Beijing Opera Costumes

<p><em>Beijing Opera Costumes: The Visual Communication of Character and Culture</em> illuminates the links between theatrical attire and social customs and aesthetics of China, covering both the theory and practice of stage dress. Distinguishing attributes include an introduction to the performance style, the delineation of the costume conventions, an analysis of the costumes through their historical precedents and theatrical modifications, and the use of garment shape, color, and embroidery for symbolic effect. Practical information covers dressing the performers and a costume plot, the design and creation of the make-up and hairstyles, and pattern drafts of the major garments. Photographs from live performances, as well as details of embroidery, and close-up photographs of the headdresses thoroughly portray the stunning beauty of this incomparable performance style. Presenting the brilliant colors of the elaborately embroidered silk costumes together with the intricate makeup and glittering headdresses, this volume embodies the elegance of the Beijing opera.</p> <p>Acknowledgements</p><p>Foreword</p><p>Preface </p><p>Abbreviations</p><p>Dynasties</p><p>List of Figures</p><p>List of Tables </p><p>List of Pattern Drafts</p><p>Introduction</p><p>Chapter 1: The World of Traditional Jingju</p><p>Role Types</p><p>Plays</p><p>Visual Components</p><p>Costumes</p><p>Aesthetic Principles</p><p>Beauty</p><p>Chapter 2: The World of Traditional Jingju Costumes</p><p>Costumes and Roles</p><p>Identity through Costumes</p><p>Absence of Time Period</p><p>Absence of Season</p><p>Absence of Region</p><p>Dramatic Circumstances</p><p>Selection Process</p><p>Costumes and Movement</p><p>Costume Sources</p><p>Chapter 3: The Form and Historical Roots of Costumes</p><p>Historical Background</p><p>Cloth-Based Sources of Clothing</p><p>Han Garments and Traditional Jingju Costumes</p><p>Hide-Based Sources of Clothing</p><p>Manchu Garments and Traditional Jingju Costumes</p><p>Theatrically Based Clothing</p><p>Form and Conventions of Usage</p><p>Patterning and Cut of Costumes</p><p>Construction</p><p>Fabrics</p><p>Chapter 4: The Symbolism and Application of Color</p><p>History of Color Symbolism</p><p>Upper and Lower Colors</p><p>Meanings of the Upper Five Colors</p><p>Meanings of the Lower Five Colors</p><p>Color Combinations by Role Type</p><p>Aesthetics of Color Composition</p><p>Fabric and Embroidery Floss Colors </p><p>Lining Colors</p><p>Chapter 5: The Aesthetics and Meanings of the Embroidered Imagery</p><p>Embroidery in Chinese History</p><p>Embroidery Techniques</p><p>Composition</p><p>Imagery</p><p>Chapter 6: The Costume Compendium</p><p>The Major Costumes</p><p><i>Mang</i> (Court robe)</p><p><i>Nümang</i> (Female court robe)</p><p><i>Qimang</i> (Manchu court robe)</p><p><i>Gailiang</i> <i>mang</i> (Reformed court robe)</p><p>Pi (Formal robe)</p><p>Nüpi (Female formal robe)</p><p>Kao (Armor)</p><p>Nükao (Female armor)</p><p>Gailiang kao (Reformed armor) and <i>Gailiang nükao </i>(Female reformed armor)</p><p>Xuezi (Informal robe)</p><p>Nüxuezi (Female informal robe)</p><p>Fugui yi (Garment of wealth and nobility)</p><p>The Long Costumes</p><p><i>Kai chang</i> (Open robe)</p><p><i>Guanyi</i> (Official robe)</p><p><i>Gailiang guanyi</i> (Reformed official robe)</p><p>Eunuch Robe <i>(Taijian yi)</i></p><p><i>Xueshi yi</i> (Scholar’s robe)</p><p><i>Jianyi</i> (Archer’s robe)</p><p><i>Longtao</i> <i>yi </i>(Attendant robe)</p><p><i>Dakai</i> (Big armor)</p><p><i>Gongzhuang </i>(Palace garment)</p><p>The Short Costumes</p><p><i>Magua</i> (Riding jacket)</p><p><i>Baoyi</i> (Lit. "leopard" or "embracing" clothes)</p><p><i>Kuaiyi</i> (Lit. "fast" clothes) and <i>Bingyi</i> (Soldier’s clothes)</p><p><i>Chayi</i> (Lit. "tea" clothes)</p><p>Big-sleeved Robe <i>(Daxiu)</i></p><p>Prisoner’s Clothes <i>(Zuiyi)</i></p><p>Executioner’s Clothes <i>(Guizishou yi)</i></p><p>Jacket and Skirt <i>(Aoqun) </i>and Jacket and Trousers <i>(Aoku)</i></p><p>Zhan’ao zhanqun (War jacket, skirt, and trousers)</p><p><i>Caipo ao</i> (Colorful jacket for old women)</p><p>Duantiao (Lit. "short and convenient for playing" robe) and <i>An’anyi</i> (Children’s clothing)</p><p>The Specific Costumes</p><p>Religious Costumes</p><p><i>Bagua yi</i> (Eight trigrams robe)</p><p><i>Fayi</i> (Priest’s chasuble)</p><p><i>Sengyi</i> (Buddhist robe)</p><p><i>Xiao sengyi </i>(Young monk’s robe)</p><p>Head Monk Cloak <i>(Jiasha)</i></p><p><i>Seng kanjian</i> or <i>wuseng yi</i> (Military monk vest)</p><p><i>Sanse dao beixin</i> (Three-color Daoist vest) </p><p>Daoist Nun Vest <i>(Daogu kanjian)</i></p><p>Mythological Creatures and Beings</p><p>Ethnic Clothing</p><p><i>Qipao</i> (Manchu gown)</p><p><i>Bufu</i> (Coat with a badge)</p><p>Special Characters</p><p>Lady Yu</p><p>Guan Yu</p><p>Zhong Kui</p><p>Monkey Costumes</p><p><i>Zhiduyi</i> (Combat clothes for the Monkey King)</p><p>Monkey Clothes <i>(Houyi)</i></p><p><i>Houjia</i> (Monkey armor)</p><p>Little Monkey Clothes <i>(Xiao houyi)</i></p><p>Mei Lanfang Designs</p><p><i>Guzhuang</i> ("Ancient-style" dress)</p><p>Cloud-terrace Costume <i>(Yuntai zhuang)</i></p><p>Accessory Pieces</p><p>Trousers <i>(Kuzi)</i> and Colored Trousers <i>(Caiku)</i></p><p>Skirts <i>(Qunzi)</i></p><p>Vests <i>(Kanjian):</i> Male</p><p>Vests: Female</p><p>Large Apron<i> (Da fandan)</i> and Small Apron <i>(Xiao fandan)</i></p><p>Capes <i>(Doupeng)</i></p><p>Belts</p><p>Footwear</p><p>Inner Garments</p><p>Water Sleeves <i>(Shuixiu)</i></p><p>Chapter 7: Makeup, Hair, and Headdresses</p><p>Women’s Makeup</p><p>Men’s Makeup</p><p><i>Lianpu</i> (Lit. "face chart")Makeup</p><p>Hairdressing and Accessories</p><p>Men’s Hair </p><p>Beards</p><p>Headdresses </p><p>Ceremonial Headdresses</p><p>Helmets</p><p>Hats</p><p>Soft Caps </p><p>Supplementary Styles</p><p>Chapter 8: Dressing Techniques and Costume Plots</p><p>Training</p><p>Patterns of Selection</p><p>Layering Patterns</p><p>Deviations from Dressing Patterns</p><p>Costume Plots</p><p>A Costume Plot and Two Performances</p><p>Dressing Techniques</p><p>Trunks and Storage</p><p>Appendix I: Costume Pattern Drafts</p><p>Appendix II: Dictionary of Jingju Characters</p><p>Glossary</p><p>List of Performances</p><p>Index</p>