The main characters in Peking Opera can be divided into four main types: sheng, dan, jing, and chou. #Paper cut in china facial makeup of peking opera how to#Yang Yudong, a successor of the intangible cultural heritage colorful Peking Opera masks, is teaching pupils how to paint Peking Opera facial masks. By the end of the 18th century, dramas from various regions had converged in Peking, and after a time of learning from and mingling with each other, they finally formed what we know today as the Peking Opera, of which Peking Opera facial makeup became a collection of expressive operatic facial makeup art. With the passing of time, each type of operatic style has become more defined, and each kind of facial makeup pattern used has been adapted to the features of each actor. Moreover, from this we can see why clowns are considered important Peking Opera roles.Įach theory, regardless of its authenticity, demonstrates how the design of opera facial makeup underwent a complex development process of rising in popularity and becoming a unique form of art in its own right. From then on, clowns painted their faces with a white block. At the last moment, the emperor performed this role in the show, but because he feared people would recognize him, he took off the square white jade pendant that hung on his clothes, and hung it on his headwear to cover his face. According to legend, one day an actor who played the comedy role suddenly fell ill right before the scheduled performance. After that people used “Pear Garden” to refer to Chinese opera. In the palace, there was even a special place for practicing singing and dancing opera called the Pear Garden. This emperor and his concubine Yang Yuhuan were both fond of performance art comprising of song and dance. Still yet another theory is that they originated with Emperor Li Longji (685-762) in the Tang Dynasty. Later the masks evolved into colored masks, which were the predecessors of facial makeup used in Peking Opera. During the performance, the dancers wore masks. In order to praise his outstanding military achievements, people wrote a song about him. The result worked wonders in greatly intimidating his enemy troops, much to his advantage. So, in order to enhance his image as a mighty general, he made himself a mask with the image of an evil ghost. This inevitably brought down the morale of his troops. The Prince of Lanling (541-573) had a beautiful face, and every time he led his troops into battle, he was always looked down upon as an inexperienced youth, all because of his pale looking face. Peking Opera facial makeup has some similarities with some of the markings found on oracle bones of dancers wearing masks, and the bronze masks of indigenous cultures.Īnother theory says that facial makeup originated in song and dance drama. One theory is that facial makeup began in ancient times as part of people’s devotion to primitive totem beliefs, from which people formed traditions of tattoos and facial makeup. When it comes to the origins of dramatic facial makeup, there are many theories. In other words, facial makeup is the portrait of each actor’s character.Īctually, many local operas around China have their own facial painting traditions. In addition to the color of the makeup, the characteristics, personality, moral character, and the like are displayed through the symbolic and exaggerated artistic designs on their faces. Audiences that are old hands of Peking opera can differentiate at first glance the heroes from the thugs, the intelligent from the foolish, liked from the despised, and so on just from the facial makeup painted on the actors’ faces. Over time, these designs have become a set stereotype. In traditional Peking Opera, each of the historical characters portrayed in the performance has its own unique design painted on the face of the actor. A Peking Opera actor is painting his face before going on stage.
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