Peking Opera Mask Illustration

Author: Sheng Hua
Publisher:
Publish Date: 2004-01-01
Features: The author Sheng Hua graduated from the Performance Program of the Chinese Opera School, specializing in painted faces. After graduation, he became a disciple of the scholar Liu Zengfu, delving into the art of Peking Opera face painting. In recent years, he has achieved considerable success, and his face painting works have gained significant influence both domestically and overseas, becoming treasured collectibles for many overseas friends. To systematically study Peking Opera face painting, Sheng Hua, introduced by his classmate Geng Qichang, formally became a disciple of the esteemed physiology expert and Peking Opera scholar Liu Zengfu in July 1995, at the age of fifty, becoming the sole student of Liu in this field. Over the years, under his master’s guidance, his skills have greatly improved. The face patterns he creates adhere to traditional norms and have been published in various newspapers and magazines, collected by friends both at home and abroad. Radio stations and television stations have frequently interviewed and broadcasted his face painting process. Scholar Zhu Jiajin remarked, "Liu Zengfu is a contemporary master of physiology and a towering figure in the study of opera. His exquisite face paintings of various schools is merely one aspect of his expertise. Now, Sheng Hua, following in the footsteps of Master Zengfu, observes that his face patterns are all exquisite and lifelike—truly the disciple of Master Liu." The face patterns created by Sheng Hua are rooted in historical sources and strive for accuracy, avoiding flashy or bizarre designs in favor of practicality. His brushwork is delicate, and his coloring is even, with each pattern radiating vitality. He pays great attention to compiling representative patterns from renowned masters. For example, the Xiang Yu pattern in this collection includes works by Yang Xiaolou and Hao Shouchen, the Zhang Fei pattern features Hao Shouchen, Hou Xirui, and Han Fuxin, the Dian Wei pattern includes Qian Jinfu and Fan Baoting, and the Ma Wu pattern features Hou Xirui and Fan Baoting. The brushwork of used patterns is also showcased in this book. Sheng Hua’s face painting emphasizes series, with his ideal being to organize the patterns used on the Peking Opera stage in chronological order. This collection of face patterns features selected works by Sheng Hua, covering figures from ancient times, the Shang and Zhou dynasties, through the Qin and Han, the Western and Eastern Jin, the Sui and Tang, the Five Dynasties, up to the Song, Yuan, Ming, and Qing dynasties. I believe this will provide enlightenment for future scholars and leave behind valuable references for the Peking Opera cause.