Is the face mask of Sichuan Opera the same as that of Beijing Opera?

Different, please see the following introduction.

The facial makeup of Sichuan Opera is an important part of the performing arts of Sichuan Opera, and it is an artistic treasure created and inherited by Sichuan Opera artists in past dynasties. Before the performance, Sichuan opera actors should paint different colors on their faces to show their identity, appearance and personality characteristics. In the history of Sichuan Opera, there was no full-time face painter, and the actors painted their own faces. On the premise of maintaining the basic characteristics of the characters in the play, actors can creatively draw faces according to their own characteristics to attract the attention of the audience. Therefore, the personalization and diversification of Sichuan opera masks are rare in various local operas. In addition, the facial makeup in the history of Sichuan Opera was passed down in the form of "master and apprentice", and the master taught his disciples how to draw facial makeup. The master is familiar with the face he painted, and the apprentice is familiar with what he has learned and can change. After the performance, the face was wiped clean, and Facebook became a magic weapon for the actors to attract the audience. It is not only oral teaching, but also a magic weapon to win, so the history of Sichuan opera Facebook lacks paper image records. The academic edition of "China Opera Mask-Sichuan Opera Mask" has collected 1000 kinds of performance masks in the history of hundreds of old Sichuan opera artists, involving hundreds of plays. The spectrum has precious and rich information, and has extremely high artistic value and academic value. The author, Mr. Gong Siquan, grew up in Hechuan, Chongqing. 19 years old until retirement, has been a senior stage art designer of Hechuanchuan Theater in Chongqing. He has an artistic background and is also a fan of Sichuan Opera. Hechuan, which is located in the traffic artery of Sichuan and Chongqing, is rich in products and has a developed and prosperous folk culture. At the end of the Qing Dynasty and the beginning of the Republic of China, local troupes and foreign troupes gathered, with many good angles and many good plays. The history of Hechuanchuan Theatre can even be traced back to the late Ming and early Qing Dynasties. Mr. Gong lives in such an environment, and rich folk culture nourishes him. Since 1950s, he has devoted himself to collecting and drawing masks of Sichuan Opera, drawing more than 2,000 kinds of masks. Unfortunately, most of Facebook was destroyed during the Cultural Revolution. In 1970s and 1980s, Mr. Gong once again searched for the old artists of Sichuan Opera and embarked on the road of collecting, sorting and drawing. Only this time, his sense of mission is not entirely based on his love. The decrease of Sichuan Opera performances, the loss of repertoires and the quiet death of old artists made him feel sorry and sad, and he consciously shouldered the heavy responsibility of protecting folk culture. The Facebook collected in this book is divided into two parts, one is the face of characters arranged in alphabetical order, and the other is the face of characters arranged in thematic order, which do not cover each other. Among them, there are many facial expressions of important opera figures, which show different actors' different understandings of opera figures and the diversity of Sichuan opera facial expressions, such as Cao Cao, Guan Yu and Zhang Fei in the Three Kingdoms. Their facial expressions, from youth to middle age and then to old age, cover almost everything and reflect the growth process of characters. The academic edition of "Face of Sichuan Opera" is characterized by the fact that it is the only book in history that truly preserves the face spectrum of Sichuan Opera performances, the book with the largest collection of face spectrum of Sichuan Opera in China at present, and the only book that attempts to truly reverse the colors used by the original author to paint faces. The publication of The Face of Sichuan Opera has made due contributions to the promotion and inheritance of China traditional culture and the true preservation of historical materials.

colour

Color is the most basic role marker. The facial makeup of Sichuan Opera expresses the basic characteristics of characters by color, and its principle of setting the tone by color is based on the traditional culture of China and the long-term appreciation habits of China people. For example, in the facial makeup of Sichuan opera, people who are loyal to the liver and righteous are often represented in red, such as Guan Yu and Jiang Wei; Black is mostly used to represent honest and selfless people, such as Bao Gong. White is mostly used to show cold and insidious characters, such as Cao Cao. Green and blue are mostly used to express rebellious heroes, outlaws or aggressive and cruel figures, such as Dan Xiong Xin. Gold, silver and ash have an illusory and mysterious feeling, and are mostly used to express roles such as Buddha, God, fairy, demon and ghost.

Symbolic pattern

On the premise of using color to set the tone, symbolic and moral patterns are drawn on the faces of the characters to express the personality characteristics of the characters in the play. People can praise or belittle the characters in the play, expose satire, or criticize and lash, all of which can be reflected in the model. For example, Bao Zheng's black face is painted with herringbone pen, calligraphy, longevity characters, crescent moon, sun and other patterns, symbolizing his integrity, law enforcement and incorruptibility throughout his life. Guan Yu's red face is painted with the patterns of sleeping silkworm eyebrows, three sticks of incense and characters, which shows his loyalty to bravery and loyalty. Zhao Kuangyin is also flushed and has a dragon pattern on his eyebrows, which shows that he is a generation of emperors. The white line drawn on the seal or eyelid shows his suspicious and insidious characteristics. Xiang Yu's black-and-white face is painted with patterns such as the Big Dipper, the immortal dragon pattern, the sword and the tiger and leopard eyes. It shows that Tianwei once drew his sword for a generation of tyrants and defeated Wujiang River.

Model animal

Using animal patterns to express the characteristics of characters is a major feature of Sichuan opera facial makeup. For example, Ma Jun, a Jianghu hero, was called "Jade Butterfly" and drew a colorful butterfly on Ma Jun's face. On the face of the green duck Taoist, it is a sketch of the duck spreading its wings; The snake spirit's face outlines a winding blue-green snake, and so on. In particular, the drawing of these animal patterns needs to completely conform to the distribution characteristics of actors' facial muscles. For example, the snake's head and mouth are painted on the actor's mouth, the snake's body is coiled around the cheeks, and the snake's tail extends to the eyebrow muscle. In this way, the opening and closing of the actor's mouth only shows the opening and closing of the snake's mouth, and the movement of the whole facial muscles only drives the snake to crawl. Another example is the crab general in Shui Jin Man Shan, which outlines a big crab claw in the actor's mouth, and the movement of the mouth muscles is just the opening and closing movement of the crab claw. Designing and sketching facial makeup with animal patterns is by no means mechanically copying animal patterns on the face, but requires artistic treatment of deformation, exaggeration and ingenious arrangement. Whether we use the whole picture of animals or take part of them, we need to meet the needs of roles, performances and characterization. The drawing of animal facial makeup should strive for bright colors and beautiful decoration, and also give full consideration to the norms of all walks of life of the characters in the play. In other words, the painting method of animal facial makeup should also have the difference between big painted face, second painted face, small painted face and bully face.

Bell face

Bully face, also known as bully face, is the shape of the characters and teenagers in the play, which embodies the characteristics of strong blood and vigor of the characters. The face of the bully continues the facial makeup characteristics of middle-aged and elderly people. There is no mouth, and the nose is generally the boundary, only the upper part of the face is outlined. Bully face also has the function of implicitly expressing the morphological characteristics of characters' offspring. For example, the red-faced Guan Yu in "Walking on the Moon to Kill a Bear" is still a young man, and his face is a semi-red but not white bully. Black-faced Bao Gong became an official for the first time in "The Double Nail". He was still a young man with a quick personality in honesty, so he was given a black-faced bully. Shi Yinglong, a young hero in Polo Flower, has a domineering face. Zhang Fei's son Zhang Bao is a bully, and Niu Hao's son Niu Tong is a bully. They are young and full of energy.

Text mask

There is also a way to express the characteristics of characters by using characters as modeling in Sichuan opera masks. Sketch calligraphy Chinese characters in a prominent position on the face of the characters, and then match them with other decorative patterns. Text mask appeared on the stage before 1950s. The characters in this book are sketched repeatedly according to the dictation of senior Sichuan opera artists, which can be roughly divided into simplified characters and abstract characters, and there are calligraphy forms such as seal, official script, kai, xing and Cao. For example, Niu Hao wrote the word "Niu" in official script on his forehead; Jy wrote the word "Li" in official script on his forehead; Rebecca wrote the word "Yan" in regular script on his forehead; Kuixing wrote the word "Dou" in regular script on his forehead; According to legend, Yang descended from Hei Hu, and his black bully's face was cursive "tiger". People often say that "the face is the signboard", and the word mask plays a signboard role in introducing the characters in the play.