"Confucius of Shantung wrote the Spring and Autumn Annals; Kuan Kung of Shansi read them," the proverb goes. Who would have guessed that the student would surpass the teacher? Although Confucius has his temples and receives his offerings, he's still just a sage; while Kuan Kung, the heroic general from the Three Kingdome Period, has been deified into the most widely worshipped god in China.

Among the people, Kuan Kung's temples are everywhere; while on the stage, his is an incomparable role. "Kuan Kung Onstage and Off," besides relating some anecdotes about Kuan Kung opera, also visits the stage's "living Kuan Kung"--Li T'ung-ch'un.

Most characters in Peking opera must earn applause through the skill of their performances. Not so Kuan Kung. As he enters onstage to a crescendo of gongs and drums, freezing into a "lightning" pose with the last reverberations, Kuan Kung invariably meets with a vociferous reception. The audience's attitude is simple: If the actor's a star, their applause can go to him. If not, it belongs to Lord Kuan!

On the down side, an actor preparing to play Kuan Kung must put up with certain inconveniences first. Because Lord Kuan is a "patron saint" of the theater, the actor must ritually bathe, burn incense, and kowtow backstage, and he must be the first of the cast to put on red make-up. Then, once he tucks a "holy card" bearing an image of Lord Kuan under his headgear, the god is said to enter into his person, and he must await his entrance scene in an attitude of solemn dignity. The other actors, who may be chatting together or smoking, must likewise treat him with reverence and respect. So the applause he receives on entrance has been paid for with extra effort first.

The plethora of taboos is an indication of the special status of Kuan Kung operas. Also distinctive are the character's makeup, costume, and performing style.

As described in The Romance of the Three Kingdoms, Kuan Yun-chang was nine feet tall with a two-foot beard, "crimson-phoenix eyes," "nestling-silk-worm eyebrows," "a face like painted cinnabar," and "cheeks like double jujubes." In Peking opera, accordingly, Kuan Kung's face is always painted a deep red, which symbolizes justice and loyalty. His "phoenix" eye-lines are especially long, and above his "silkworm" eyebrows are drawn two upward-pointing lines, indicating that the general will meet an unhappy end. Beside his nose is a black mole, to show that his character is only being acted and is not the real Kuan Kung.

His costume includes a tasseled headpiece, a cape, a belt decorated with the character for "longevity," and high-soled boots. For a weapon he bears a "bluish-green-dragon, crescent-moon" sword which, tradition says, when not in use must be left untouched backstage or else quarrels will break out among the troupe. Important generals in Chinese opera all display flags on their backs denoting their name or title. But Kuan Kung, even before he appears, also has two flags go before him, saying "corolla of the moon" and "flying tiger," to heighten the grandeur of his approach.

Although Kuan Kung was a general and began life as a cart puller, he was cultivated and well-read, and the actor must portray him as refined and sensitive as well as manly and martial. His singing voice must be pure and clean, and his speaking voice low and measured. His movements and gestures must be restrained and steady, what actors call "on the up-and-up." When he fights, his demeanor is awesome and terrible, and when he sheathes his blade, he tosses his head, glares, tugs his beard, and strikes a "lightning" pose before exiting.

In sum, the actor who plays him must possess both the superb voice required for singing roles and the expert kungfu required for martial parts.

The history of Peking opera records "eight great Kuan Kungs," each actor renowned for certain features of his portrayal. Besides these eight, an interesting anecdote concerning Kuan Kung is told about Yang Hsiao-lou, one of the three great actors of martial roles during the early part of this century. Whether in voice, build, kungfu, or character, Yang was an outstanding performer of martial parts, but he had never played Kuan Kung. Then in 1934, at the insistence of the public, he accepted, performing the role in Peking and achieving a huge success. His next stop was Tientsin, where the crowds fought to buy tickets. But on the day scheduled for his first performance, a notice went up on the theater entrance saying that Yang had seen Lord Kuan in a dream and was afraid to perform the role any more.

Taboos and superstitions like this, along with rumors of actors suffering mishaps and theaters burning down, are one of the reasons why the operas are seldom performed. There are several dozen Kuan Kung operas in all, but now that Yang Hsiao-lou and the eight great Kuan Kungs have long ago passed away, the shows are performed less and less.

Since the fall of the mainland in 1949, Taiwan has been lucky to be the home of Li T'ung-ch'un, a student of one of the eight masters and whose consummate artistry in the role has earned him the epithet of "a living Kuan Kung." Li once performed a 26-part series of Kuan Kung operas on Taiwan television, but regrettably no tapes remain.

At present, the only martial-role actor among the younger generation to include Kuan Kung in his repertoire is Yeh Fu-jen, while "the living Kuan Kung" Li T'ung ch'un has yet to pass on his techniques to a disciple.

As a result, the rarity of hearing a Kuan Kung opera on Taiwan is not due entirely to apparitions and superstitions. In fact, Lord Kuan has a pressing need for new talent, if he hopes to keep his name in lights.

[Picture Caption]

"Kuan Kung" by Chu Ming

Lord Kuan, stroking his beard, is depicted here in a folk portrait as a god.

Lord Kuan in the temple, like Lord Kuan on the stage, has the same "nestling-silkworm" eyebrows, "crimson-phoenix" eyes, elaborate headgear, and five-tufted beard.

The famous Three Brothers of the Peach Orchard were, from the right, Chang Fei, Liu Pei, and Kuan Kung. At left in back is the general Chao Yun. (courtesy of Chang Hsiang -ch'ien)

Wang Hung-shou, one of the "eight great Kuan Kungs," made a great contribution to Kuan Kung's later image on the stage. (courtesy of Chang Hsiang-ch'ien)

Hsia Yueh-jun, another of the "eight," was noted for wearing eight flags on his back. (courtesy of Chang Hsiang ch'ien)

Kuan Kung's red face and Ts'ao Ts'ao's white one distinguish the two on the stage.

Tripe and pickled vegetables with a clear, slightly sour soup.

Pork in brown sauce with "dried mustard cabbage" whets even the lightest of appetites.

（Left） Steamed tofu stuffed with pork bits and salted fish is one of the most exquisite dishes in Hakka cuisine.

（Center） Fried eggplant with a good dash of chiu ts'eng t'a is really delicious.

（Right） Squid with fried pork is a must for any Hakka banquet.

"When in Rome do as the Romans do." The first dish at this Hakka wedding is a Taiwanese cold plate.

"Kuan Kung" by Chu Ming.