• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.143-153
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• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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• pp.457-466
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• 2009

The purpose of this study is to research the similarity and difference of color application in culture of Korea and China. The subject of this research is the costume color of Changgeuk and Beijing opera. First, a bibliographical inquiry includes the attributes of cultural color in Korea and China and the costume attributes of Changgeuk and Beijing opera. Second, this survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone by extracted color data. The results of this study are as follows: 1. The cultural color factors of Korea and China are classified geographical factor, internal cultural factor and external cultural factor. 2. Changgeuk costume much more used high value and medium & low chroma for korean temperate climate. But Beijing opera costume prefers high-medium value and low chroma color, various ranges of color because of China huge land and various climates, as geographical factor. 3. Changgeuk costume much more used YR color(no-dyeing color) because of korean white robe preference. Beijing opera costume much more used R color than Changgeuk costume because of traditional preference of R color, as infernal cultural factor. 4. Changgeuk costume and Beijing opera costume show the practical use of ascetic cole. like as jade green. Ojungsaek much less used than Obangsaek by the theory of exponents of the five elements doctrine, as external cultural factor.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• The Research Journal of the Costume Culture
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• v.24 no.2
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• pp.273-286
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• 2016

Traditional Chinese operas are time-honored art form, they are vivid in expression, rich in content, embody social, thought-provoking, historical and artistic value. And as a splendid art form and part of China's brilliant traditional cultural heritage, traditional Chinese operas have been developed with Chinese history from generation to generation. Nowadays, with the comprehensive national strength increasingly growing, Chinese government is giving more and more importance to enhance people's awareness of protecting traditional Chinese opera. In actual fact, both Chinese scholars and the other scholars who have done some research in traditional Chinese operas and built up solid foundation for further study. Even though, traditional Chinese operas have not been fully understood by people outside the 5000-year-old civilization, especially what is the close relationship between the apparel and accessories and the names of dramas. Based on this condition, the paper selects and summarizes names of apparel and accessories in traditional Chinese dramas as its thesis, intending to explore the relationship between the apparel and accessories and the names of dramas, analyzing how such names in dramas highlight themes and promote the development of unique storylines. The paper will help Western readers further understand the meaning of traditional operas names' behind these costumes and promote Chinese traditional dramas spreading to abroad.

• Cross-Cultural Studies
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• v.31
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.