Himalayan Prince - Hu Xuehua Film Works

Author: Pombai
Publisher:
Publish Date: 2006-10-01
Features: A New Tibetan Style in Film – Design Notes on Costume Styling for The Prince of Himalayas
The film The Prince of Himalayas, adapted from Shakespeare's renowned play Hamlet, clearly indicates its Tibetan setting from its title. To better preserve the essence of Shakespearean drama, the director set the era in ancient Tibet. Films set in ancient Tibet are rare, and those focusing on the Tibetan royal family even rarer. For the creators, this presented a significant challenge yet an immense allure.
During the Tang and Song dynasties, the Central Plains of China were at the height of its historical glory. However, Tibet, located in the Himalayan region, suffered from scarce resources and extremely difficult transportation. The Tibetan people primarily led a nomadic lifestyle. As a result, even the royal court in this film might not have been particularly "luxurious." At least, it differed greatly from the superficial "extravagance" seen in the Central Plains. It should convey a sense of being "substantial, earthy, and restrained," yet also "rough and grand."
After more than half a year of research and continuous refinement during the production phase, the costumes largely achieved the artistic goals required for the film. From the outset, the design consciously avoided being constrained by real Tibetan attire. The effort was to capture its essence and strive for a sense of "spiritual resemblance" rather than mere "formal similarity." The aim was to create a new Tibetan style—a Tibetan aesthetic within the artistic world of The Prince of Himalayas.
Combining the Real and the Imagined, Emphasizing Spirit Over Form
The play is adapted from a foreign masterpiece, yet its setting is the "Himalayan" region, which can be understood as broader than just Tibet itself. The Tibetan ethnic group is ancient, and its unique geographical and living environments have led to relatively limited changes in its clothing, as evidenced by Tibetan murals. Therefore, a new creative approach was sought: Shakespeare’s original play is already highly poetic, so why not step beyond the confines of "Tibetan" and treat it more romantically?
Eight years prior, I had spent three consecutive years in Tibet for inspiration, leaving a deep impression on the clothing culture of the Tibetan people. Reflecting on these impressions, the following considerations were made:
a. Avoid the remnants of Qing Dynasty influence in Tibetan attire, removing habitual small decorations, and using elements from the broader Tibetan perspective without regional restrictions.
b. Start with the overall silhouette, preserving the basic structure of Tibetan clothing while treating it as a large, flexible canvas for creative manipulation.
c. All decorations were selected and reimagined as needed—drawing inspiration from the typical patterns of Tibetan nomadic tribes, ancient Egyptian decorative techniques, and Siberian indigenous designs, among others. Though heavily reimagined, common Tibetan color palettes like "red, blue, green, and black" were retained to maintain cultural resonance.
d. Final overall style definition: A blend of the real and the imagined. The basic silhouettes, large surfaces, and broad outlines were treated as "" (the abstract), while the decorations and patterns were treated as "" (the concrete), meticulously crafted. The goal was not to "formal resemblance" but to achieve "spiritual resemblance." With this framework, the design space expanded, allowing imagination to take flight within the guiding principles.
Royal Court Attire – Opulence and Refinement
The royal court scenes form the core of the entire play, with almost all major characters centered in this segment. Lhamo Loden (Hamlet), Osar Yoang (Ophelia), Chikun Zanpo (the father), Klawon (the uncle), Queen Nam (the mother), and Nima are all prominent figures in this part.