Peking Opera, also known as Chinese or National Opera depends on symbolism for much of its meaning. A whip represents a horse, two flags bearing pictures of a wheel, constitute a chariot. The raising of a foot suggests mounting a horse, and stumbling means dismounting.

An initiated audience knows the character of a performer as soon as he or she appears on stage, simply by observing the make-up.

The valor of a warrior and the treachery of a quisling, to be sure, can be conveyed by facial expressions, but how can people at the back of the hall see them? An actor who plays a patriotic warrior today may be required to play the part of a quisling tomorrow, or even the Monkey King. How can he adjust to these different moods under the watchful eyes of the audience? Face painting provides the answer.

In former times, dancers and singers performed independently. As the dancers did not need to open their mouths, they could hold their masks in place with their teeth. When singing and dancing had to be performed by the same artist, the mask had to be painted on. This was the beginning of face painting in Chinese theater.

In Chinese opera, face painting is called "face code," with colors and lines drawn to express the traits of character. According to the late Chinese opera scholar, Chi Ju-shan, there were 500 to 600 face codes in the Peking district alone. Generally speaking, the parts of a simple scholar or an upright man do not call for face painting. Color on the face is, in any case, regarded as a stigma or a mark. For this reason, a benevolent official, an elder, a law-abiding citizen, an honest servant, or a simple woman wears no paint on the face.

The basic elements of face painting are the style and color to be used. The audience judges the character according to these two elements. There are nine patterns known as "whole face," "Old face," "tripartite face," "cross face," "wry face," "broken face," "crooked face," and "unique face."

"Whole face" is done by monochrome painting, suggesting integrity of personality. "Old face" is also called a "six-part face," Since it includes the pattern of the Chinese character for "six" with the main color accounting for 60 percent of the painting. This is worn by veteran officials and generals. The "tripartite face", most common in Chinese opera, includes the greatest variety, and imparts a certain testiness of character. The "cross face", so named because it includes a cross on the nose, is reserved for renowned generals of ancient Chinese history. The "broken face" is derived from the "tripartite face" and "cross face" patterns, and is worn, in most cases, by chivalrous bandits.

All these face paintings are asymmetric from the two sides of the nose. But this is not the case in the "wry face" or "broken face" patterns which are worn by dishonest characters or injured or disabled people, to suggest physical or personality defects. The "crooked face" is also called "white sock," because it is created by covering the face with white, to suggest an effort to conceal evil-intentions. Sometimes, a few lines are drawn on the white face to show duplicity of character. The "unique face" is used only for a few characters, such as the linking of the two brows into a bar on the face of Huang Chao, a cold-blooded killer.

From this vast array of face paintings, we can easily judge the temperaments of the wearers. The man who bears a simple pattern holds a noble position, and the one who wears a complex face painting hails from a humble class and may be intractable. The lines on the face painting suggests instability in character and a conniving nature. The lines are rarely used for old people, since they are regarded as having lost their vitality.

When the Chinese judge the character of a man, they often examine his "color and complexion." In the Yuan dynasty, (1280-1368), only red, white, black and blue were used. Now, all colors are incorporated, including silver and gold.

Generally speaking, red suggests loyalty and patriotism, but it can be toned down to pink to represent aging heroes or generals. Yellow is for the gallant bandits, whose faces turn yellow because they are consumed by plotting. Blue represents valor and arrogance and is used for bandits with outstanding martial skills. Black face painting is the hallmark of honesty and justice, while white represents treachery. Violet is used for loyal and gallant characters but suggests coolness and calmness in temperament, in contrast with the red hues.

Dr. Lin Yu-tang summed up the art of face painting as follows:

"Nearly all characters in the repertory have their established masks, whose purpose is primarily to emphasize certain traits of character. The red face distinguishes loyal, full-blooded, warm-hearted persons; the black face shows the sternly honest and uncompromising character; the white face represents a man who conceals his feelings, the arch and crafty person, the devious and the hypocritical. . . the art of painting masks is like the art of the cartoon--to give the greatest expression to the essence of character by using the simplest and boldest lines."

[Picture Caption]

1.& 3. Most face painting is done by the performers themselves. 2. The "tan" performers play similar roles, so their facial make-up is not stipulated in the "facial code."

1. White represents duplicity, and a crow's foot design exposes machinations. 2. Colors used in face painting must match the costumes to enhance the visual effect. 3. The "cross face painting" is used by portrayers of famous warriors in history. 4. A red face shows a full-blooded loyal man, and the "wart" distinguishes him from the perfectly loyal warrior, Kuankung. 5. The color of each stroke is reduce in intensity toward the end.

1. Gold paint is used specifically for deities. 2.&3. This simple black-and-white pattern is for loyal and veteran warriors. 4. A fancy blue face is used by demon characters. 5. The facial design for a "ching" role must include an open space on the forehead.

1. Each historical personage has his own face paint. 2. Masks are still used for roles that do not require singing. 3. The pattern on the nose ridge is a symbol of longevity. 4. Face paints for clowns. 5. 6. & 7. Handicrafts feature faces from Chinese opera.

Most face painting is done by the performers themselves.

White represents duplicity, and a crow's foot design exposes machinations.

Colors used in face painting must match the costumes to enhance the visual effect.

The "cross face painting" is used by portrayers of famous warriors in history.

A red face shows a full-blooded loyal man, and the "wart" distinguishes him from the perfectly loyal warrior, Kuankung.

The color of each stroke is reduce in intensity toward the end.

Gold paint is used specifically for deities.

This simple black-and-white pattern is for loyal and veteran warriors.

This simple black-and-white pattern is for loyal and veteran warriors.

A fancy blue face is used by demon characters.

The facial design for a "ching" role must include an open space on the forehead.

Each historical personage has his own face paint.

Masks are still used for roles that do not require singing.

The pattern on the nose ridge is a symbol of longevity.

Face paints for clowns.

Handicrafts feature faces from Chinese opera.

Handicrafts feature faces from Chinese opera.

Handicrafts feature faces from Chinese opera.