本文致力于考察与分析盛行于当代流行文化之中，以“古风”意象为出发点，包含于古风服饰、古风音乐与古风文学等在内的“古风”艺术现象。通过不同角度对古风文化的特性解析、影视剧中古风艺术的运用与展现以及在其发展过程中与经济、文化、政治的互动交流，由此复观更加广阔的“古风艺术文化”。试图厘清古风文化在当代社会中所展现的文化图景。并期待通过激活中国艺术中的"古风"观念,为本土文化"当代性"的发展提出新观点，找到新出路。

第一章通过“古与今”、“中与西”、“雅与俗”三个维度，对古风文化的由来与发展进行全方位多视点的剖析阐释。其文化内涵虽来源于古典文化，在多元社会环境中逐渐发展成为具有“族群”内部文化认同效应的小众文化，展现出现代人对“古物”的审美执着和文化记忆的延伸与创作。伴随西方文化的强势破入，民族意识的不断觉醒，传统文化再次回归人们的视野，古风艺术创作者秉持“学古但不复古”态度，利用大众喜闻乐见的流行范式，结合现代审美实现了对传统文化的通俗化表达。

第二章聚焦以“古风服饰”、“古风音乐”以及“古风文学”为典型的艺术形式在影视剧中营造的“古风景观”，在“寻求自我”的文化意识中，古代意象符号转化而成的古风歌词和古风服饰，作为一种文化表征，既是思想连接与身份认同体现，也形成一种陌生的时距性审美特征，在当代语境中续写着传统文化的继承和创新。但也要时刻谨记艺术创作中文化“主体性”的重要性。影视剧中与传统古诗词与历史典故的大量使用，扩展了古代文本的话语空间。通过影视语言和叙事构成，体现了中国传统特色文化魅力，实现了民族文化认同和情感共鸣。

第三章转向古风文化在发展与传播过程中不可避免的与经济、政治、文化所产生的勾连与合谋。资本话语通过经济层面将古风艺术商品化，形成不同的审美形式和审美话语之间的对抗，但也要警惕在消费文化影响下历史文化资源的文化性被资本利益所裹挟，在怀旧氛围中消费者失去自我判断能力。但不可忽视的是，古风文化所蕴含的传统文化内涵，为当下政治话语和政治实践提供了新的政治视角，在传统和现代的关系中展现出积极的意识形态。

This paper is committed to investigating and analyzing the artistic phenomenon of "ancient style", which is popular in contemporary pop culture and takes the image of "ancient style" as the starting point, including ancient style clothing, ancient style music and ancient style literature. Through the analysis of the characteristics of ancient style culture from different angles, the application and display of ancient style art in film and television dramas, as well as the interactive communication with economy, culture and politics in the process of its development, we can revisit the broader "ancient style art culture". Trying to clarify the cultural picture of ancient culture in contemporary society. I hope that by activating the concept of "ancient style" of Chinese art tradition, I can provide a way of thinking for developing my own "Modernity".

The first chapter analyzes and explains the origin and development of ancient culture from three dimensions: ancient and present, China and the West and elegance and customs. Although its cultural connotation comes from classical culture, it has gradually developed into a minority culture with the internal cultural identity effect of "ethnic groups" in a pluralistic social environment, showing the aesthetic attachment of generations to "antiques" and the extension and creation of cultural memory. With the strong breakthrough of western culture and the continuous awakening of national consciousness, traditional culture returns to people's vision again. The creators of ancient style art adhere to the attitude of "learning from the ancient but not returning to the ancient", make use of the popular paradigm loved by the public and combine modern aesthetics to realize the popular expression of traditional culture.

The second chapter focuses on the "ancient style landscape" created in film and television dramas with "ancient style clothing", "ancient style music" and "ancient style literature" as typical artistic forms. In the cultural consciousness of "seeking self", ancient image symbols are transformed into ancient style lyrics and ancient style clothing. As a cultural representation, it is not only the embodiment of ideological connection and identity, but also forms an unfamiliar time-lapse aesthetic feature, In the contemporary context, it continues to write the inheritance and innovation of traditional culture. However, we should always bear in mind the importance of cultural "subjectivity" in artistic creation. The extensive use of traditional ancient poetry and historical allusions in film and television plays has expanded the discourse space of ancient texts. Through the film and television language and narrative composition, it reflects the charm of Chinese traditional culture and realizes national cultural identity and emotional resonance.

In the third chapter, the author turns to the inevitable collusion and collusion with economy, politics and culture in the process of development and dissemination of ancient culture. Capital discourse commercializes ancient style art through the economic level, forming a confrontation between different aesthetic forms and aesthetic discourse. However, we should also be vigilant that under the influence of consumer culture, the cultural nature of historical and cultural resources is coerced by capital interests, and consumers lose their self judgment ability in the nostalgic atmosphere. However, what cannot be ignored is the traditional cultural connotation contained in the ancient culture, which provides a new political perspective for the current political discourse and political practice, and shows a positive ideology in the relationship between tradition and modernity.