Journal of Fashion Business (패션비즈니스)

The Korean Society of Fashion Business (한국패션비즈니스학회)
권호 표지
DOI QR코드

DOI QR Code

Types and Expressive Characteristics of the Chinese Shadow Puppetry Costumes, Yingxi

중국 산시성 피영극 복식의 유형 및 표현 특징

  • Suh, Seunghee (Dept. of Fashion Design, Sungkyunkwan University) ;
  • Zhang, Qian (Dept. of Fashion Design, Sungkyunkwan University)
  • 서승희 (성균관대학교, 의상학과) ;
  • 장천 (성균관대학교, 의상학과)
  • Received : 2022.02.23
  • Accepted : 2022.05.23
  • Published : 2022.05.30
Download PDF
⟨ Previous Next ⟩

Abstract

The purpose of this study was to analyze the expressive characteristics of Chinese shadow puppetry costumes. Literature study and case analysis were conducted using books, research papers, and materials from the Xi'an shadow puppetry museum. Based on the Chinese traditional costumes, the shape characteristics are utilized with the intaglio and embossing techniques, and the complex and unnecessary details are omitted to express the costume image in a characteristic and simple manner. Second, colour was used according to the traditional Chinese symbolic colour concept, and the brighter the colour, the higher the role's status. The colour was also used to express identity and character. In addition, relatively vivid and highly saturated colours were used for the transparent effect of the shadow puppetry. Third, a role's status is indicated by the density and completeness of the patterns; the higher the role's status, the more complex and sophisticated the patterns, and the lower the status, the simpler the patterns or no patterns are used. Fourth, the faith for blessing expressed in the shadow puppetry is a representative folk auspicious culture. The repertoire of the shadow puppetry and the patterns on the costumes worn by the puppets, express the culture in an implicit way to symbolize the meaning of auspicious things.

Keywords

References

  1. About Us. (n.d.). Xi'an Shadow Puppet Art Museum. Retrieved June 22, 2021, from http://www.shadowpuppetart.com/p_about.html
  2. Artist Manipulating Puppets. (2009). [Photograph]. UNESCO. Retrieved December 22, 2021, from https://ich.unesco.org/en/RL/chinese-shadow-puppetry-00421
  3. Bai, Y., & Wang, H. (2020). Cultural connotation of seawater river cliff pattern, its inheritance and application in modern fashion design. Journal of Silk, 57(6), 120-129. doi:10.3969/j.issn.1001-7003.2020.06.020
  4. Buddhist Guardian Diety. (Early 14th C). The Metropolitan Museum of Art. Retrieved December 27, 2021, from https://www.metmuseum.org/art/collection/search/62367
  5. Chang. (2022, April 28). [Photograph]. Lianchi Chinese Society of Hebei University. Retrieved May 15, 2022, from https://mp.weixin.qq.com/s/qQaNoWpcGRVOpT4NIejL4A
  6. Chou. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved December 23, 2021, from http://www.shadowpuppetart.com/p_cangpin_touca_002.html
  7. Civil Official's Red Uniform. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved October 10, 2021, from http://www.shadowpuppetart.com/old/img/b0015.jpg
  8. Colouring. (2009). [Photograph]. UNESCO. Retrieved December 22, 2021, from https://ich.unesco.org/en/RL/chinese-shadow-puppetry-00421
  9. Dan. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved June 20, 2021, from http://www.shadowpuppetart.com/p_cangpin_touca_001.html
  10. Dajin Magua. (n.d.). [Photograph]. The Palace Museum. Retrieved February 1, 2022, from https://www.dpm.org.cn/collection/embroider/230355.html
  11. Drawing. (n.d.). [Photograph]. Digital Museum of Shadow. Retrieved June 19, 2021, from https://shadow.caa.edu.cn//#/pyzz/huagao
  12. Duijin Magua. (n.d). [Photograph]. The Palace Museum. Retrieved June 24, 2021, from https://www.dpm.org.cn/collection/embroider/231369.html
  13. Embossing. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved June 24, 2021, from http://www.shadowpuppetart.com/p_cangpin_touca_002.html
  14. Female Mang Pao. (n.d.). [Photograph]. Xi'an Digital Shadow Puppet Museum. Retrieved October 10, 2021, from https://nwzimg.wezhan.net/contents/sitefiles3604/18024358/images/3375425.jpg
  15. Feng, J., & Wu, W. (Eds.). (2004). 民间皮影 [Folk Shadow Play]. Shijiazhuang, China: Hebei Children's Publishing House.
  16. Fuyi. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved July 29, 2021, from http://www.shadowpuppetart.com/p_cangpin_shenduan_001.html
  17. Gao, M. (2010). 陕西东路皮影图案学研究 [A study on shadow puppet pattern of the eastern part of Shaanxi Province] (Unpublished doctoral dissertation). Xi'an Academy of Fine Arts, Xian, China.
  18. Gao, Y. (2018). Research on the application of Sichuan shadow play modeling art in women's clothing design (Unpublished master's thesis). Sichuan Normal University, Chengdu, China.
  19. Gu, C., & Wang, D. (2020). The application of xiaoyi shadow puppet art in modern costume design. Industrial Design, 16(3), 131-133.
  20. Guo, W. (2015). The application of contemporary Tangshan shadow play shapes arts in fashion design (Unpublished master's thesis). Wuhan Textile University, Wuhan, China.
  21. Huang, N., & Chen, J. (Eds.). (1995). The history of Chinese clothing. Beijing, China: China Tourism Press.
  22. Hu, Z. (2007). 中国手工艺文化 [Chinese handicraft culture]. Beijing, China: Current Affairs Press.
  23. Intaglio. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved June 24, 2021, from http://www.shadowpuppetart.com/p_cangpin_touca_004.html
  24. Jeon, K. (2004). 한국의 전통연희 [Korean traditional performance]. Seoul. Korea: Hakgojae.
  25. Jing. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved June 20, 2021, from http://shadowpuppetart.com/p_cangpin_touca_006.html
  26. Jin, R. (2015). A study on the shadow play for Chinese animation creation: based on Animation (Unpublished master's thesis). Sejong University, Seoul, Korea.
  27. Kao. (n.d.). [Photograph]. Xi'an Digital Shadow Puppet Museum. Retrieved October 1, 2021, from https://nwzimg.wezhan.net/contents/sitefiles3604/18024358/images/3375425.jpg
  28. King's Dragon Robe of the Early Qing Dynasty (n.d.). [Photograph]. The Palace Museum. Retrieved May 18, 2022, from https://www.dpm.org.cn/collection/music/232788.html
  29. Knotting (n.d.). [Photograph]. Digital Museum of Shadow. Retrieved December 22, 2021, from https://shadow.caa.edu.cn/#/pyzz/zhuijie
  30. Li, L. (2014). Ming imperial wardrobe's influence on the Qing imperial wardrobe: a study of the "Twelve Symbols" ang "Insignia Bdges" one the Ming and Qing imperial garments. Journal of Gugong Studies, 12(2), 166-184.
  31. Li, X. (2013). Research on dressing of Shaanxi Huaxian shadow puppets (Unpublished master's thesis). Xi'an Polytechnic University, Xian, China.
  32. Li, X. (2014). The apolication research of Shadow Graphics in fashion design (Unpublished master's thesis). Zhejiang Sci-Tech University, Hangzhou, China.
  33. Liang, Z. (2007). 关中皮影 [Shadow play in Guanzhong]. Hangzhou, China: Zhejiang People's Publishing House.
  34. Liaotang. (n.d.). [Photograph]. Digital Museum of Shadow. Retrieved February 20, 2021, from http://shadow.caa.edu.cn/src/soure/home/qiuzi.png
  35. Liu, S. (2018). The research of the medias' expansion of Chinese shadow play: focusing on digital animation application (Unpublished master's thesis). Hoseo University, Asan, Korea.
  36. Liu, Y. (2013). Ancient Chinese Armour. Beijing, China: Tsinghua University publishing house.
  37. Lu, L., & Lu, H. (2019). 最美中国皮影集萃 [The most beautiful collection of Chinese shadow puppets]. Zhengzhou, China: Henan science and Technology Press.
  38. Luan, G. (1994). 京剧戏衣种类 [Types of Peking Opera Costumes]. Jingju of China, 3(2), 58-59.
  39. Lv, J. (2013). Research on the artistic characteristics and aesthetic value of shadow in Tongbai, Henan Province (Unpublished master's thesis). Xi'an University of Architecture and Technology, Xian, China.
  40. Making Process. (n.d.). Digital Museum of Shadow. Retrieved June 20, 2021, from https://shadow.caa.edu.cn/#/pyzz
  41. Male Mang Pao. (n.d.). [Photograph]. Xi'an Digital Shadow Puppet Museum. Retrieved October 1, 2021, from https://nwzimg.wezhan.net/contents/sitefiles3604/18024358/images/3375425.jpg
  42. Musical Instruments Used for Playing. (n.d.). Digital Museum of Shadow. Retrieved September, 7, from https://shadow.caa.edu.cn/#/gczp/prop
  43. Multi-view Method. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved September 7, 2021, from http://shadowpuppetart.com/p_cangpin_changjing_002.html
  44. Nantang. (2021). Baidu Encyclopedia. Retrieved June 24, 2021, from https://baike.baidu.com/item/%E7%94%B7%E8%B6%9F
  45. National Art Museum of China. (2009). Play in shadow: Shadow play treasures from the NAMOC collection. Shijiazhuang, China: Hebei Education Press.
  46. Que, B., & Fan, J. (2015). 明代宫廷史研究丛书: 明代宫廷织秀史 [Ming dynasty court history research series: history of court weaving and embroidery in Ming dynasty]. Beijing, China: Palace Museum Press.
  47. Shandong Museum. (2012). Clothing from the Collections of Kong Family Mansion. Jinan, China: Author.
  48. Shangguan, T. (2006). Research on model artistic characteristic of Shaanxi shadow puppets (Unpublished master's thesis). Xi'an Polytechnic University, Xian, China.
  49. Sheng. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved June 27, 2021, from http://www.shadowpuppetart.com/p_cangpin_shenduan_001.html
  50. Shen, W., & Lu, P. (Eds.). (2007). The shadow figure treasury of Shaanxi province. Shanghai, China: Wenhui Press.
  51. Shi, J., & Cao, F. (2012). 皮影戏发展简史勾勒及其中国文化特色研究 [A brief history of the development of shadow puppetry and a study on the characteristics of Chinese culture]. In J. Shi (Ed.), Shaanxi shadow puppet (p. 3). Xian, China: Sanqin Publishing House.
  52. Simplifying the Characteristics. (n.d.). [Photograph]. Xi'an Shadow Puppet Art Museum. Retrieved October 1, 2021, from http://shadowpuppetart.com/p_cangpin_huacao_001.html
  53. Sun, J. (1995). 皮影艺术 [shadow play art]. In Wang, Z., & Sun, J. (Eds.), 中国民间美术全集: 十二游艺编木偶皮影卷 [Chinese folk art collection: 12 entertainment making puppet shadow picture] (p. 9). Jinan, China: Shandong Education Press.
  54. Sun, J. (2006). Ancient color-favored culture and the Chinese color words. Journal of China Youth University for Political Sciences, 25(3), 128-133. doi:10.3969/j.issn.1002-8919.2006.03.026
  55. Suyi. (n.d.). [Photograph]. Digital Museum of Shadow. Retrieved April 11, 2022, from http://shadow.caa.edu.cn/py/picture/000144/2007-11/141159347.jpg
  56. Sweating (n.d.). [Photograph]. Digital Museum of Shadow. Retrieved June 23, 2021, from https://shadow.caa.edu.cn/#/pyzz/fahan
  57. Tying Body Pieces. (n.d.). Xi'an Shadow Puppet Art Museum. Retrieved October 1, 2021, from http://shadowpuppetart.com/p_cangpin_shenduan_002.html
  58. Wang, S. (2014). Research on the art of Shaanxi shadow play clothes (Unpublished master's thesis). Xi'an Academy of Fine Arts, Xian, China.
  59. Wei, L. (Ed.). (2015). 中国皮影戏全集 [Complete works of Chinese shadow play-origin] (Vol. 17(2)). Beijing, China: Cultural Relics Publishing House.
  60. Wei, L. (1995). 中国影戏源流考 [A study on the origin of Chinese shadow puppetry]. 河北师院学报(社会科学版), 20(1), 57-62.
  61. Wen, T. (2014). Shadow play. Changchun, China: Jilin publishing Refco Group.
  62. Wu, J. (2007). 中国民间艺术: 陕西民间皮影 [Chinese folk art: Shaanxi Folk Shadow Play]. Science & Technology Association Forum, 22(1), 136-137. doi:10.3969/j.issn.1007-3973.2007.01.099
  63. Wu, X. (2010) Esthetic research of shuangcheng shadow art (Unpublished master's thesis). Harbin Normal University, Harbin, China.
  64. Yan, G. (2011). Modeling analysis of Shaanxi shadow play (Unpublished master's thesis). Fujian Normal University, Fuzhou, China.
  65. Yu, K., Jung, J., Kim, Y., & Kim, H. (2021). Understanding qualitative research methods (2nd ed.). Seoul, Korea: Parkyoung Story.
  66. Yu, X. (2012). Application of the shapes of Tangshan shadow play in national costume design (Unpublished master's thesis). Hebei University of Science & Technology, Shijiazhuang, China.
  67. Zeng, H. (2009). 满族服饰文化变迁研究 [Research on the cultural changes of Manchu costumes] (Unpublished doctoral dissertation). Minzu University of China, Beijing, China.
  68. Zhang, J. (2012). The discussion of folk culture in Shaanxi shadowgraph. Journal of Xi'an Polytechnic University, 26(4), 461-465. doi:10.3969/j.issn.1674-649X.2012.04.011
  69. Zhang, L. (2009). Chinese skin shade modelling idea and drama styles of makeup clothing (Unpublished master's thesis). Hebei Normal University, Shijiazhuang, China.
  70. Zhang, X. (2019). The innovative application of Tangshan shadow art in fashion design (Unpublished master's thesis). Beijing Institute Of Fashion Technology, Beijing, China.
  71. Zhang, Y. (2014). 华县皮影的审美艺术及传承探究 [The aesthetic art and inheritance of shadow play in Huaxian County] (Unpublished master's thesis). Shannxi Normal University, Xian, China.
  72. Zhao, G. (2008). 浅谈陕西皮影艺术与民俗文化特征 [Shaanxi shadow play art and folk culture characteristics]. National Art Museum of China Journal, 4(3), 106-108.
  73. Zhu, H. (2020). History, status quo and repertory characteristics of Chinese shadow puppetry. Journal of Zhejiang Vocational Academy of Art, 18(1), 32-45. doi:10.15965/j.cnki.zjys.2020.01.005