中國(guó)戲曲臉譜色彩文化外文翻譯（英文）

1、 The Cultural Connotation and Symbolic Meaning of Chinese Opera Mask Color Hanbing Tu Jilin Agricultural University Jilin, China Abstract—Color is an important part of Chinese opera mask. It not only conveys Chinese u

2、nique custom of color and cultural connotation through color line and color block, but also endows the opera mask art with rich symbolic meaning and aesthetic significance. Taking the colors of Chinese opera mask as

3、research object, the paper has studied the cultural connotation in Chinese opera mask color, analyzed and expounded the symbolic meaning and aesthetic significance in Chinese opera mask color. Keywords—opera mask; cu

4、ltural connotation; symbolic meaning; aesthetic meaning I. INTRODUCTION Chinese opera has a unique position on the world stage. With unique design and mask colors, it contains extensive and profound culture. In its

5、 glorious history, the traditional opera of Han people is specific and different from the makeup art of other countries. The author will talk about Chinese opera mask from several aspects. II. THE CULTURAL CONNOTATIO

6、N CONVEYED BY THE COLOR OF CHINESE TRADITIONAL OPERAS We can clearly see the mark of our traditional culture through the color composition of Chinese opera mask. It was the worship of totem and sacrificial rites in an

7、cient times that formed the love of natural color in opera mask. The culture of yin-yang and five elements and the harmony of nature and man form the taboo of five colors, which gradually becomes a significant standa

8、rd and example in coloring of opera mask and mask color aesthetics. Combining with the harmony of nature and man, the colors of opera mask can tell the role of opera. Influenced by the national tradition and regional

9、 aesthetic culture, the love of natural colors, coloring and aesthetic standards gradually transformed into a custom, and even a fixed mode, and was handed down. Therefore, Chinese traditional culture gives an importa

10、nt impetus and influence on the formation of opera mask color. A. The Culture of the Worship of Totem and Sacrificial Rites The worship of totem and sacrificial rites are the earliest culture of human. The love of natu

11、ral color came from this culture, which drove the formation of Chinese opera mask color. The earliest aesthetic consciousness on color originated from human’s living environment. Man began to worship and fear natural

12、 power in the contact of nature, and regarded some natural colors as protection color and some as taboo color in the tribe. The most ancient color system was used in the sacrificial rite. As the origin of Chinese opera

13、, the selection and application of colors of dress-up activities in the sacrificial rite have produced an unignorable referential value and influence on the formation of Chinese opera mask color. In the tribal period

14、, cold and hunger were key words in the life of people. At this time, people longed for warm spring and harvest autumn. “Green” and “red” were deeply loved and worshiped by people, because they made people think of s

15、pring and autumn. And these two colors became important part of mask. In earliest sacrificial rite, dress-up performance mainly included animal animation and god animation. Among them, the animal animation performance

16、 was direct animation of adoring animals. The animating objects included the movement and the colors of adoring animals. The selection of these colors strictly followed the worship color and taboo color in the tribal

17、 culture. The animation of adoring animals also showed people’s perceptual knowledge of adoring things. The difference of god animation and animal animation lies in that gods don’t really exist, so people finished the

18、ir animation of gods with imagination. No matter in animation of animals or gods, the dress-up and masks used became an important standard and reference for later selection and application of opera mask color. Especi

19、ally the selection of color in sacrificial rite, the love of natural color, and the dress-up with natural color and processed natural color provide the most primitive and the most direct reference for opera mask in th

20、e design and formation of “goblin” and “gods”. B. The Culture of Yin-and-Yang and Five Elements and the Harmony between Man and Nature The culture of yin-yang and five elements and the harmony of man and nature is an

21、 important part of China's ancient culture. Under the combined action of the two, traditional five- color view has become important rules in the selection and application of color in Chinese opera mask. And it endo

22、ws color of opera mask with rich symbolic meaning. In Chinese traditional habit and cultural life, the theory of the five elements and the universe view are important foundation in the formation of worship color and

23、taboo color. Round heaven and square earth is the universe view of ancient Chinese. There are five directions, including east, west, south, north and centre. They separately belong to metal, wood, water, fire and eart

24、h. The colors of the five natural substances respectively are green, red, white, black and yellow, so the five colors are regarded as 3rd International Conference on Education, Language, Art and Inter-cultural Communic

25、ation (ICELAIC 2016)Copyright © 2017, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). Advances in Social Science

26、, Education and Humanities Research, volume 40466For example, the frown of Bao Zheng shows his worry and hard thinking; the face of Xiang Yu with misery eyes shows his tragic fate; the role of Sun Wukong is painted wit

27、h a monkey's face, which suggests that he is a monkey. Painting actor’s face with colors distances audience from the plots of play. Actors with painted face look quite different. On one hand, it helps audience fo

28、cus on the appreciation of opera itself. On the other hand, it can produce a sharp contrast when many actors with different color-painted faces come on stage at the same time. For example, “Junban” has a fine appearan

29、ce, while “Dahualian” has an absurd face; when they come on stage at same time, there will be a strong contrast. The face of Jing always is painted with bright and heavy colors, and the accent of Jing is thick and ro

30、ugh, so as to form a unity of appearance and accent. It produces a strong artistic effect and increase the artistic expression of the opera itself. In some cases, Chinese opera mask could show the skin color of the ch

31、aracter by proper selection and application of colors. But its main purpose is to embody the personality of the character and judge the morality of the character. Take Beijing opera as an example. Red mask generally r

32、epresents an upright and righteous person, such as Guan Yu and Huang Gai. Purple mask represents justice, strong and brave figures, such as Yang Yanzhao and Zhuan Zhu. Use black mask to shape upright and outspoken or

33、 reckless figures. The most representative figures are Bao Zheng, Li Kui and Zhang Fei. Use blue mask to shape obstinate and unruly and brave characters, such as, Dou Erdun and Liu Tang. The figures with yellow mask

34、mainly are cruel but good at fighting, such as Yuwen Chengdu and Dian Wei. The figures with white mask generally are rude in manner, but tender in heart, such as Zhang Qing and Cheng Yaojin. In most cases, shape a god

35、 with gold or silver mask, such as Buddha and Bull Demon King, and shape a righteous old man with pink mask. Under the influence of habit and custom, color, as a special language, has its conventional meaning in oper

36、a. Therefore, the selection and application of Chinese opera mask color are not go-as- you-please. The realization of its symbolic meaning should take traditional custom as important basis. Although to portray the per

37、sonality of opera character and judge the morality of character are important functions of Chinese opera mask color, the selection and application of opera mask color are not immutable and frozen. In different regions

38、 and operas, same color may shape different images. Even in same opera, opera mask color also may represent different images in different context. For example, in Beijing opera, red mask generally represents loyal an

39、d brave person. In Famen Temple, Liu Jin also is painted with a red face, and he is a negative person in the opera. But when you see his makeup of mouth, eyebrows and eyes, you could see his treacherous expression. He

40、 is a domineering eunuch. In this opera, red mask is used to show the high-fed life of Liu Jin. Here, red is an irony. In the Wild Boar Forest, Lu Zhishen is generous and brotherhood. He always helps others. Generall

41、y white mask represent treacherous character. In the opera, he is made up with a white face. It is because we also use white mask to shape a monk. Therefore, the symbolic meaning of Chinese opera mask color cannot be

42、 absolutely understood. In the study of Chinese opera mask color, the description of characters’ personality and the function of judgment could only give a generally direction. In Chinese opera, the use of opera mask c

43、olor can mutually illustrate the image of opera role. Only by associating the image of opera character with mask color, can we decide the symbolic meaning of the role accurately. IV. CONCLUSION Chinese opera masks re

44、flect many aspects of our real life. Everyone can be a living actor who plays his role in the world stage. Everyone has his unique mask color, pattern style and personality. Opera mask gradually take shape with the m

45、aturity of opera, and fixes up. As a complete independent art style, it is an important of world culture. It fully reflects Chinese characteristics and represents China. REFERENCES [1] Zhong Yong. Red Face, Black Face,

46、 White Face, Ingot Face and Changing Face. Tianjin: Tianjin Social Science Publishing House, 2001. [2] Luan Guanhua. Role Symbols - Chinese Opera Mask. Beijing: Sanlian Publishing House, 2005. [3] Zheng Chuanyin. Tradi

47、tional Culture and Classical Opera. Changsha: Hunan People's Publishing House, 2005. [4] Li Mengming. Image Construction and Expression Experience of Opera Mask. Nankai Journal (PHILOSOPHY AND SOCIAL SCIENCES), 20