习近平总书记在文艺座谈会上的讲话中指出：“文艺批评是文艺创作的一面镜子、一剂良药，是引导创作、多出精品、提高审美、引领风尚的重要力量。”面对网络文艺在媒介文化环境中的不断演变，相应的批评应在现象领域作出盘整与阐述，在价值维度作出引导与甄明。近年来，中国古装网络剧发展逐步迈入精品化道路，涌现出一批兼具口碑效应和市场热度的作品。基于新时代文艺高峰创作的向度量定古装网络剧取得的成就，可以发现它不仅与现实题材剧构成了中国网络剧市场的主要类型，也借助中华优秀文化的镜语转译，具备了赓续民族自信、体认家国情怀、滋养社会心理的意义。但在这种精品化创作的趋向下，也有某些作品存在“去价值化”“去历史化”的现象。

与之相应，当下学界关于古装网络剧的研究，尚缺乏一种评论话语体系的全面建立和深入研究，批评案例的散乱与力度不足使得古装网络剧批评总体上不足以支撑该类题材的发展态势，也未能形成体系化、专门化的理论研究。建立中国古装网络剧文化批评的体系，可以使其成为沟通网络剧作品与观众、产业及其艺术之间的纽带，为其创作的精品化道路起到趋利避害的反哺作用，进一步彰显中华优秀传统文化中的经世致用精神和务实风格，避免陷入文艺鉴赏“有眼无心”的境遇。

本文基于古装网络剧文化批评的时代语境、文本面向、媒介逻辑与大众接受维度，充分运用中华优秀传统文化与美学的宝贵资源，为中国网络剧创作与批评开拓更为广阔的研究领域与深度的文化空间，探索面向未来理论创新的可能。首先，从时代背景层面思考，古装网络剧作为一种新的媒介形态，其意义结构与网络文化环境有着密切联系，对代表性作品进行文本细读，不仅有助于昭示该类题材艺术形式和思想内容的成功经验，也为作品突破后现代文化的原生语境、积极融入主流价值观的途径作出理论层面的思考；其次，从作品文本层面而言，考察古装网络剧开创的故事世界与审美经验内蕴历史与当下相连的精神场域，其母题、内容与形式等维度的价值意义，和当下的社会情感结构相贴合，以此发现其不仅彰显出该类题材“平民史诗”的艺术质感，也集中性地展示了传统文化中“民间”这一范畴的成功转化；再次，从生产机制层面观之，古装网络剧创作者及其签约的网络剧生产平台作为实践的主体，体现出剧场化、专门化、流水式的文化工业特征。尤其是网剧平台的头部剧集多改编自网络文学知名IP，脱胎于网络文学的草根性赋予了改编剧集趣味性、传奇化的特征；最后，从受众批评层面来看，古装网络剧的审美征候与青年亚文化语境有着密切的联系，并通过特殊的媒介特征表现出来，观众更容易在古装网络剧的“家国”主题中形成集体共鸣，通过弹幕空间的互动建立起民族文化共同体的想象。

Facing the constant evolution of network literature and art in the media culture environment, the corresponding criticism should be consolidated and elaborated in the field of phenomenon, and guided and identified in the value dimension. In recent years, the development of Chinese costume online drama has gradually stepped into the path of excellence, and a number of works with both public praise and market popularity have emerged.Based on the achievements of costume online drama in the new era, it can be found that it not only constitutes the main type of Chinese online drama market with reality drama, but also has the significance of inheriting national confidence, recognizing national feelings and nourishing social psychology with the help of the mirror translation of excellent Chinese culture.But under the trend of this kind of creation, there are also some works that have the phenomenon of "de-valuing" and "de-historicizing".

Correspondingly, the current academic research on costume online drama still lacks a comprehensive establishment and in-depth study of a critical discourse system. The scattered and insufficient strength of criticism cases make the criticism of costume online drama in general insufficient to support the development trend of this kind of theme, and has not formed a systematic and specialized theoretical research.The establishment of the cultural criticism system of Chinese costume online drama can make it a link between online drama works and audiences, industry and art, and play a role in seeking profits and avoiding harms for the creation of boutique road, further highlight the pragmatic spirit and pragmatic style in excellent traditional Chinese culture, and avoid falling into the situation of "having eyes but not having heart".

Based on the era context, text orientation, media logic and public acceptance dimensions of the cultural criticism of costume online drama, this paper makes full use of the valuable resources of excellent traditional Chinese culture and aesthetics to explore a broader research field and deeper cultural space for the creation and criticism of Chinese online drama, and explore the possibility of future-oriented theoretical innovation. First of all, from the perspective of the era background, as a new form of media, the meaning structure of costume online drama is closely related to the network cultural environment. The text reading of representative works not only helps to reveal the successful experience of the artistic form and ideological content of this kind of theme, but also makes theoretical reflections on the way for the works to break through the original context of post-modern culture and actively integrate into the mainstream values. Secondly, from the perspective of the text of the works, the story world and aesthetic experience created by costume online drama contain the spiritual field of history and the present, and the value significance of the motif, content and form is consistent with the current social and emotional structure. It is found that it not only highlights the artistic texture of the "civilian epic" of this kind of theme, but also concentrates on the successful transformation of the "folk" category in traditional culture. Thirdly, from the perspective of production mechanism, the creators of ancient network dramas and the production platforms they sign as the main body of practice reflect the characteristics of theatrical, specialized and flow-type cultural industry. In particular, the first series of the network drama platform are mostly adapted from well-known IPs of network literature, which are born from the grass-roots nature of network literature and endowed with the characteristics of interesting and legendary adaptations. Finally, from the perspective of audience criticism, the aesthetic signs of ancient network dramas are closely related to the youth subcultural context, and are expressed through special media characteristics. The audience is more likely to form collective resonance in the theme of "home and country" in ancient network dramas, and to establish the imagination of national cultural community through the interaction of the barrage space.