Peking opera facial makeup is a special makeup method with national characteristics. Because every historical figure or a certain type of figure has a general musical notation, just like singing and playing music must follow the music score, it is called "face makeup". As for the origin of facial makeup, it is generally said that it comes from false masks. Peking Opera facial makeup adopts certain colors according to a certain character, temperament or a special type of character. Red facial makeup represents loyalty and righteousness, such as Guan Yu, Jiang Wei, and Chang Yuchun; black facial makeup represents staunchness, integrity, bravery, and even recklessness, such as Bao Zheng, Zhang Fei, Li Kui, etc.; yellow facial makeup represents ferocity and brutality, such as Yuwen Chengdu, Dianwei. Blue or green facial makeup represents some rough and violent characters, such as Dou Erdun, Ma Wu, etc.; white facial makeup generally represents traitors and bad guys, such as Cao Cao, Zhao Gao, etc. Peking Opera facial makeup comes from life. Everyone's facial organs have similar shapes and contours, and their physiological layout also has certain rules. The texture of facial muscles is also closely related to the character's age, physiology, experience, and natural conditions of life. Therefore, the outline of Peking Opera facial makeup is based on It is based on life and is also a summary of life. For example, in life, people's faces are often said to be dark from the sun, pale from fright, red from shame, brown from illness, etc. It not only reveals the psychological activities and mental state of the characters in the play, and expresses the physiological characteristics, but also determines the color and lines of facial makeup. , the basis of patterns and patterns. Although facial makeup comes from life, it is an amplification and exaggeration of real life. The exaggerated and vivid descriptions of historical figures in romance novels and rap art are also the basis for Peking Opera facial makeup. For example, Guan Yu's red eyes and silkworm eyebrows, Zhang Fei's leopard head and ringed eyes, Zhao Kuangyin's face like heavy jujubes, etc., all descriptions have been absorbed by opera makeup, and their performance on the Peking Opera stage is particularly obvious and prominent. In the process of creation and development of Peking Opera facial makeup, there are many sources. In addition to the above, there are also the following types: 1. Drawing on the principle of blood inheritance in life. For example, Zhang Fei's son Zhang Bao, Yu Liang's son Meng Qiang, Jiao Zan's son Jiao Yu, Yuchi Jingde's son Yuchi Baolin, etc. all adopted their father's facial makeup, which became a common practice and gradually became a rule. 2. Determine the facial makeup based on the names of the characters in the play, along with the colors. For example, Duke Huan of Qi had a pale face because of his name "Xiaobai", a tiger with a creamy face had a green face because of the word "qing", Zhang Shun, a white stripe in Langli, had a pale face because of the word "bai", and "black wind" and "black" made black. The word "black" all draws a black face. 3. The facial makeup of some characters in the play is derived from "misinformation" (sound and meaning), and is added to it. For example, Wen Tianxiang blushed because the word "wen" ("wen") had the same pronunciation as Wen Taishi. Steel is black, and steel is the same as steel. Therefore, as a rule in Peking Opera, people with strong and fierce personalities often have a black face, such as Zhao Gang in the drama "Cao Qiao Pass", (Xue Gang in the drama "Xu Ce Pao Cheng 9") Li Gang in the play "Qingyang Tu" all has a bad face because of the word "Gang" in his name (there is a saying in the Peking Opera circle that "Three Gangs do not see red"). Guan Tai in the drama "Eight Wax Temple" and Guan Sheng in the drama "Shou Guan Sheng" are blushing just because they have the same surname as Guan Yu.
Ancient masks have simple symbols, "concept symbols" and "emoticons", which are used to express a specific concept or expression. There are records of "mask painting" in the Tang Dynasty, and Mencius Jiao wrote in "Xian Ge Xing": "The thin ghosts beat the drums and play the flute, but their teeth are white when they dye their faces." This shows that the image of ghosts and gods is expressed by dyeing their faces. The sixth volume of "Zhongzhi" records that two sycophants of Emperor Huizong of the Song Dynasty used "white ink and ink to make a show" and uttered dirty words to confuse the emperor. "Mianfa" in the Song Dynasty was divided into two categories: "cleansing" and "surface". The face is also very simple. A white nose and red eye circles are painted for the purpose of "being funny". Each character has a special facial makeup, and the background color is mostly based on the description in rap literature or the actor himself. For example, Guan Yu's background is red, and Bao Gong's is black. The basic pattern is to exaggerate the eyebrows and eyes, and the facial makeup is painted below the forehead, while the Qing Dynasty people have braids and shaved heads. Above the forehead, the facial makeup has also changed. Compared with the Ming Dynasty, the facial makeup has the same background color. With obvious local characteristics and folk art, 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 plays, and the division of labor has become more detailed. In addition to Jing, Wu Jing was added. 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 "face painting" in the Tang Dynasty. Meng Jiao wrote in "Xian Ge Xing": "The thin ghosts beat the drums and play the flute, and the skin is dyed, but the teeth are white." This shows that the face is painted with dye to express the image of ghosts and gods. The sixth volume of "Qingkang Zhongzhi" in Xu Mengxin's "Beimen Huibian of Three Dynasties" in the Song Dynasty records that two sycophants of Song Huizong used "ink to make a show" and uttered gossip to confuse the emperor. Because in Song Dynasty dramas, science and fiction accounted for a large proportion. Zaju was very popular in the Yuan Dynasty. In the large mural "Da Xing San Le Zhong Du Xiu Performed Here", the Ming Dynasty was already a world of legendary dramas performed by Kun Opera. The performances were rich, the division of labor was fine, and the net division was correct (Da Xing San Yue Zhong Du Xiu performed here). face), Fu Jing (two faces) and Chou (three faces). Jing Chou all wears facial makeup, and each character has a special facial makeup. For example, Guan Yu's background is red, while Bao Gong's is black. The basic pattern is the exaggerated eyebrows and eyes. People in the Ming Dynasty wore their hair with facial makeup below the forehead, while people in the Qing Dynasty wore braids, shaved their heads above the forehead, and painted facial makeup above the forehead. The pattern proportions have also changed. Compared with the Ming Dynasty, facial makeup ranges from complex to simple, with the same background color. In the middle of the Qing Dynasty, local operas emerged. Jingchou's facial makeup varied greatly from place to place, with obvious local characteristics and folk art flavor. There were 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 and themes in the operas, and the division of labor has become more detailed. In addition to the positive and negative aspects of purification, Wu Jing is also added to the purification practice. The colors have been increased to include blue, green, yellow, gray and orange. No pictures - just take a look for yourself