• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.210-218
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• 2022

Chinese Opera-themed woodcut New Year pictures in Yangjiabu are representative of Chinese New Year pictures. This research takes cultural research as a breakthrough point, analyzes and combs its Context, Representation, Coding & Decoding, and finds that: After the imitation and restatement of traditional Chinese opera, the opera-themed woodcut New Year pictures have formed a dynamic intertextual relationship with Chinese culture and traditional Chinese opera. The understanding of this intertextual relationship is not only an important way to study Chinese folk art but also one of the ideas to show the aesthetic spirit of it.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.

• Korean Journal of Human Ecology
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• v.9 no.2
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• pp.43-52
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• 2006

This study has been conducted to find out the characteristics of the form and the color of make-up in Oriental traditional plays by comparing the characteristics of Hahoe masque, which is one of Koran traditional plays with those of Chinese Peking Opera and Japanese Noh plays. The object of the study was confined to the make-up of women players. The distinguished characteristics of women make-up of oriental traditional plays are as followings. First, the make-up of woman players in Korean Hahoe masque adopts mask make-up and expresses the mental state of players very realistically. Second, the women players in Chinese Peking Opera wear face make-up and it is beautifully expressed but not exaggerated. Third, most of Japanese Noh players wear face make-up. However, only women players wear mask make-up so that they might express non-realistic mood. Overall, the women players in Korean Ha-hoe masque adopt mask make-up, Chinese Peking Opera face make-up, and Japanese Noh both mask and face make-up.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• 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.

• 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.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• 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 Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• The Journal of Art Theory & Practice
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• no.5
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• pp.175-196
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• 2007