and tall. Yellow shirts dyed with tulips and purple skirts dyed with Arnebia euchroma are popular trends in Kaiyuan Tianbao period. In actual combat, Tang Kai (the installation was so complicated that even the actors themselves laughed and said it was half short) was a model of Nuo opera in the Tang Dynasty (Nuo opera was an exorcism activity in the Tang Dynasty).

In addition to the rich historical background, the play is presented in the later color matching. The beauty of "traditional colors".

Anyone who has a little research on costumes should not be difficult to see that the "Tang costume" in No.12 Middle School not only does not imitate the "harmony flavor" of Japan, but is full of the "Hu flavor" of the western regions. "The Tang Dynasty is now in Japan" is sheer nonsense. You know, in the prosperous Tang Dynasty, it was not Japan that blended with the land culture of the Central Plains, but the western regions connected with the Silk Road. Narrow cuffs, upturned boots, at first glance, may feel that the screen is not satisfied, but this is the most real Chang' an scene. This point has also been faithfully restored in the play.

Not only the starring team, but also the exquisite shapes. Thousands of extras, none of them are perfunctory. For example, the youngest daughter of the barber's family is like jumping out of a portrait.