Beijing Opera Costumes

Bonds, Alexandra B.

doi:10.4324/9781315146195

Cited by 3 publications

(9 citation statements)

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“…The Central Plains of China are comprised of the geographic expanse covering modernday Henan Province, the southern parts of Hebei and Shanxi Provinces, and the western part of Shandong Province (Wikipedia contributors,2023). Sheng is a character role in Chinese opera depicting respectful dignified males that may include heads of households, nobles, or Confucian scholars (Bonds, 2019). In this study, Sheng is one of the categories of characters in Chinese Central Plains shadow puppetry entailing a male role (Wei Liqun, 1998).…”

Section: Theoretical Frameworkmentioning

confidence: 95%

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

2024

ISVS

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Although research on cross-cultural influences between Asian nations has been widely published in the field of fine arts, there is a near absence of studies that directly analyse the connection of visual characteristics between the People's Republic of China and Malaysian shadow puppets, or the visual design elements that are unique to China's Central Plains Sheng shadow puppet. Using the classic shadow puppets Sheng and Sri Rama, this paper investigates the connections between China's and Malaysian shadow puppets with regard to visual elements of colour, shape, and cultural connotations.Analyses for this research utilize Iconography and Iconology, particularly Panofsky's methodology. Data was collected through comprehensive literature reviews and prepared questions applied during eight in-person interviews with master puppeteers, four of which were conducted in the People's Republic of China and four of which were conducted in Malaysia.It concludes that similarities between Sheng and Sri Rama include their facial orientation; hats that determine their identities, same engraving techniques; sparing facial carving; single painted skins; the same five-colour system; narrow, almond-shaped eyes; and well-defined facial structures. Their differences include disparate roles ranging from divine ruler to scholar; hat design adorned with non-identical motifs; and Sri Rama's absence of blue and always appearing in green in accordance with Hinduism and Islam. Notably, analyses reveal that Sri Rama's modelling is closer to Chinese shadow puppet design than other shadow puppets from India,

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Section: Theoretical Frameworkmentioning

confidence: 95%

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

2024

ISVS

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“…Theoretical aspects of theater design have been explored by Leader (2012), shedding light on the theories, strategies, and tools employed in practical design work for the stage. Bonds (2008) provides insights into Beijing Opera costumes, analyzing their theory, selection process, and technical aspects such as embroidery and construction.…”

Section: Literature Reviewmentioning

confidence: 99%

“…Creative Process: Both fashion designers and theatrical costume designers go through a creative process that encompasses idea generation, research, sketching, fabric selection, pattern making, and garment construction. This iterative process allows them to bring their concepts to life (Alford, 2004;Bonds, 2008).…”

Section: Similarities Between Fashion Design and Theatrical Costume D...mentioning

confidence: 99%

“…Influences: Historical, cultural, and social influences exert a significant impact on both fashion design and theatrical costume design. Designers draw inspiration from a range of sources, including movements, cultural traditions, and historical eras, integrating them into their designs (Alford, 2004;Bonds, 2008).…”

Section: Similarities Between Fashion Design and Theatrical Costume D...mentioning

confidence: 99%

“…Fashion design and theatrical costume design are interconnected yet distinct disciplines within the realm of visual arts. Fashion design focuses on creating clothing and accessories for everyday wear, while theatrical costume design caters specifically to the needs of stage productions, bringing characters to life through garments and accessories (Alford, 2004;Bonds, 2008). Both disciplines involve artistic manipulation of textiles, colors, forms, and cultural influences, although they operate in different contexts and serve unique purposes.…”

Section: Introductionmentioning

confidence: 99%

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Haroon,

Sajib,

Nizam

2023

ejtas

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This research endeavors to undertake a comparative study delving into the realms of fashion design and theatrical costume design. The primary objective is to explore the similarities, differences, and potential avenues for interdisciplinary exchange between these two captivating disciplines. By thoroughly analyzing the creative processes, influences, objectives, and execution methods employed within fashion design and theatrical costume design, this study aims to illuminate the interconnectedness and distinctive characteristics that define each field. To accomplish this, an extensive review of scholarly papers and diverse sources including reputable journals and research publications serves as the foundation of this research. By conducting a comprehensive analysis, key themes, theories, and findings emerge, providing valuable insights into the shared elements and divergent perspectives between fashion design and theatrical costume design. Furthermore, this research delves into the profound impact of cultural influences, historical contexts, and pragmatic considerations on the design processes and outcomes within both disciplines. By exploring these aspects, the authors gain a deeper comprehension of the underlying factors that shape and mold artistic endeavors within the realms of fashion and theater. Ultimately, the purpose of this study is to foster a heightened appreciation for the creative pursuits inherent in fashion and theater. By shedding light on the intricate nuances of these disciplines, we aspire to inspire novel possibilities for imaginative expression, propelling the boundaries of creativity even further.

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In the global artistic arena, digital performance, a fusion of art and technology is increasingly garnering attention. Accompanied by rapid technological advancements, Chinese performing arts are in a state of continual boundary expansion and exploration of new possibilities. This art form is undergoing a profound and revolutionary transformation with the infiltration and advancement of digital technology. This article, titled "Technological Innovation and Chinese Digital Drama: The Post-Human Transformation of the Performing Subject," delves into how digital technology is innovating traditional Chinese drama by transforming the performing. Centering around the Digital Mei Lanfang project as a pivotal case study, the research demonstrates how digital technology is redefining the subject of drama performance, thereby further redefining the scope and essence of theatrical performance. Employing qualitative research methods, literature reviews, and case study analysis, the article assesses the impact and value of the shift from Natural Human to Posthuman entities as performing subjects in Chinese theatrical arts, driven by digital technology. The research underscores the significance of post-human entities in protecting and disseminating cultural heritage in the digital era. This article aims to expand the boundaries of dramatic artistic expression through the study of posthumans becoming dramatic performing subjects and to provide theoretical foundations and practical references for the future development of dramatic arts. Consequently, this fosters the further development of Chinese dramatic arts in the digital age without losing their original characteristics.

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Beijing Opera Costumes

Cited by 3 publications

References 0 publications

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

Comparative Study on Fashion and Theatrical Costume Design

Technological Innovation in Chinese Digital Drama: A Case Study on the Posthuman Transformation of the Performing Subject – Digital Mei Lanfang Analysis

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