Facial makeup

Definition

Facial makeup is the painting on the faces of Chinese opera actors and is used as a makeup art for stage performances.

Characteristics

The main characteristics of facial makeup are as follows: 1. The contradictory unity of beauty and ugliness; 2. Close relationship with the character’s personality; 3. The pattern is stylized .

For different industries, Facebook has different situations. "Sheng" and "Dan" have simple facial make-up, with a little makeup, and are called "Jun face", "Simple face" and "Clean face". The facial paintings of "Jingxing" and "Chouxing" are more complicated, especially Jing, which is heavily painted with oil paint and has complex patterns, so it is called "painted face". Facial makeup in opera mainly refers to facial painting.

Chinese Peking Opera facial makeup art is a very favorite art category among opera lovers. It is very popular at home and abroad and has been recognized as a symbol of the traditional culture of the Chinese nation.

Facial makeup originated from the stage. We can see different styles of facial makeup images on some large buildings, product packaging, various porcelain and on the clothes people wear. This far exceeds the scope of stage application, which shows the position that facial makeup art occupies in people's minds and shows that facial makeup has strong vitality. Many international friends and domestic people of insight are exploring the mysteries of facial makeup out of curiosity and love for Chinese opera masks.

Categories of facial makeup

The facial makeup you see can be roughly divided into two categories. One is arts and crafts facial makeup. This type of facial makeup is based on the artist's own imagination, using painting, weaving, embroidery and other techniques to create facial makeup products with different shapes and varied color patterns on the plaster face shape. This type of facial makeup has a certain ornamental value! The other type is practical facial makeup for the stage. This type of facial makeup is based on the needs of the plot and characters in the play. The actors use exaggerated techniques to outline facial makeup of different colors, patterns and patterns on the face.

The origin of facial makeup

There are several theories about the origin of stage facial makeup. One is from the song and dance dramas in the Northern and Southern Dynasties of my country and flourished in the Tang Dynasty. It is also called Da Mian or Dai Mian. The face is a man's unique object made to praise the military exploits and virtues of King Lanling. It is said that King Lanling is tall, long and respectful, brave and good at fighting, and looks like a woman. Every time he goes to battle, he wears a fierce mask and wins every time. In order to praise King Lanling, people created a solo dance for men, also wearing masks. Opera actors draw facial makeup on the stage to help enhance the personality, appearance, and status of the characters they play, to achieve rich stage colors, and to beautify the stage effect. Stage facial makeup is the harmonious unity of ideas and perceptions in people's minds.

Introduction to related facial makeup

Red face symbolizes loyalty, uprightness, and bloody nature, such as Guan Yu in "Three Kingdoms Opera" and Wu Han in "Zhan Jing Tang".

Others: It has an ironic meaning and means a fake good person.

Guan Yu (whole face is red)

Black face not only expresses a serious character and is unsmiling, such as Bao Zheng in "Bao Gong Opera"; it also symbolizes power, rudeness and boldness, such as: " Zhang Fei in "Three Kingdoms Opera", Li Kui in "Water Margin Opera", and Jiao Zan in "Yang Paifeng".

Others: Indicates the yin in yin and yang, used for ghosts. Dark skin or ugly appearance.

Zhang Fei (Black Cross Gate Butterfly Face)

White face shows cunning and suspicion, such as Cao Cao in "Three Kingdoms Opera" and Yan Song in "The Fighting of Yan Song".

Cao Cao (white face)

Blue face expresses upright character, arrogance and rebelliousness, such as: Ma Wu in "Up to the Sky", Dou in "Serial Set" Erdun.

Dou Erdun (blue flower three-tile face)

Purple face expresses solemnity, stability and a sense of justice, such as: Xu Yanzhao in "Second Entry into the Palace", "Fish Intestine" Zhuan Zhu in "Sword".

Others: bad complexion, ugly.

Zhang He (purple three-tile face)

The golden face symbolizes power and solemnity and expresses the role of gods. For example: Tathagata Buddha and Erlang God in "Havoc in Heaven".

Dapeng (golden elephant face)

Green face: brave and reckless. Such as: Xu Shiying in "White Water Beach"

Others: Green Forest Hero.

Others include yellow face, pink face, silver face, etc.

"Facial makeup" refers to the colorful makeup on the faces of male actors in traditional Chinese dramas. This kind of facial makeup is mainly used for Jing (painted face) and Chou (clown).

It has a certain format in form, color and type. Expert viewers can tell from facial makeup whether the character is a hero or a villain, smart or stupid, loved or hated. The charming facial makeup of Peking Opera holds a special place among the countless facial makeups in Chinese dramas. Peking Opera facial makeup is famous for its "symbolism" and "exaggeration". It uses exaggerated and deformed graphics to demonstrate the character's personality traits. The eyes, forehead and cheeks are often painted in the shape of bat, butterfly or swallow wings, together with an exaggerated mouth and nose, to create the desired facial effect.

The history of Facebook

The creation of Facebook has a long history. Facial makeup originated from masks. Facial makeup draws graphics directly on the face, while masks draw or cast graphics on other things and then wear them on the face. In ancient China, there were witch dances and Nuo dances in sacrificial activities. People often wear masks. North of Chengdu, Sichuan, among the cultural relics unearthed from the ancient Shu ruins "Sanxingdui", there are dozens of bronze masks, which were used in sacrificial rituals by the ancient Shu king Yufu 4,000 years ago. Changgong, the king of Lanling in the Northern Qi Dynasty, had a brave temperament and strong martial arts, but he was as handsome as a woman. When he fought, he wore a mask to increase his power. In the Tang Dynasty song and dance "The Entering Song of King Lanling", the actor who plays King Lanling must wear a mask. This may be the origin of facial makeup in drama.

Related records

Ancient masks had simple symbols, "concept symbols" and "emoticons", which were used to express a specific concept or expression. In the play , these symbols are painted directly on the face to express more complex and rich concepts and expressions. There are records of "painting the face" in the Tang Dynasty. Meng Jiao wrote in "Xian Ge Xing": "Drive the stall to beat the drum and play the flute, and you will lose weight." "Ghosts dye their faces but their teeth are white", which means that the faces are painted with dye to express the image of ghosts and gods. The sixth volume of "Qingkang Zhongzhi" in Xu Mengshen's "Beimen Huibian of Three Dynasties" in the Song Dynasty records that two sycophants of Song Huizong used "pink and ink" to paint their faces. "Make a good show", speak dirty words in the market, and confuse the emperor. In the Song Dynasty, "face painting" was divided into two categories: "cleansing" and "surface", and the painted face was also very simple. The purpose of painting a white nose and red eye circles was "to serve the purpose" "Funny". Because science and humor accounted for a large proportion in the Song Dynasty Zaju. The Yuan Dynasty Zaju was popular. In the large mural of "Da Xing San Le Zhong Du Xiu Performed Here", "all the positive characters in the Yuan Zaju" appeared. The composition of "face" breaks through the basic style of the past with white background and black lines, and has a certain color of character.

The Ming Dynasty was already the world of legendary dramas performed by Kun Opera. Rich, the profession is divided into three categories: Zheng Jing (big face), Fu Jing (two faces) and Chou (three faces). Jing Chou all wear facial makeup, and each character has a special facial makeup, and their background colors are mostly based on rap literature. It is based on the depiction in the painting or the actor's own imagination. For example, Guan Yu's background is red, and Bao Gong's is black. The basic pattern is the exaggerated eyebrows and eyes, and the facial makeup is painted below the forehead in the Ming Dynasty. Braids were worn, the head was shaved above the forehead, and the facial makeup was also painted above the forehead. Compared with the Ming Dynasty, the facial makeup was either complex or simple, and the background color was the same. There are great differences between places, with obvious local characteristics and folk art atmosphere. There are more than 300 types of local operas, most of which emerged after the 18th century. The prosperity of local operas has led to an increasing number of characters in the repertoire and a more detailed division of labor. In addition to Zheng Jing and Vice Jing, the colors of Jing Xing include blue, green, yellow, gray, and orange.

The classification of facial makeup

The facial makeup is colored according to the way it is painted. , divided into four basic types: rubbing, hooking, wiping, and breaking.

Face rubbing: dignified and powerful, focusing on coloring and emphasizing the texture of facial features.

Hooked face: colorful, rich patterns, complex and beautiful, colorful, and some even have gold and silver applied on them, extremely gorgeous

Face smearing: Most of them are light-colored, so it’s better to apply powder on the face. Showing the true face of a person, highlighting the cunning and bad character.

Broken face: Asymmetrical face, different from left to right, describing an ugly face or a villain.

Arranged according to the facial makeup pattern. There are four types of facial makeup:

Full face: The most primitive form of facial makeup, which uses the eyebrows to divide the face into two parts: forehead and face.

Three-piece facial makeup. : On the basis of the whole face, the face is divided into left and right facial makeup by using the nose and mouth.

Huashanwa face: The dividing edges of the three-tile face are artisticized and various patterns of facial makeup are added. .

Shattered face: A variant of the three-tile face, with a huge flower shape on the dividing edge, destroying the original outline.

Facial makeup patterns

There are many facial makeup patterns, which are generally divided into forehead pictures, brow shape pictures, eye orbit pictures, nasal fossa pictures, mouth fork pictures, and mouth bottom pictures. The patterns of each part are varied, regular but inconclusive, such as:

Bao Zheng has a white crescent on his black forehead, which means he is honest and upright. Meng Liang has a red gourd on his forehead, indicating that he likes drinking. Wen Zhong, Yang Jian's painting has three eyes, which comes from classical legend. Giant spirits, evil spirits, and golden leopards have many faces, highlighting their characteristics of gods, ghosts, and demons. Yang Qilang has the traditional Chinese character "Tiger" on his forehead, which shows his bravery and invincibility. Zhao Kuangyin's dragon eyebrows represent the real dragon emperor. There is a thunder pattern in the Lei Gong facial makeup. There is a yin and yang diagram painted on Jiang Wei's forehead, which represents magical calculations. Xiahou Dun suffered an arrow wound in his eye socket, so he painted it with a red dot to indicate it. The faces of Dou Erdun, Dian Wei and others have the patterns of their best weapons. Wang Yanzhang painted a toad on his head, indicating that he was the reincarnation of a water beast. Zhao Gongming painted money on his face to show that he is the God of Wealth. Mr. Big Dipper draws a picture of seven stars on his forehead.

The function of facial makeup

The function of facial makeup, in addition to expressing personality, can also imply various situations of the character. For example, Xiang Yu's eyes are painted in a "crying look" to imply his tragedy. In the sexual ending, Bao Gong’s frown suggests that he is thinking and worrying, and Sun Wukong’s monkey-shaped face suggests that he is originally a monkey. Another function is to "distance", widening the psychological distance between the play and the audience. The pictures on the face make it difficult for the audience to distinguish the actor's true face, and the appearance is very different from the real person in life, as if he is wearing a mask. This makes it difficult for the audience to "get into the show" and avoid hallucinations, but to focus on aesthetics and appreciation. In addition, the "big painted face" and the "handsome look" are played at the same time, forming a sharp contrast, which highlights the handsome appearance of raw and dan and the grotesque appearance of pure and ugly appearance. At the same time, the thick, vivid paints and diverse patterns of the facial makeup, coupled with Jing Xing's rough "roaring" voice, form a strong artistic stimulation, which excites, vents and shocks the audience.

Facial makeup is not absolutely fixed, and may vary slightly depending on the play, the age of the character, and the actor's face shape. In addition, when actors paint facial makeup for performances, there is also a principle that the facial makeup, especially the keynote colors, of the characters who are present at the same time cannot be "overly serious". For example, in "Changban Slope", eight generals from Cao Ying appeared at the same time, except for Zhang Liao's face should not be changed, and the other seven people must have the same color and cannot be the same. The purpose is to use different colors for aesthetic purposes, but also to prevent distant viewers from confusing the characters. The facial makeup of Jingxing is the richest and most complex. The Peking Opera facial makeup of King Chu Ba is called "Wu Shuang Face" and is exclusively used by King Chu Ba. According to legend, King Chu Ba was a handsome man, but because he killed countless people and had a ferocious temper, he was painted with a painted face; and because he was a tragic figure, two large black shadows were painted downwards on his eyes, which clearly gave him a sad face. The background color of Xiang Yu's facial makeup is white, which represents cunning and cruelty. In people's impression, Xiang Yu is a bloody man, especially Farewell My Concubine, which fully shows his deep feelings and is unforgettable, but his face is only black and white, not red. This situation shows that there are still many issues worthy of research and discussion in Facebook.

China Facebook/

A brief discussion of Beijing clay sculptures and Peking Opera masks

1. The origin of facial makeup]

The development of facial makeup and Chinese opera development is inseparable. Originated from the "generation face" in history. According to the "Old Book of Tang" records, around the Northern and Southern Dynasties, "Dai Mian" or "Mask Dance" appeared, which should be the originator of facial makeup. Guizhou's "Nuo opera" masks are the living fossils of facial makeup. With the development of opera, wearing masks was not conducive to actors' facial performances. Artists directly used paint to outline and put on makeup on their faces, gradually forming facial makeup.

Facial makeup is a special musical pattern drawn on the actor's face using various colors in traditional Chinese opera. Jing and Chou are the main characters who use facial makeup as facial makeup, and some raw and dan characters also use facial makeup. Facial makeup is used to express the faces and character traits of the characters in the play to enrich the color of stage art and enhance the performance effect. Facial makeup is a symbolic art creation and an inherent part of the overall stage art. Facial makeup is a pattern that organizes the eyebrows, eyes, mouth, nose patterns and facial colors composed of thoughts, and paints them on the actor's face to create a beautiful perception. Facial makeup came into being with the formation of drama. Most of the various characters have their own specific patterns and colors. Facial makeup is used to highlight the characters' personality traits and has the artistic function of "containing praise and blame, distinguishing between good and evil", allowing the audience to observe their appearance and know their mind.

2. The formation of Peking Opera facial makeup

Peking Opera facial makeup was gradually formed after the formation of Peking Opera at the end of the 18th century and the beginning of the 19th century.

During the formation process, Peking Opera facial makeup absorbed facial makeup from many local opera types. On the basis of local opera facial makeup, we select the best and reject the worst. After several generations of famous actors and opera artists' continuous exploration, research and reform, the current Peking Opera facial makeup has been formed. Peking Opera facial makeup is also the most complete system of facial makeup on the opera stage so far.

Peking opera facial makeup is a branch of the traditional Chinese facial makeup system, which has the commonality of facial makeup and its own characteristics. Peking Opera facial makeup draws on the experience of Hui, Han, Kun, Qin and various operas. It has been relatively complete and systematic from the beginning. Facial makeup is an inherent part of the entire stage art of traditional Chinese opera. Without the stage and the characters in the play, facial makeup will lose its fundamental meaning.

In the play, the clean and ugly faces are the same facial makeup methods as the raw horns and dan horns. It must be coordinated with the character style such as costumes and masks, and with the performance forms such as singing, reading, acting, playing, and turning. Therefore, acting is an integration of the front and backstage opera art work. The pattern of facial makeup and the coordination of facial makeup in a play must be included in the overall stage art. This is the integrity of facial makeup art.

3. Common knowledge about Peking Opera facial makeup colors

Peking Opera facial makeup is the type of opera with the most colors used in opera facial makeup. The so-called facial makeup colors refer to the main colors of the face, including red, purple and black. , white, blue, green, yellow, pink, brown, ocher, gold, silver and other colors, each used in seconds, using rich imagination and exaggeration techniques to highlight the complex characters in the play and appear on the stage.

Peking opera facial makeup focuses on aspects such as form, spirit, and intention, expressing various characters such as loyalty, treachery, kindness, and evil, implying praise and blame, and clear love and hate. The facial makeup also has varied coloring, exquisite outlines, and beautiful patterns. With distinctive ideological and artistic qualities. It is an exaggerated depiction of the skin color of the characters in the play and an exaggeration of the characters in the play. The facial lines on facial makeup often have other colors, which serve to accentuate the main color. Generally speaking, red represents loyalty and integrity; black represents bravery and straightforwardness; white represents treachery, viciousness, and insidiousness; oil white represents arrogance and domineering; blue represents strength and bravery; green represents tenacity and chivalry; and yellow represents It represents ferocity and composure; gray represents old heroes; purple represents wisdom, courage, righteousness, uprightness and majesty; gold and silver represent gods, Buddhas, ghosts and elves.

The colors used in Peking Opera facial makeup are not absolute and are flexible. For example: when red represents the character Guan Yu in the Three Kingdoms drama, it represents his loyalty. However, in "Famen Temple", although the eunuch Liu Jin has a red face, it means that he is pampered and has power over the courtiers; for example, although the character Chao Gai in "Water Margin" has a "yellow three-tile face", it does not mean that he is violent and calm. , but represents that the skin color of his face is yellow, and Yintang outlines an elliptical red light. At a glance, you can tell that he is an old hero who has uprightly revolted; for example: the gold used in Jin Wushu in "Eight Hammers" is not that of gods or elves. But it represents his surname Jin. This facial makeup is entirely an interpretation of "literally meaning" and cannot explain the true meaning of this facial makeup.

4. Beijing Clay Sculpture Peking Opera Masks

Beijing’s clay sculpture painted masks originated in the late Qing Dynasty. Who changed the facial makeup on the Peking Opera stage into clay sculpture-painted facial makeup? People have different opinions. The more popular saying is "Hua Lian Gui Zi". In the history of the development of clay facial makeup in Beijing, there is such a story. According to legend, around the 25th year of the reign of Emperor Guangxu of the Qing Dynasty (1894), there was a bannerman named Gui who lived in Xicheng, Beijing. He was good at poetry and painting, and was also a fan of Peking Opera. He made a living by eating "lumi", which is a salary. When he was playing around, he saw clay figures made of clay at a temple fair. On a whim, he made a face mold with clay, made some clay blanks, and dried them in the sun. Later, I would imitate the coloring of facial makeup on the stage to outline and color the clay. After the facial makeup was made, I showed it to my close friends to watch. They all thought it was very good. Mr. Gui distributed the masks to his friends. Over time, people knew that he could make clay masks. As a result, more and more people came to ask for paintings, and he became famous in the capital. Because the person surnamed Gui is best at drawing "net angle" facial makeup, people call him "Guizi with a colorful face".

After the Revolution of 1911, the old system of "money and salary" for bannermen's money and food was abolished. In order to make a living, "Hua Lian Guizi" made clay facial masks at home and sent them to temple fairs for sale. At first, I sent a few samples to the Li Kee grocery stall in Baita Temple, and they were quickly sold out. No matter how much you give away in the future, you can sell it at any time, and demand will always exceed supply. Li Ji's store not only benefited from this, but also became famous in Beijing for selling clay facial masks.

From then on, clay sculptures of Peking Opera masks became popular in Beijing as a folk handicraft in Beijing. As clay sculptures of masks invigorated the market, Peking Opera masks developed rapidly. More and more people are doing Facebook. The more famous ones after "Hua Lian Guizi" were Bai Rulin, Wang Mintian, Li Rongshan, Zhao Yousan, Zhao Yongnian, Li Keming, Ma Chengzi, Tang Jingkun, Han Qitai, Shuang Qixiang, Yang Yudong and other famous artists.

Clay masks are mainly handmade by artists at home, and then sold at temple fairs or art shops. Liu Zengfu said: There is a handicraft shop "Songzhumei" (founded by Xing Jing'an) in Laodong'an Market, which sells clay facial masks. In the early days of liberation, several old artists who made clay facial masks formed a cooperative group, and later established the Beijing Color Sculpture Factory, which was later transferred to the Third Technic Factory. In the early 1990s, the third factory ceased production due to poor business. Later, in order to pass on and carry forward the art of facial makeup, I founded Beijing Xingxin Arts and Crafts Factory in 1995, specializing in the production and development of Peking Opera clay sculpture masks, as well as the development of plaster, It also registered the "Beijing Bat" trademark for clay Peking Opera facial masks made of different materials such as paper. This is the first time in China that a facial mask has been registered as a trademark.

5. Production of Peking Opera Clay Masks

Making Clay Peking Opera Masks requires at least a dozen processes. First of all, you need to look for clay with good color and texture, then soak it in water, and then rub it repeatedly to make a mold for the facial makeup. Use the mold to carve the clay into a blank. The clay should be placed in a cool place to dry in the shade. Do not expose it to the sun to prevent it from drying out. . After the blank is dried, it is polished and whitened, and then the work is completed by painting, lacquering, tying the beard, and decorating the helmet. The most demanding part of clay facial makeup is painting. Beijing's clay facial makeup pays attention to regularity, rigorous composition, smooth lines, accurate positioning, and bright colors. It is good at depicting and highlighting the character of the characters and pays attention to the painting skills. It is known as the "three types of seven colors". In color painting, after the red and black colors are painted, varnish must be applied, and white, green, yellow, blue, and pink are all painted with paint. Because black and red are painted, the brightness is enhanced, the base color can be highlighted, and it can be in sharp contrast with ordinary colors, giving people a bright visual sense.

6. The Current Situation and Future of Craft Clay Masks

There are Peking Opera masks at the counters of various handicraft markets and in various exhibitions; they are on the leading floats in the parade in Paris, France. It is also our Peking Opera masks and Peking Opera masks are hung in the streets and alleys of Singapore when holding some events; they are everywhere in our daily life, including home decorations, matchboxes, key chains, playing cards, models and fashions, and sculptures on the street. It's Peking Opera facial makeup. Facebook has become a symbol of our Chinese national culture and has been recognized and welcomed by people at home and abroad. With my country's opening up to the outside world, its accession to the WTO, and especially the 2008 Olympic Games held in Beijing, more and more Chinese and foreign people will learn about China, Beijing, Chinese culture, Peking Opera, and Facebook. More and more people will fall in love with our Beijing-style clay facial makeup. Let us make some contributions to revitalizing the art of Peking Opera and promoting national culture!

7. Folk Social Fire Mask

Nuo originated from primitive religion. In ancient times, productivity was low and people had no ability to resist the threats of nature. In the event of natural or man-made disasters, they could only use Nuo sacrifices, a witchcraft activity of primitive religious sacrifices, to pray to the gods, drive out evil spirits, and ward off disasters. Xiang.

Although the artistic style of Nuo masks is strong and rough, the craftsmen are meticulous in carving and paying attention to colors when making them. The simple folk modeling techniques give the masks vitality and vivid image. The gods, ghosts and various characters in folk myths and legends have rich expressions of joy, anger, sorrow and joy, and distinctive personalities, which are breathtaking and are treasures of Chinese folk culture and art.

8. Facial makeup by Tian Youliang

Xiao Nan

When the Beginning of Winter comes, Mr. Tian Youliang welcomes another person to learn facial makeup from him at the Huguang Guild Hall. His disciple - Yang Qiang from the Peking Opera Troupe of his comrade-in-arms. Mr. Tian Youliang said in a text message to me: "Now we have six apprentices, and we have accepted another comrade, Yang Qiang from the Peking Opera Troupe, to make seven. The three more accomplished ones are Sun Shiliang, Hou Baohua, and Zhuang Jian."< /p>

Mr. Tian Youliang, who was 61 years old at the time, was born and raised in Beijing. When he was young, he was fortunate to have Mr. Weng Ouhong (formerly a famous screenwriter of the Chinese Peking Opera Theater, who has edited "Wild Boar Forest", "Havoc in Heaven", "Red Light" He first started to dabble in the art of facial makeup painting. When he was a little older, he became a teacher of Mr. Weng Ouhong and specialized in this art for more than 30 years.

His representative works include "Collection of Chinese National Essence Masks", "Complete Pictures of One Hundred and Eight Generals of the Water Margin Heroes", "Twenty-eight Constellations Mask", "Hundred Birds Mask", "Hundred Monkeys Mask", etc. Among them, "Collection of Chinese National Essence Masks" Contains more than 2,000 frames of facial makeup including local dramas.

Mr. Tian Youliang told me that facial makeup is a special method of opera makeup and a unique facial modeling art. According to historical records, facial makeup gradually evolved from the masks recorded in the music scores of the Tang Dynasty and the painted faces in military dramas. Mr. Weng Ouhong argued: "Chinese opera masks are embryonic totems in ancient times. They originated from Nuo sacrifices in the Spring and Autumn Period. They were the 'face masks' of the Han and Tang Dynasties. They developed into the 'painted faces' of the Song and Yuan Dynasties and formed into the Ming and Qing Dynasties. "The facial makeup of the Qing Dynasty." With the evolution of history and the long-term practice of opera actors of all ages, facial makeup artists gradually perfected the patterns of various characters' faces, summarized and classified them into musical patterns, and drew colorful patterns, one for each person. Spectrum. The so-called "flower" has a "spectrum", which is the formation of facial makeup.

Peking Opera is the quintessence of the nation and the largest type of Chinese opera. It brings together the essence of all operas, complete facial makeup, and various musical styles, making it a spectacular spectacle. Peking Opera actors in various professions use makeup to effectively express the appearance, identity and personality of the characters with fixed facial makeup. Facial makeup allows people to visually examine their appearance and gain a glimpse of their inner thoughts. It has the artistic function of "containing praise and blame" and "differentiating between good and evil".

In recent years, as Mr. Tian Youliang's artistic achievements have become increasingly high, his reputation has spread far and wide overseas. He was invited to explain the story of facial makeup on CCTV, and many works have been published to spread and promote the art of Peking Opera and traditional culture.

9. Chinese facial makeup culture

lp118.cn

China’s Peking Opera facial makeup culture is extensive and profound, and the beauty of facial makeup application lies in one’s heart! “Face makeup” It is a kind of makeup art that is unique to Chinese opera and used in stage performances. From a drama perspective, it is character-based; from an art perspective, it is pattern-based. Here, opera facial makeup is gradually formed as opera matures, and is relatively fixed in the form of musical notation. "Facial makeup is unique to Chinese opera and is different from any drama makeup in other countries. Opera masks have unique charm.

What is the relationship between facial makeup and opera characters? Does every character in the opera need to have facial makeup? The answer is no. Not every character needs to draw facial makeup. The facial makeup must be drawn according to the classification of the characters.

According to traditional customs, there are two ways to classify the roles of characters in Chinese opera: "Sheng, Dan, Jing, Chou" and "Sheng, Dan, Jing, Mo, Chou". Since modern times, Since the "mo" line of many dramas has gradually been classified into the "sheng" line, "sheng, dan, jing, and ugly" are usually regarded as the four basic types of the line. Each profession has its own hard-working branches, each with its own basically fixed characters and performance characteristics. Among them, "Dan" is the collective name for female characters; "Sheng", "Jing" and Liangxing are male characters; "Chou" characters are mostly male characters, except sometimes they play Choudan and Laodan.

Generally speaking, the makeup of "Sheng" and "Dan" is to apply a little makeup to achieve a beautifying effect. This kind of makeup is called "Junmei", also called "Simple face" or "Clean face" . It is characterized by "a thousand faces", which means that the facial makeup of all "生" characters is roughly the same. No matter how many characters there are, they all have the same face from the facial makeup; the facial makeup of the "Dan" character is also the same regardless of the number of characters There are many characters with similar facial makeup. The personalities of "Sheng" and "Dan" characters are mainly reflected in aspects such as performance and clothing.

Facial makeup is used for various characters in the "clean" and "ugly" professions. It uses exaggerated and strong colors and endlessly changing lines to change the actor's true appearance, which is in line with the "plain" "life" ", "Dan" makeup contrasts. The hooked faces of the "Jing" and "Chou" characters are based on the person's profile, and each person has one profile. Although it is composed of various stylized profiles, it is a kind of character makeup that directly expresses the character's personality. How many " There are many different types of roles for "clean" and "ugly" characters. Therefore, the characteristics of facial makeup are "ever-changing".

"Jing" is commonly known as Hua Lian. The patterned facial makeup outlined in various colors is the prominent symbol, showing a rough, majestic and heroic character in character and temperament. In performance, this type of character should have a broad and resonant tone, a strong and vigorous singing, thick and distinct movement lines, large "color blocks", wide openings and closings, and a magnificent bearing. For example, Guan Yu, Zhang Fei, Cao Cao, Bao Zheng, Lian Po, etc. are all in pure disguise.

According to their different identities, personalities and artistic and technical characteristics, Jingxing characters can be roughly divided into Zhengjing (commonly known as Dahualian), Fujing (commonly known as Erhualian) and Wujing (commonly known as Wuer). flower). There are also two painted faces and two painted faces in the auxiliary net. The common name for ugliness is small face or three-faced face.

Zhengjing (big painted face) mainly performs work. In Peking Opera, it is also called Bronze Hammer Painted Face or Black-headed Painted Face. The characters played include Lian Po in "The Harmony of Generals and Prime Ministers", [Figure 10 Lian Po (Peking Opera "The Harmony of Generals and Prime Ministers")] Bao Zheng in "The Case of Guillotine Beauty", etc. Most of them are He was an important minister in the imperial court, so his majestic appearance was a characteristic of his style.

Vice Jing (also known as Erhua Lian), can also be divided into frame Hua Lian and Er Hua Lian. The painted faces mainly focus on workmanship and body movements, and they often play bold and brave positive characters, such as Lu Zhishen, Zhang Fei, Li Kui, etc. There are also those who play villains, such as Cao Cao, who has a white face in Peking Opera, and is also played by a painted face. In other opera types, most of them are not called "Present Flower Face". Some opera types are called "Straw Shoes Flower Face", such as Sichuan Opera, Hunan Opera, etc. Erhualian is also a kind of pretentious person, with relatively few plays, and sometimes the performance is almost ugly, such as Liu Biao in "Famen Temple".

Wu Jing (Wu Erhua) can be divided into two categories: heavy handle work frame and heavy falling and simple beating. Characters such as Yang Qilang in "Golden Beach" and Li Yuanba in "Siping Mountain" play heavy work frame roles. The category of heavy falling, plain beating and beating is also called beating and painting face. For example, in "Pick the Pulley" Niu Gao has a painted face, Jin Wushu has a martial face, and Jin Wushu's general Heifeng Li beats the painted face.

"Chou" (little painted face or three-faced face) is a comedy character. The face is drawn between the bridge of the nose and the eye sockets, and they often play funny and teasing characters. In the performance, there is generally no emphasis on singing, and the main focus is on clear and fluent speech. It can be divided into two branches: Wen Chou and Wu Chou.

The classification of roles in operas is different in various opera types. The above classification is mainly based on the classification of Peking Opera, because Peking Opera integrates the essence of many opera types and represents the characteristics of most opera types. Universal rules, but this can only be a general classification. Specific to each type of drama, the titles and divisions are more complicated.

The relationship between facial makeup and the classification of roles of opera characters can be briefly expressed as follows:

The roles of characters in opera were originally used to express the social status, identity and occupation of the characters. Later, it gradually expanded to express the character's moral character, personality, temperament and other aspects. The roles are characterized by typing, and the distinction between roles has obvious moral evaluations of good and evil, praise and blame. For example, those who are fair, loyal and filial are depicted as dignified, while those who are evil and hateful are portrayed as ugly. Facial makeup and clothing are direct visual representations that distinguish characters. If clothing mainly expresses the character's identity, status, and occupation; then facial makeup, especially facial makeup, more expresses the character's personality, temperament, moral character, Emotional, psychological, etc. The evaluation of the character's good and evil, praise and blame through Facebook is direct and clear at a glance. For example, Cao Cao's white face indicates fraud, Guan Yu's red face indicates loyalty, etc.

Facial makeup has a relatively independent appreciation value and aesthetic significance, but fundamentally speaking, it is always an organic part of the performing arts of opera. Therefore, understanding of the artistic expression and aesthetic characteristics of facial makeup, Only by combining costumes and performances while watching opera performances can we fully understand and understand it.

The combination of facial makeup and costumes forms the appearance of the clown characters on the stage. Together with the performances of singing, chanting, doing and fighting, it forms a dazzling artistic image on the stage, arousing the psychological ** of the audience. *Ming. Eyes and face are windows to emotions and psychology, so facial makeup is the visual center of the audience. Facial makeup plays an important role that cannot be ignored in arousing the audience's aesthetic psychology. Colorful, ever-changing and rich in connotation, even many Western art masters think Chinese opera facial makeup is "wonderful". More Facebook pictures to: Facebook Exclusive:

Yellow Face and White Face

Painting a certain color on a person’s face to symbolize the person’s character and quality, role and destiny , is a major feature of Peking Opera and the key to understanding the plot. Simply put, red face has a positive connotation and represents a loyal and brave person; black face is neutral and represents a fierce and wise person; blue and green faces are also neutral and represents a reckless hero; yellow face and white face have a derogatory connotation and represent a ruthless person; gold has a derogatory connotation and represents a ruthless person. The face and silver face are mysterious and represent gods and demons.

The colors of Peking Opera facial makeup are very rich, and the main color generally symbolizes the quality, character, and bearing of a certain character.

Red-shows loyalty and heroic character, such as Guan Yu.

Blue--shows strong, brave, and scheming characters, such as: Dou Erdun.

Black--shows integrity, selflessness, and upright characters, such as: Bao Gong.

White - represents the insidious, suspicious, high-spirited and solemn character. For example: Cao Cao.

Green - represents the tenacious and violent character. Such as: Wu Tianqiu.

Yellow-represents brave and fierce characters, such as Yuwen Chengdu.

Purple-represents upright, steady and calm characters.