© Penelope Gan – All Rights Reserved – Malaysian Chinese Opera – Kuala Lumpur, MALAYSIA
Facial painting / makeup is of utmost importance in any derivatives of Chinese Opera, regardless of where it is performed. Dating back to Song (960-1279) and Yuan (1271-1368) Dynasties, the facial makeup evolved in intricacy and distinguishable patterns to the eventual ‘facial costumes’ of the Ming Dynasty (1368-1644) that carries through to modern day. The origins of this facial makeup however is still largely a matter for conjecture;
The first theory provides that primitive hunters painted their faces to frighten off the wild beasts. Furthermore it was said that highwaymen in the old days did the same to hide their identity and also to overawe the wayfarers they were to rob. Either practice, it is believe to have led to the emergence of dramatic facial makeups.
The second theory posits that the facial makeup owes its origin to the mask. Prince Lanling of the Northern Qi Dynasty (479-507) was a good fighter but, because of his handsome features, aroused no fear in his enemy. To overcome this perception, the Prince had ferocious-looking mask made and wore them to battles. Needless to say, he proved much more formidable and therefore ever-victorious, which led to followers composing a song that celebrates his success. This song is said to have developed into a masked dance with the Prince’s character storming into the enemy formation. Subsequently, the mask became painted patterns for stage character.
Lastly, it is held that facial makeups were used for traditional operas simply because they were often presented on open-air stages to large gatherings of noisy and distracted crowds. Hence, the characters were made to wear painted facial patterns in order to bring the drama home to the audience.
Regardless of its origins, the face makeup plays a symbolic artistic function of expressing commendatory and derogatory connotations and that of differentiating benevolence and malevolence.
For instance, the red face shows bravery, uprightness and loyalty. A typical “red face” is Guan Yu, general of the period of the Three Kingdoms (220-280) , famed for his faithfulness to his Emperor, Liu Bei.
The reddish purple face likewise shows a just and noble character. Lian Po in the well-known play Jiang Xiang He (The General Reconciled with the Chief Minister), takes on a reddish-purple appearance to ‘carry’ his proud and impetuous character in the play which quarrels with the chief minister to whom he was ultimately reconciled.
The fearsome looking black face on contrary portrays a rough and bold character or an impartial and selfless personality. This facial painting is typically reserved for General Zhang Fei (from the Romance of the Three Kingdoms play) and Li Kui (of Water Margin). In the latter, Bao Gong @ Bao Zheng – the semi-legendary fearless and impartial judge of the Song Dynasty – also spots a black face.
A green face depicts surly stubbornness, impetuosity and a total lack of self-restraint. And the most commonly seen facial makeup on stage – white face – is for the powerful villain that highlights all the bad human nature: cunning, craftiness, treachery.
Typically applying these facial makeup themselves, opera actresses and actors take painstaking hours to depict the stereotype characters they represent utilising horse-hair chinese brushes dipped in red, purple, black, white, blue, green, yellow, gray, golden and silver face paint.
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