China's national stage art - Peking opera - is an amalgam of all the country's cultural traditions, including music, dancing, painting and embroidery. Through using abstract symbolism Peking opera reaches the highest form of artistic expression.
Although many Peking opera enthusiasts are attracted by the inspiring singing and the graceful stylized movements, the costumes used also play an important role. They are lavishly made with fine materials in bright but harmonious colors to add brilliance to the overall effect of this ancient stage art.
The Chinese word for costumes has its origins with the traveling entertainers of imperial China. In those days, the term Hsingtou covered costumes, makeup and props, but now it refers only to apparel.
Peking opera costumes evolved over the centuries from the those worn by traditional dancers. By the Wanli reign (1753-1620) of the Ming dynasty Peking opera was already firmly established and most of the costumes had taken on their present day forms. Because they evolved from dancing costumes, Peking opera costumes are designed to look impressive while at the same time allow free movement.
The same costume is always used for the same type of role. When portrayed in an opera, an emperor of the Tang or Sung dynasty will be wearing exactly the same kind of costume as an emperor of the Ming or Ching dynasty, although in real life this was far from the case.
Peking opera costumes do not strictly conform to period mainly because every aspect of the art form is symbolic or suggestive rather than realistic. For this reason, the color and style of a costume defines the personality and status of each character. The amount of movement required of actors varies according to the character being played, and the design of the costumes must take this into account.
Basically, there are three kinds of costumes for the more sedate scholars and officials. When a scene takes place in the emperor's palace the most formal of all costumes, the Mang, is worn by both civilian and military officials. In ordinary scenes such characters would wear a less formal Pi, and when in their homes they can wear the even more casual Chetzu. These three costumes are made of soft material and have gentle lines.
Although military officers wear the Mang while in the emperor's palace, when formally engaged in battle they wear the Kaikao and Kaochi, consisting of pennants and other warlike appendages. Otherwise military officials wear Kaichang, unless taking part in unscheduled forays for which the Chienyi are worn. Unlike the costumes for civilian officials, military attire is intended to convey the image of statesmanship and ferocity.
The embroidered patterns on Peking opera costumes correspond closely to the personality of the character wearing them. The Mang is covered with dragons, while civilian officials' costumes are usually embroidered with such peace symbols as flowers or the Chinese character for longevity. Military officials, on the other hand, have lions and tigers on their costumes.
Even the color of a costume must match the personality and status of the character portrayed. The five most commonly used colors are green, yellow, red, black and white, though purple, pink, blue, grey, and crimson are also featured. Each color has a specific meaning and may not be used at random.
Yellow is reserved for emperors or the highest officials. Next in order of importance comes red, which can also only be worn by high officials. Mild mannered characters wear white, while hot-tempered ones are usually clad in black. Older characters wear dark clothing to show their maturity, while youthful elegance is shown by light colors. Although there are many variations in Peking opera costumes, these are the basic principles.
As soon as a character walks on stage, Peking opera enthusiasts immediately know a great deal about him from his costume.
There are two kinds of hats used in Peking opera, irrespective of the period. Hard hats, called Kuei can only be worn by emperors, nobles and military officials. An emperor's Kuei, is an elaborate crown with pearls, phoenix patterns and yellow tassels on each side. The Kuei of a military official is similar but incorporates different colors and materials. The bandit leader is also entitled to wear a Kuei. The Chin is a less formal hat which has many variations according to the occasion and wearer.
Women usually do not wear hats in Peking opera. For special occasions, however, an empress or a princess may put on a phoenix crown, which is an elaborate affair of pearls and tassels made with as much attention to detail as a genuine Ming dynasty phoenix crown.
Shoes come in only a few forms. Those worn by female characters are intended to induce a mincing gait. Most characters in Mang or Pi costumes wear boots, while shoes are worn with the less formal Chetzu.
Although there are no written rules stipulating the way Hsingtou - costumes, hats and shoes - are worn, the conventions are familiar to audiences and strictly observed by producers of Peking opera.
[Picture Caption]
1. Formal costume worn by a general during battle. 2. Costumes present a flash of color during a battle dance. 3. The female general in this picture is wearing a more glamorous version of the dress seen in picture 2. 4. The contrast between the civil officials and the military officials is clearly shown.
1. The blue scarf and black robes tell the audience that this girl is from a poor family. 2. Master Chao creates an elaborate costume. 3. Backstage costume manager securing the pennants. 4. Emblems such as this distinguished between high and low ranking officials in imperial times, but today in Peking opera they are used more for effect than for signifying rank. 5/6. Li Yu-hsiou is an expert at making Peking opera shoes. 7. Putting on boots backstage. 8/9. Flat soled embroidered shoes and thick soled boots.
1. Three-inch slippers. 2. Manchurian platform shoes. 3/5. Two beautiful crowns made by Master Chi. 4. A bandage must be wrapped around the actor's head before he puts on the crown. 6. An important process in making Peking opera crowns. 7. Another kind of crown.
Top: A cap worn by emperors during journeys. Bottom: The crown worn by generals in battle.
Costumes present a flash of color during a battle dance.
The female general in this picture is wearing a more glamorous version of the dress seen in picture.
The contrast between the civil officials and the military officials is clearly shown.
The blue scarf and black robes tell the audience that this girl is from a poor family.
Master Chao creates an elaborate costume.
Backstage costume manager securing the pennants.
Emblems such as this distinguished between high and low ranking officials in imperial times, but today in Peking opera they are used more for effect than for signifying rank.
Li Yu-hsiou is an expert at making Peking opera shoes.
Li Yu-hsiou is an expert at making Peking opera shoes.
Putting on boots backstage.
Flat soled embroidered shoes and thick soled boots.
Flat soled embroidered shoes and thick soled boots.
Manchurian platform shoes.
wo beautiful crowns made by Master Chi.
A bandage must be wrapped around the actor's head before he puts on the crown.
wo beautiful crowns made by Master Chi.
An important process in making Peking opera crowns.
A cap worn by emperors during journeys.
The crown worn by generals in battle.
@List.jpg?w=522&h=410&mode=crop&format=webp&quality=80)
