The legend of the demon cat is basically expressed by illusion. Everyone likes to use "Yang Guifei" to compare the weather in the Tang Dynasty, and there is even a saying that the highest illusionist was when Xuanzong hanged Yang Guifei in the Tang Dynasty. These things are obviously elements of Japanese culture.
"The Longest Day in Chang 'an" used a lot of turbulent undercurrents in prosperous times, among which Lin Jiulang, the right-hand man, used cups against Gao Lishi and the Prince. Then I went to Gao Lishi to send a message to Li Bichuan, hinting at the real power struggle under the sage's words.
The Legend of the Demon Cat does contain a large number of costumes and buildings in the Tang Dynasty, but from the perspective of artistic composition, light and shadow aesthetics, it is obviously the color matching form of Japanese culture.
In the legend of the demon cat, it is understandable that the empty sea is not afraid to see the demon cat. Later, Qin Chun was not afraid to see the demon cat, and neither was Bai Letian. The emperor in front of him died miserably, and the officials beside him were not afraid. They are very, very calm.
This film is also a true Buddhist culture. In China culture, eminent monks are always calm and meticulous. Even the Jigong, praised by later generations, is crazy in appearance, knowledgeable in heart, and good at doing good and accumulating virtue.
However, in the legend of the demon cat, Guaweng, who sells melons in the street, later we know that he is Long Dan of Bailong, or the owner of Qingliu II.
This is the embodiment of Japanese culture. Buddhism in China is called "truth", while Japanese teachers of Yin and Yang are called "illusion".
Other Japanese cultures in the legend of the demon cat include that the demon cat killed the old maid-in-waiting after learning the truth.