电视剧《娘道》是由郭靖宇、巨兴茂执导，岳丽娜、于毅领衔主演，张少华、史可、刘智扬、肖茵、倪虹洁、杨昆、王绘春、张永刚、马赫等主演的76集年代剧，由北京完美建信影视文化有限公司、北京完美影视传媒有限责任公司、上海吉翔剧坊影视制作有限公司出品。

2016年4月19日，《娘道》在北京举行了开机仪式, 郭靖宇携手郭家班，匠心团队打造精良制作。服化道美术置景无一不见精心打磨，黄河布景壮观雄浑、深宅祠堂庄严肃穆、室内布置典雅考究，整体质感大气沉稳。为了将故事呈现，郭靖宇导演在制作上独具匠心，不仅采用4K拍摄，保证画面的精致程度，而且在北京怀柔、河北天漠、湖北红安等多地取景，持续数日拍摄千人场面的戏，力图打造最佳视觉效果。由于北京持续的重度雾霾天气严重影响了剧组的外景拍摄计划，郭靖宇导演决定带领团队完成一项“不可能的任务”。全剧组在北京共动用了15个特大摄影棚，将原本的外景戏份全部改为在内景拍摄，重新搭建出山西的大院和街道、隆氏家族府宅及祠堂。更有金马奖最佳造型设计陈敏正为该剧担任造型指导，融合中西方元素为该剧量身打造的服饰造型艺术效果出众，凸显奢华朴实兼备的质感。

在历时10个多月的艰苦拍摄后,《娘道》于2017年春节前正式杀青。经过后期精良的制作与反复仔细打磨，于2018年9月5日在北京卫视、江苏卫视首播，并在腾讯视频、爱奇艺、搜狐视频同步播出。

电视剧《娘道》讲述的是一个女性的传奇，一个母亲的传奇。故事聚焦民国初年，以平凡女子柳瑛娘与五个孩子聚散离合身世浮沉为主线，刻画了多个为爱无私奉献的母亲形象。

天之道，利而不害，人之道，为而不争，娘之道，哺而无求，养而无求，舍命而无求。这是一位身处乱世之中的母亲跌宕起伏的传奇一生！大河之畔，瑛子卖身葬父成了孝兴隆家的河姑，祭河死里逃生后，阴差阳错嫁给了隆家离家出走的二少爷继宗。当年的河姑突然成了二少奶奶，隆家怎肯相认？因腹中怀着隆家的孩子才得以入门，她为隆家的二少爷隆继宗先后生下了四个孩子，可命运多舛，继宗被奸人所害，瑛娘（岳丽娜饰）的四个孩子又相继丢失。失去了所有孩子的她也失去了活下去的希望，她欲投河时被神秘人所救，她收养了神秘人的孩子，取名五儿。从此，瑛娘便带着五儿开始了寻子之路，这一找就是十余年。

数年后，孩子们都长大了。他们有了各自不同的人生轨迹，有的一直在期待着与母亲的重聚，也有的却不愿承认自己有她这样一位不够光鲜的母亲。时局动荡，山河破碎，在敌人的威胁，土匪的逼迫，奸人的纠缠下，瑛娘一生不卑不亢，谱写了一部伟大的母爱传奇！

这是2018年电视荧幕上最虐心，最真实，最励志的故事。母亲与子女的骨肉分离、结拜兄弟因多角恋爱反目成仇、被小人阴谋陷害和无法逃脱的牢狱之灾……剧中影射出物欲横流路的现世诱惑，名利场的赤裸计较与计算，以及充斥的人心欲望与权力渴望。在经历诸多的分离与错过，背叛与救赎之后，平凡的瑛娘用她强大的信念和不悔终生的坚持筑起了一道坚不可摧的母爱之墙。

自2018年9月5日《娘道》首播以来，收视成绩斐然，收视率连续多日破2，CSM52城、CSM35城卫视收视率及酷云实时直播关注度均登顶单日数据榜第一，位2018年度卫视电视剧收视前茅，并于2019年6月3日在天津卫视二轮播出。

在网络上《娘道》亦引发全民讨论，多次冲上微博热搜榜并持续霸榜24小时。因故事结构精彩出众、情节密集、人物塑造立体出彩，内容包含情感纠葛、家族恩怨、抗日救国等，元素丰富引人入胜，网友纷纷评价其“高能精彩、看哭了、停不下来”。

《娘道》凭借其精良的制作、出色的收视率、一石激起千层浪的影响力，荣获“中国电视剧制作产业协会2018年度表彰优秀剧”、“2019文娱责任影响力·年度电视剧”。

长信传媒核心成员——造型大师陈敏正谈《娘道》

陈敏正，服装造型设计师，国家一级美术师，毕业于中央戏剧学院舞台美术系。1976年开始从事电影电视剧人物造型，1990年度 因电视艺术片《喜歌》获第五届星光奖“化妆单项奖”，1998年因《火烧阿房宫》获中国电影电视技术学会颁发的第二届“化妆金像奖”，2004年被选为中国电影电视化妆委员会常委，2008第29届北京奥林匹克运动会开幕式首席造型设计，2011年中国电视剧产业二十年突出贡献人物”，代表作品有《辛亥革命》《雪花与秘扇》《苍穹之昴》《甄嬛传》等。

从《甄嬛传》、《芈月传》、《武媚娘传奇》到2018年大热的《香蜜沉沉烬如霜》，包括张艺谋导演的《影》，陈敏正几乎包揽了近年影视作品中最火的人物造型。2018年，陈敏正凭借电影《影》在第55届台湾电影金马奖上荣获最佳造型设计奖。

而《娘道》作为年代传奇剧，不仅时间跨度大，人物性格也有很大差别，每个角色在不同阶段都会有属于自己的造型变化。所以，陈敏正在设计之初便确定了方向：“《娘道》是传奇，但还是现实主义的题材，不是一个架空的，所以人物的命运是鲜活的，是生活中有的。我们在设计和制作的时候，依然是现实主义创作手段。比如，人物设定是家族的状态下，我们就按照大家族的气质去设计。

提到隆氏家族，最令人印象深刻的就是祠堂和祭祀用的礼服。关于这套设计，陈敏正有着独到的见解：“这个家族应该是有比较源远流长的历史，会有他自己家族的管理方式、礼仪、不同的祭祀等一系列的家规。所以隆家的那个祭祀服里，应该有前朝的、家族祖辈上的一种礼仪传下来的服饰，所以加了一些古典元素，看起来有一些仪式感。”

《娘道》的女主角瑛娘经历了从年轻到中年再到老年，为充分展现人物变化，陈敏正在细节上花了更多的心思：“前期一出场她就已经是几个孩子的母亲了，不是一个少女，所以我们尽可能的给她简约。她毕竟在大家族里生活过，所以对她来讲穿衣服旧而不脏，整洁是这个人一个主题的个性。中年后孩子走失，等于人生的几大灾难全降临在头上的时候，我们本着布莱希特的表演方式，让观众看到传达的信息是——她已经落难，就足矣了。”

谈到跟演员的合作，陈敏正有着坚持多年的职业准则：“一定要跟演员做艺术沟通，因为只有让她找到感觉，这个时候去造型才会让她表现出来，演的也对。要是完全拧巴的，你赋予她的东西，未必是她能承载的，也未必是她愿意去表现的，造型一定要表演者符合她对角色的理解和心理定位。”

其实在《大秧歌》时，陈敏正与郭靖宇导演就有过默契的合作，所以这次为《娘道》设计造型，陈敏正也更加得心应手。“郭导形成了一种自己独特的编剧和导演风格，整个镜头里的表演方式相对来讲是比较外放式。做造型的时候，在整个设计方面也会稍微做一下外放，让人物所写的描述设定和他的外形达到统一。”或许正是二人对艺术追求的相互理解，才最终呈现出《娘道》里让人目不暇接的经典造型。

陈敏正所获其他荣誉：

1990年度 因电视艺术片《喜歌》获第五届星光奖“化妆单项奖”

1998年因《火烧阿房宫》获中国电影电视技术学会颁发的第二届“化妆金像奖”

2000年因《孙子兵法与三十六计》获中国电影电视技术学会颁发的“化妆金像奖”

2002年因多年的作品贡献被中国电影电视化妆委员会授予十位“当代优秀化妆师”荣誉称号

2004年因《成吉思汗》获中国电影电视技术学会颁发的“化妆金像奖”本年度的奖项

中国电影电视剧协会1998、2000、2004、2010和2011届化妆金像奖

中国电影电视技术学会颁发2008年北京奥运会特别贡献奖

2008年奥运会开幕式加盟《旗袍》

中国电视艺术学会2011中国电视剧产业二十年突出贡献人物”称号

2016年获全国电视制片业颁发的“十佳电视剧主创”

2018年获第55届台湾电影金马奖最佳造型设计奖

2019年获第13届亚洲电影大奖最佳造型设计奖

The TV series, Mother’s Life, was directed by Guo Jingyu and Ju Xingmao, starring Yue Lina and Yu Yi, Zhang Shaohua, Shi Ke, Liu Zhiyang, Xiao Yin, Ni Hongjie, Yang Kun, Wang Huichun and Zhang Yonggang. Produced by Beijing Perfect Jianxin Film & Television Culture Co. Ltd., Beijing Perfect Film & Television Media Co. Ltd., and Shanghai Jixiang Theater Square Movie & TV Production Co. Ltd.

On April 2016, Mother’s Life held a lensing ceremony in Beijing. Guo Jingyu and Guo Jiaban worked hand-in-hand with an excellent production team in creating this excellent piece of work. All the artistic scenes of Fuhua Road were meticulously created; the spectacular scenery of the Yellow River, the solemnity of the deep house, the elegant interior layout, and the overall texture speaks of grandiose and tranquility. In order to present the story, Director Guo Jingyu shot it in 4K resolution to ensure the exquisiteness of the frames. The scenes were shot in Beijing Huairou, Hebei Tianmo, Hubei Hong’an, and other places in order to create the best visual effects. Due to Beijing’s long-standing hazy weather condition, it severely affected the shooting plan for the outdoor scenes. Director Guo Jingyu decided to lead the team to complete an “impossible task.” The whole crew used 15 extra large studios in Beijing, changing all the original outdoor location scenes to be shot internally, and rebuilding the courtyards and streets of Shanxi, the Long Family House and the shrine in studios. In addition, the Golden Horse Award ‘Best Stylist’ recipient, Chen Minzheng, acted as the stylist for the drama; he fused both Chinese and Western elements in the costume design and tailored them specifically to the context and actors of this show. The costumes were artistically outstanding, prominently the overall texture that is lavish yet simple.

After more than 10 months of shooting, Mother’s Life officially wrapped up before the 2017 Spring Festival. After the high-quality post-production work and the subsequent refinements, it finally premiered on Beijing Satellite TV and Jiangsu Satellite TV on September 2018, and was simultaneously broadcasted on Tencent Video, iQiyi and Sohu Video.

The TV series, Mother’s Life, tells a legend of a woman and a mother. The story focuses on the early years of the Republic of China and an ordinary woman, Liu Yingniang, and her five children. The story portrays many images of mothers who dedicate themselves selflessly to their family.

This is the most heartfelt, authentic and inspirational story on the TV screen in 2018. The separation between a mother and her children, the blood brothers turning against one another due to their complicated romantic relationships, the devious schemes of the villain, and the inevitable imprisonment; this drama shed light on the various seductions of the world, how far one would go for fame and power, and one’s innermost desires and the thirst for power. After experiencing several separations and missed encounters, betrayal and redemption, Yingniang uses her strong belief and a “regret nothing” attitude to build an indestructible wall of motherly love.

Since the premiere of Mother’s Life on September 2018, the ratings have been outstanding, and have surpassed the 2% viewership rating. Ranked among the best few in the 2018 Annual Satellite TV Series, the series was also broadcasted for a second round on Tianjin Satellite TV on June 2019.

On the Internet, Mother’s Life has also triggered national discussions, repeatedly appeared on the Weibo hot search list and continued to dominate the list for 24 hours. The excellent story structure, the dense plot, the multi-dimensional characters and the topics such as emotional entanglement, family grudges, anti-Japanese resistance movement and etc, won many praises from the netizens for being “exceptional, engaging and tear-jerking.”

With its high-quality production and outstanding ratings, the series achieved the “China TV Drama Production Industry Association Awards for Outstanding Drama in 2018” and “2019 Cultural Responsibility Impact · Annual TV Drama.”

Key Player of G.H.Y Culture & Media – Makeup & Costume Designer Master Chen Min Zheng Talks About “Mother’s Life”

Having graduated from the Central Academy of Drama, Chen Min Zheng (陈敏正) is now China’s top makeup and costume designer. He started his career in styling movie and drama characters in 1976 and has won many awards and accolades.

From Empresses in the Palace (甄嬛传), The Legend of Mi Yue (芈月传), The Empress of China (武媚娘传奇), to the 2018 big hit Ashes of Love (香蜜沉沉烬如霜), Chen Min Zheng undertook almost all of the recent popular film and television character styling works. He also won the 55th Golden Horse Award for ‘Best Makeup & Costume Design’ for Chinese film director, Zhang Yimou’s, movie Shadow (影).

Mother’s Life is a legendary period drama, which spans over a few decades with contrasting characters traits. The characters each have their varied looks and styles at different stages of the drama. As such, Chen Min Zheng has already made a clear direction since the initial conceptualising stage. He said, “though Mother’s Life is a legendary drama, it is still under the umbrella of realism. The characters’ lives and destinies are very much relatable to real life situations. When we design and produce, we still retain the realism. For instance, when we have a character from a clan, we would have our design based on the aura that the family exudes.”

When it comes to the Long Family, the most impressive visual aspect would be the costumes used for the ancestral hall and sacrificial ceremonies. Chen Min Zheng has his particular view on this set of costume designs: “This family clan has a long family history, with its own house rules, traditions, etiquette, different rituals and etc. Hence, the ceremonial costumes should be handed down from previous dynasties and family ancestors. So some classic elements have been factored in to make it look more ritual-related.”

In Mother’s Life, Ying Niang’s life spans from young to middle to old age. In order to fully show the characteristic evolution of this role, Chen Min paid much attention to many details: “She was a mother of several children when she first appeared. We try to keep her appearance as plain as possible. After all, she comes from a big family, thus her clothes are old but not dirty. Tidiness is the focus of this role. Losing her children at her middle age is equivalent to Ying Niang losing her world. We want to show the audience how distressed she was.”

When it comes to working with actors, Chen Minzheng has a long-standing professional code of practice: “It is a must to have artistic communication with the actors because this is the only way they can feel the role, and styling can then further enhance their performance and acting the right way. It is crucial for actors to conform to their understanding of the role and psychological positioning.”

Chen Minzheng and Director Guo Jingyu had previously collaborated in Yangko Dance. Thus, when it came to styling for Mother’s Life this time round, Chen Minzheng finds the experience handy: “Director Guo has his own unique style in scripting and directing. He tends to amplify the entire design to let the characters stand out. Perhaps it was the mutual understanding of the artistic pursuit of these two that created the outstanding and memorable costume design for the drama.”