Now! Our China: The Meaning of Colors in Chinese Opera Masks

Beijing Opera masks originates from totem in ancient times, develops into facial paintings of the Song and Yuan Dynasties, and eventually takes the shape of facial costume of the Ming and Qing Dynasties. It is a pattern of put-on facial make-up for opera actors and actresses in the stereotype roles of "painted face" and clown. It plays the artistic functions of implying commendatory and derogatory connotations and differentiating benevolence and malevolence, enabling the audience to get a glimpse of the inner world of actors and actresses through their symbolic facial make-up. In this sense, facial make-up has obtained the reputation as "painting of heart and soul".

Beijing Opera masks utilizes the color of red, purple, black, white, blue, green, yellow, dark red, gray, golden and silver, with each color representing a unique stereotype character. In general, red symbolizes utter devotion and loyalty; purple embodies fortitude and resourcefulness; black manifests faithfulness and integrity; white implies craft; blue represents valor and vigor; green signifies justice and chivalry; yellow exemplifies cruelty. Dark red is reserved for loyal old generals while golden and silver are used for Buddha, gods, ghosts and demons. Opera facial make-up, as the product of fine artisanship, has become part of the masterpieces in the thousands years of Chinese culture and art.

The Meaning of Colors in Beijing Opera Masks

Gold and silver colors are usually used for gods and spirits. The main color in a facial makeup symbolizes the disposition of the character. The facial makeups date a long time back to the Song (960-1279) and Yuan (1271-1368) dynasties at least. Simple patterns of painted faces are found in tomb murals of that age. During the Ming Dynasty (1368-1644), improvements were made in the skills of drawing and in preparing the paints, leading to the whole set of colorful facial patterns that we see in today's Jingju (Beijing Opera). Skills in Painting Beijing Opera Masks There is a strong nature in the art in masks. Drawing masks must also have attitudinal polytechnic nature, just like hand ting and painting. When you draw masks with a pen brush, you should do it with exactness and pithiness. The romance should be suitable to let others see clearly where it is thick and where it is light. Drawing the face the artist should spare Chinese ink as if it were gold. In this way the drawing looks lifelike and has spirits and the people will like the mask. In drawing masks you can't copy a book. You should draw masks according to the actors face model. Copying the feature and the play that you will join in. The drawing can incarnate dramatically the personality colors and the mettle of the part. Notably, Beijing opera "colored face" Mr. Hao Shouchen has the good name of "Living Cao Cao." Not only because of his fine act, the Cao Cao mask which he created has made a good effect. This expert researched and assayed the person and drew the Cao Cao mask, drew the lines and lamination in the brow part in the face.This assists the actors and actresses when they act, to be helpful for them to express their feelings, and allows the masks and the performance work effectively together. A good artist who has the experience can do with their artistry, make the face models blemish, change the face model and face anatomical relationship. Some people's face models are narrow and small, and are short in stature. Drawing the facemask can change the model.