In lieu of an abstract, here is a brief excerpt of the content:

Between the rich colors and textures of the costumes, and the bedazzling, animated headdresses, the faces of the performers would be lost without the benefit of makeup. The enhanced visage has long been a tradition in both daily life and performance in China, and consequently , makeup designs have evolved into elaborate expressions of the countenance, from the epitome of beauty to the amplification of character through vibrant color and intricate patterns. The makeup, more than any other aspect of the stage image, converts the actors from mere mortals into the theatrical ideal. With their stylized movement and altered voices, these breathtaking beings transcend the worldly image of humans , becoming icons on the stage. The concept of painted faces developed from the facial disguises created through mask and makeup in ritual, legend, literature, and theatrical invention. As early as 4,000 years ago, in the kingdom of Shu, shamans used masks while performing ritual activities. Over 2,400 years ago, during the Warring States period ,warriorsusedcolorstodyetheirfacesandskinand to blacken their teeth.1 The famous legend of Prince Lanling, who lived during the northern dynasty of Qi (550–577), tells of another use of masks that is often related when recounting the early use of facial makeup in Chinese theatre. The prince was a valiant warrior with unusually attractive features. In order to appear more ferocious to his enemies, he wore a mask with a vicious visage in battle, and by this device he proved himself to be a powerful warrior. His people celebrated his success with a song-and-dance performance that featured actors wearing masks. By the Tang (618–907) and Song (960–1279) dynasties, records show that actors wore masks or makeup, indicating that the transfer of facial modification to performance had occurred by this time. TheprocessofapplyingmakeupintheTangandSong eras was called tumian (to smear the face), and two versions were applied in theatrical presentations. The jiemian (smart face) used makeup to beautify the features for the male and female roles. The huamian (“flower” face) was used on the faces of the jing (painted face) and the chou (clown) roles.2 The design of the huamian was relatively simple in this era, for only white, black, and red were used, and in uncomplicated patterns. A patch of white paint was often put in the center of the face for the comic roles, an apparent precursor to the current facial design used for chou. The use of the word hua to describe the patterns in the face makeup continues to the present day, and the current jing roles are sometimes referred to as hualian, another way of saying “flower face,” which also has connotations of being patterned, complicated, and painted. The jiemian and huamiandesignationsestablishedatraditionoftwoopposites in face painting that continues to be practiced in traditional Jingju. In the Yuan dynasty (1271–1368), black, white, and color were used in theatrical makeup, as can be seen in D Makeup,Hair,andHeaddresses 204 @ m a k eup, h a ir, a nd hea ddr esses a mural painted in 1324 in the Guangsheng Temple in Shanxi province depicting Yuan variety drama.3 The practice of distinguishing the roles with face painting had continued according to this image, with the chou identified by white patches and the jing face blackened in the eye and nose areas. It was not until well into the Ming dynasty (1368–1644) that the use of additional colors and decorative patterns began to emerge. During this era, face paint blossomed from the original minimal designs to more complex patterns and colors that were codified for the individual roles. It is believed that painted faces were used more in the Ming years because military dramas had become very popular. While the costumes projected the social status of the characters, the makeup was used to suggest their moral qualities and disposition.4 The term lianpu (lit. “face chart”), used to describe the designs of face paint, emerged in the Ming dynasty and continues in use today. By the Qing dynasty (1644–1911), the highly ornamented facial patterns were well established in both color and detail. Coincidentally, the fashion in men’s hair during the Qing dynasty assisted the application of the painted face patterns. The front of the hair was shaved back to a line that went from ear to ear over the top of the head, leaving the back hair long and worn in a queue. The heightened forehead gave the actors a larger canvas on which to paint designs, and the proportion...

Share