The Chinese people's numbers

There is no any other country in the world like China where people are so fascinated about numbers. The fact that people in the Northern part of the country like the Number "4" lies that the the Northern Chinese pronunciation of the number has a similar pronunciation with that of Happiness, however, in many other part of China the same number "4" it has a similar pronunciaton with the word death, so many people try to avoid their mobile No. ending up with it. People like the number"8" is because it has a similar pronunciation with that of "Fa", which in Chinese means a good fortune or earning a lot of money. Although numbers has no meaning, it reflects the Chinese people's good wish for the a better life.

Upside-down 'Fu' Character

Not all luck-bringing papers are couplets. Some are four-character-phrases that express traditional sentiments(感情) for a rich and bountiful spring. Still others are single characters, for example, the Chinese character "fu ( 福)", meaning luck, blessings, happiness and good fortune.

The character "fu" is everywhere during the festival. On the doors of shops and families and even in rooms, people like to paste high the "fu" character calligraphed on red paper.

Fu (福 ) is written on the paper squares, which can be pasted normally or upside down, for in Chinese the "reversed fu" is homophonic with "fu dao le" pronounced as "fu comes". The upside down fu becomes a pun that implies "good fortune has arrived". Thus, the paper squares represent the "arrival" of spring and the "coming" of prosperous year.

How do Chinese people name their babies

In China, the method of naming children by their surname first and given name second has existed since ancient times. The surname is passed down from one’s ancestors and cannot be changed. Therefore, in order to express their hopes and wishes for their newborn, people pay great attention to the selection of given names. Generally, Chinese people follow several principles when choosing names:

Special meaning of commemoration: for instance, many babies born in 1949 or on October 1 were named 建国 (Jianguo; to found a country) or 新华 (Xinhua; New China). (Note: October 1, 1949 is the day the People’s Republic of China founded).

Avoidance of taboos: foreigners like to name their newborn after their ancestors as an act of remembrance. It is opposite in China, where people, in order to show respect, feel bound to avoid using their ancestors’ names;

Distinguishing sexuality: boys are often named with masculine Chinese characters, such as 鹏, 宏, 刚, etc. Girls are often named with graceful Chinese characters, such as 娜, 婷, 丽, etc.

Implied meanings: each Chinese character has its unique meaning. People prefer to combine such kinds of Chinese characters. For example, if a person has the surname 石, the name 石磊 represents a hope that he is strong.

In recent years, people try to avoid giving the same names as others. Some even choose Chinese characters from ancient Chinese or literary works. The methods of selecting names grow increasingly varied.

THE WRITING BRUSH

Among the various calligraphic tools, the writing brush is special to China. It represents one of the four treasures of study, which also include paper, ink and ink stone.

The writing brush has a long history in China. Legend has it that the brush was invented by Meng Tian (? - 210 BC), a general under the First Emperor of the Qin Dynasty (221-206BC), but primitive painted pottery contains decorative designs painted by tools resembling a brush. Clearly visible stains or brush marks remain in certain places on the pottery. This evidence suggests that the brush may have predated written language itself. The history of the Chinese brush can be traced back at least 6,000 years.

A brush comprises two parts: the head and shaft. The head is made of goat, wolf, rat or rabbit hair, which is softer than bamboo, a pencil, quill or ballpoint pen. The shaft is made of bamboo, wood, lacquer and porcelain, as well as some precious materials, including mother-of-pearl inlays, ivory and jade.

There are four types of famous writing brushes in China.

1. The Hu Writing Brush, produced in Huzhou City, Zhejiang Province

The Huzhou writing brush falls into four categories. The first is made of goat hair, which is very flexible; the second, of brownish rabbit hair; the third, of stiff weasel hair; and the fourth is a mixture of goat and weasel hair, which is neither too flexible nor too stiff.

The workmanship of the brush is exquisite and complicated since it contains more than 120 processes -- from selecting materials to the finished products.

These brushes are especially handy both for painting and calligraphy. Due to its shaft, this type of brush is usually made of either red sandalwood or mottled bamboo, white porcelain or even with ivory. It is therefore regarded as the best-quality brush and the most exquisite handicraft.

2. The Xuan Writing Brush

The Xuan writing brush, together with the famous Xuan paper, is made in Jingxian County, Anhui Province. In ancient times, Jingxian County was under the jurisdiction of Xuanzhou Prefecture, where the product got its name.

Scholars of the Jin Dynasty (256-420) were especially fond of the Xuan brush. During the Tang (618-907) and Song (960-1279) dynasties, Xuanzhou became a writing-brush manufacturing center, and the Xuan brush was listed as a tribute to emperors.

At that time, folk artisans made a breakthrough in craftsmanship in selecting materials and polishing the shaft. Brushes were both sharp and neatly cut, and plump and smooth at the tip, enabling artists to write and draw freely. The Xuan brushes, made elaborately from brownish rabbit hair, are considered to be the best and come at a very high price.

3. The Daiyuexuan Writing Brush

This writing brush was originally made by the venerable artisan Dai Yuexuan. Now, the brush is well known in Beijing for its high quality and elaborate craftsmanship. With the semi-manufactured writing brushes from Huzhou of Zhejiang Province as the main material, artisans used their immense skills to create a tool with a unique, sharp point, neat cut, with a smooth roundness and graceful stiffness at the tip. Because of these four characteristics, this brand enjoyed high prestige among artists and calligraphers.

Dai actually worked for a writing-brush workshop located by the east entrance to the Liulichang Cultural Street in Beijing 80 years ago. His brushes were much better than the brand from Huzhou, even though the same materials were used. Later on, the Daiyuexuan brand became renowned far and wide.

4. The Houdian Writing Brush, produced in Houdian Village

The manufacture of writing brushes came into existence in Houdian Village of Shandong Province during the reign of Emperor Yongle around 1404 of the Ming Dynasty, and flourished in the Qing Dynasty (1644-1911). In the early years of the Republic of China, almost all brushes sold at Beijing's famous Daiyuexuan and Hukaiwen stores were made by workers from Houdian. In 1952, the Houdian people built a large plant to pass on the traditional craftsmanship to the younger generation and to develop it.

The main materials for the brush come from animals' tails, such the wolf and civet, or ox ear hair, in more than 40 varieties. Hair collected in the winter is best for making high-quality brushes. Five main procedures are followed strictly to produce the brush correctly: washing and dying of the hair, carving characters on the shafts, packaging, and miscellaneous processes. Each of the five procedures contains about a dozen processes before a uniquely shaped brush with a special specification is made for different purposes.

Brushes made at Houdian Village are durable, offering a good combination of flexibility and stiffness, the ability to absorb more ink than others, and with little likelihood that the hair will out.

Without the writing brush, Chinese painting and calligraphy could not have achieved such distinct features, and thus would not have enjoyed such great success around the world. The writing brush makes great contributions to the dissemination of Chinese culture. With the development of social economy and culture, craftsmanship is continually improving, and the types of writing brushes are on the rise.

CHINESE PAINTING(FLASH)

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CHINESE PAINTING(5)

Picture mounting

Chinese painting are also mounted to add brilliance to them. A painting is not considered to have been completed until it is mounted, a requirement unique to Chinese paintings.

A blending of components

A Chinese painting is a marriage of poetry, calligraphy, seal and image. National artists often indicate the theme of the painting, the artist's name and the date of the painting. Sometimes, a poem or a prose extract is written next to the painting. These verses and lines complement and enrich the meaning behind the painting. Seals are also affixed to embellish or balance the painting.

CHINESE PAINTING(4)

coulour

In Chinese paintings, the ink is the dominant feature while colours are peripheral. Chinese painters classify the black ink into five "colours": concentrated, thick, heavy, thin and light. Black is considered a colour and more colours can be represented by varying the intensity

White space

White spaces are often seen in Chinese painting. They are considered a part of the painting. They add life to the painting and give room for imagination.

CHINESE PAINTING(3)

fine brushwork and write ideas

The techniques in Chinese painting may be classified into the following schools of styles: gongbi and xieyi, or a combination of both.

Gongbi painting

The brushstrokes are neat and attention is given to details

Xieyi painting

The brushstrokes are less well-defined. Emphasis is placed on the overall expression and the painting is subject to the whom of the individual painter

CHINESE PAINTING(2)

Landscape

Nature is the subject. It became another theme for painting during the Tang Dynasty. This form of painting developed most rapidly.

CHINESE PAINTING(1)

painting

Portraiture

The subject is a person. This is the earliest type of painting in China.

Bird-and-flower compositions
Flowers,glass, bamboo, stones, birds, animals, fish and insects are the main themes

Beijing Temple of Heaven(flash)

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BEIJING HOUHAI(FLASH)

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Sichuan leshan giant Buddha (flash)

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Leshan Giant Buddha

Sichuan leshan giant Buddha is located in leshan, minjiang river, tsing yi jiang, dadu river sanjiang the confluence at the leshan city and the pearl river. Leshan giant Buddha carved in minjiang river, tsing yi jiang, dadu river HuiLiuChu the rock, minjiang river in southern LingYunShan qixia peak cliff made from the river cut, another name for more Buddha, symbolizes the tang dynasty, is MaYan yuangang images of fine arts is one of the world's largest stone carvings of yuangang symbolizes.

SNUFF-BOTTLE(flash)

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Snuff-Bottle

Snuff bottles were used by the Chinese during the Qing Dynasty to contain powdered tobacco. Smoking tobacco was illegal during the Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches and stomach disorders. Therefore, snuff was carried in a small bottle like other medicines. The snuff bottle is comparable to the snuff box used by Europeans.Tobacco was introduced to the court at Beijing some time during the mid- to late-16th century. It was originally smoked in pipes before the establishment of the Qing Dynasty. The use of snuff and snuff bottles spread through the upper class, and by the end of the 17th century it had become a part of social ritual to use snuff. This lasted through most of the 18th century. Eventually, the trend spread into the rest of the country and into every social class. It was common to offer a pinch of snuff as a way to greet friendsand relatives. Snuff bottles soon became an object of beauty and a way to represent status. The highest status went to whomever had the rarest and finest snuff bottle. The peak of snuff bottle manufacture was during the 18th century.The use of snuff increased and decreased with the rise and fallof the Qing Dynasty and died away soon after the establishment of the Republic of China. However, replica snuff bottles are still being made, and can be purchased in souvenir shops, flea markets and museum gift shops. Original snuff bottles from the Qing period are a desirable target for serious collectors and museums. A good bottle has an extra quality over and above its exquisite beauty and value: that is touch. Snuff bottles were made to be held and so, as a rule, they have a wonderful tactile quality.Materials and sizeThe size of a snuff bottle is small enough to fit nicely inside the palm. Snuff bottles were made out of many different materials including porcelain, jade, ivory, wood, tortoiseshell, metal and ceramic, though probably the most commonly used material was glass. The stopper usually had a very small spoon attached for extracting the snuff. Though rare, such bottles were also used by women in Europe in Victorian times, with the bottles typically made of cut glass.Chinese snuff bottles were typically decorated with paintings or carvings, which distinguished bottles of different quality and value. Decorative bottles were, and remain, time-consuming in their production and are thus desirable for today's collectors.Symbolism in snuff bottle decorationMany bottles are completely devoid of decoration, others are incredibly ornate. As in all Chinese arts and crafts, motifs and symbols play an important part in decorative detail. Symbols are derived from a multitude of sources such as legends, history, religion, philosophyand superstition. The ideas used are almost always directed toward bringing wealth, health, good luck, longevity, even immortality to the owner of an artefact, frequently as a wish expressed in a kind of coded form by the giver of a gift. Probably the most popular decoration is the Shou character, a symbol of happinessand longevity, illustrated at right. Shou or Sau was one of Three Star Gods.Another popular device is a representation of the 18 Lohan, who were the personal disciples of Buddha, just one group of the many revered immortalsin China. Apart from the 18 Lohan there is a constellationof other divines who are portrayed, even their innards. The eight precious organs of the Buddha are venerated - his heart, gall bladder, spleen, lungs, liver, stomach, kidneys and intestines. These are rarely depicted on snuff bottles. Animals, on the other hand appear with regularity, the most common being the dragon.A dragonis shown in the example at right on a porcelain bottle in splendid red and blue and clutching the inevitable fiery pearl. One of the traditions of Chinese art is that only the Emperor, his sons and princes of the first and second ranks were permitted to own an artefact illustrated with a dragonhaving five claws. Four-clawed dragons were restricted to princes of the third and fourth ranks, while the common folk had to be content with a dragon having three claws. However, it is common to find that many older bottles have dragons with five claws.The horse is another animal frequently used in the decorative work. The horse is one of the Seven Treasures of Buddhism. Its symbolism points to speed, perseverance, rank, power and wealth. The symbolism of wealth and power came about because the horse carried those of importance. In the example at right, the horse seems to be carved in a very amateurish way, but in this school of bottle production, naïveté was the style.The hare is also often found on snuff bottles. The example at left shows a hare on a bottle made of wood. The hare represents a wish for long life and even immortality. In Chinese tradition it is believed that if one attains a sufficiently high standard of morality and enlightenment, one will become one of the immortals.[edit] Other commonly used symbolsThe three legged toad is a mythical creature. It was thought to be an animated purse containing an inexhaustible supply of coins, hence it represents wealth and has become a symbol of the unattainable.The fish is both an emblem of wealth and abundance and of harmonyand connubial bliss. The fish emblem is used in a variety of decorative ways. Bamboo is a frequent motif. Because of its durability and its being evergreen it has come, along with many other symbols, to signify longevity.[edit] "Inside painted" bottlesWithout doubt, the class of bottle that arouses most interest in the non-collector is that known as inside painted. These are glass bottles which have pictures and often calligraphy painted on the insidesurface of the glass.These delightful scenes are only an inch or two high and are painted while manipulating the brush through the neck of the bottle maybe only a quarter inch across, and also painted in reverse. Ursula Bourne, in her treatise on snuff, suggests that artisans painted on their backs to make it easier to work through the narrow opening.[1] It has been said that a skilled artist may complete a simple bottle in a week while something special may take a month or more and that the best craftsmen will produce only a few bottles in a year.The earliest inside painted bottles are thought to have been made in the period between 1820 and 1830 as, by then, the beauty of a snuff bottle was probably more important than utilitarian considerations—- and filling this—few would have been used for holding snuff. Inside painted bottles are still made today—expensively for collectors and inexpensively as souvenirs.This bottle is signed by a well-respected artist called Kuie Hsiang-Ku and is dated 1896.Like other types of snuff bottle, the range of subject matter used on inside painted bottles is without limit. There are scenes, fish, birds, poems, even portraits. They are testamentto the skill and inventiveness of Chinese craftsmen.

Yue Embroidery

Also called Guang embroidery, Yue embroidery is a general name for embroidery products of the regions of Guangzhou, Shantou, Zhongshan, Fanyu and Shunde in Guangdong Province.

According to historical records, in the first year of Yongyuan's reign (805) during the Tang Dynasty (618-907), a girl named Lu Meiniang embroidered the seventh volume of the Fahua Buddhist Scripture on a piece of thin silk about 30 cm long. And so, Yue embroidery became famous around the country. The prosperous Guangzhou Port of the Song Dynasty promoted the development of Yue embroidery, which began to be exported at that time. During the Ming Dynasty, people used animal hair as the raw material for Yue embroidery, which made the works more vivid. During Qianlong's reign (1736-1796) of the Qing, an industrial organization was established in Guangzhou. At that time, a large number of craftsmen devoted themselves to the craft, inciting further improvements to the weaving technique. Since 1915, the work of Yue embroidery garnered several awards at the Panama Expo.

Influenced by national folk art, Yue embroidery formed its own unique characteristics. The embroidered pictures are mainly of dragons and phoenixes, and flowers and birds, with neat designs and strong, contrasting colors. Floss, thread and gold-and-silk thread embroidery are used to produce costumes, decorations for halls and crafts for daily use.

Xiang embroidery

Xiang embroidery is well known for its time-honored history, excellent craftsmanship and unique style. The earliest piece of Xiang embroidery was unearthed at the No 1 Tomb of Mawangdui, Changsha City of the Han Dynasty (206BC-AD220). The weaving technique was almost the same as the one used in modern times, which demonstrated that embroidery had already existed in the Han Dynasty.

In its later development, Xiang Embroidery absorbed the characteristics of traditional Chinese paintings and formed its own unique characteristics. Xiang embroidery experienced its heyday at the end of the Qing Dynasty (1644-1911) and in the early Republic of China (early 20th century), even surpassing Su embroidery. After the founding of the People's Republic of China, Xiang embroidery was further improved and developed to a new level.

Xiang embroidery uses pure silk, hard satin, soft satin and nylon as its material, which is connected with colorful silk threads. Absorbing the spirit of Chinese paintings, the embroidery reaches a high artistic level. Xiang embroidery crafts include valuable works of art, as well as materials for daily use.

Shu Embroidery

Also called Chuan embroidery, Shu embroidery is the general name for embroidery products in areas around Chengdu, Sichuan Province. Shu embroidery enjoys a long history. As early as the Han Dynasty, Shu embroidery was already famous. The central government even designated an office in this area for its administration. During the Five Dynasties and Ten States periods (907-960), a peaceful society and large demand provided advanced conditions for the rapid development of the Shu Embroidery industry. Shu embroidery experienced its peak development in the Song Dynasty (960-1279), ranking first in both production and excellence. In the mid-Qing Dynasty, the Shu embroidery industry was formed. After the founding of the People's Republic of China,Shu embroidery factories were set up and the craft entered a new phase of development, using innovative techniques and a larger variety of forms.

Originating among the folk people in the west of Sichuan Province, Shu embroidery formed its own unique characteristics: smooth, bright, neat and influenced by the geographical environment, customs and cultures. The works incorporated flowers, leaves, animals, mountains, rivers and human figures as their themes. Altogether, there are 122 approaches in 12 categories for weaving. The craftsmanship of Shu embroidery involves a combination of fine arts, aesthetics and practical uses, such as the facings of quits, pillowcases, coats, shoots and screen covers.

China's Embroidery By Andy Lao

Chinese embroidery as a kind of decorative needlework has a history of over 2,000 years. Archaeological findings suggest that the embroidery work started in the Zhou dynasty. In the Ming dynasty, this industry reached its peak. Ancient merchants who came to China through the Silk Route carried beautiful embroideries produced in this country to every corner of the world.

Admiring a piece of embroidery work, one can often imagine an ancient Chinese lady gracefully adding the finishing touches to her elegant design. No surprise needlework in China is referred to as “Nu Hong,” or “Lady’s Red.” In fact, traditional Chinese embroidery is said to bring out the essence of feminine beauty: grace, elegance, and the richness and depth of a beautiful, mysterious inner world.

There are four major styles of Chinese embroidery, each with its distinctive characteristics: Su embroidery, Xiang embroidery, Yue embroidery, and Shu embroidery.

Su embroidery is produced in areas around Suzhou, Jiangsu province. It is the most well-known of all styles, and the most intricate. The works often show animals, natural landscapes, and ancient Chinese gardens. Subtle yet refined colors make the people and animals look especially vivid and lifelike. One famous work shows a cat with bright eyes and smooth, fluffy hair that looks so beautiful and lifelike, a real cat would look dull in comparison.

Xiang embroidery originated in areas around Changsha, Hunan province. Of all styles, this style bears the closest resemblance to Chinese brush painting. You can often appreciate the same kind of void and solid imagery found in a traditional Chinese painting. Its excellent use of contrast of light and shade creates an impressive three-dimensional effect. All of this helps bring out the inner beauty of things. It is said that on a Xiang embroidery work, “Flowers give off fragrance, birds sing songs, tigers run, and figures come alive.”

Yue embroidery is crafted in areas around Chaozhou, Guangdong province. This style is famous for its vivid patterns and vibrant colors. Unlike Xiang embroidery that focuses on bringing out the inner spirits of things, Yue embroidery emphasizes on depicting the outer beauty of objects. On a piece, all the details are closely arranged to contribute meaning to the main theme, with very little space left unworked.

Shu embroidery is made in areas around Chengdu, Sichuan province. In the past, it used to be the most popular embroidery style in all of China. It became famous as early as Eastern Han dynasty. People like it for its delicate colors, even stitching, and sophisticated craftsmanship. Nowadays it is commonly used to decorate everyday items like quilts, pillows, and clothes.

There are other embroidery styles in China, including Gu embroidery, Long embroidery, Xinzhou embroidery, Jinnan embroidery, and a number of ethnic styles used by the different ethnic minority groups living in China.

Generally speaking, there are no “fake” embroidery items on the market, since any style can be used by anyone to create a piece of work. But the quality can still be judged based on the material, the design, and the workmanship.

To keep the embroidery works you buy in good condition, remember to keep it in a dry place where there is sufficient air and not much sunshine.

Su embroidery(flash)

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Su Embroidery

　With a history of more than 3,000 years, Su embroidery is the general name for embroidery products in areas around Suzhou, Jiangsu Province. The craft, which dates back to the Three Kingdoms Period (220-280), became a sideline of people in the Suzhou area during the Ming Dynasty (1368-1644). Well known for its smoothness and delicateness, Su embroidery won Suzhou the title City of Embroidery in the Qing Dynasty. In the mid and late Qing, Su embroidery experienced further developments involving works of double-sided embroidering. There were 65 embroidery stores in Suzhou City. During the Republic of China period (1912-1949), the Su embroidery industry was in decline due to frequent wars and it was restored and regenerated after the founding of new China. In 1950, the central government set up research centers for Su embroidery and launched training courses for the study of embroidery. Weaving methods have climbed from 18 to the present 40.

　Su embroidery features a strong, folk flavor and its weaving techniques are characterized by the following: the product surface must be flat, the rim must be neat, the needle must be thin, the lines must be dense, the color must be harmonious and bright and the picture must be even. Su embroidery products fall into three major categories: costumes, decorations for halls and crafts for daily use, which integrate decorative and practical values. Double-sided embroidery is an excellent representative of Su embroidery.

PAINING SUGAR(FLASH)

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Blown sugar(flash)

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SHANGHAI

Shanghai is China's biggest city, largest port and one of the world's vital financial centers. It was also one of the first ports opened to foreign trade. Rising from a fishing village, Shanghai is one of the four municipalities directly under the central government. Aside from Pudong New District, Shanghai has jurisdiction over 13 districts and six suburban counties. The total area of Shanghai is 6340 square kilometers. Shanghai sits in a sub-tropical monsoon climate, with moderate temperatures and humidity and adequate sunshine. Rainfall is abundant and the seasons are distinct. The average temperature of Shanghai is 15.4 degrees Celsius, with the high averaging 27.4 degrees in July-August and the low 3-5 degrees below zero in January. Shanghai is a city with a long history. In the long-term development, it has formed its own unique city scene and varied cultures and arts. Up to now, a lot of cultural relics beginning in the Tang (618-917) and Song (960-1279) Dynasties, many museums and contemporary memorial halls are well preserved. There are a lot of tourist centers in urban districts and suburbs of Shanghai, which form many tourist areas, tourist lines and special-interest tourist items. With a distance of five kilometers, the Nanjing Road is the most famous business street in Shanghai. The Oriental Pearl TV Tower, completed in 1994 and standing 468 meters, is the tallest TV tower in Asia and the third tallest in the world

JADE

China-as the unique culture of the material basis, the ancestors of the Chinese nation from a variety of stones in the filter out the "Stone of the United States", with Wenrun Ying-taek, tenacious, meticulous aesthetic and practical function. The selection process is extremely long, that runs through the Stone Age has always been. In this lengthy screening process, "Yu Kunshan of" is "and Hetian jade" a recognized "yu", "real jade." China is a country Ai-yu, Chongyu of the state, about a source of more than 100 jade, the history of China-in system has long been used to reflect real-yu, non-real-defined. Ancient Chinese emperors is the highest class, and Hetian jade in a real-yu at the same time, it became the emperor with jade. Since then, after countless years, and Hetian jade into civil, throughout all aspects of Chinese life. Hetian jade and gems of the Chinese nation, is China's "National Stone." It like a pearl in Chinese history and culture in the glorious emitted brilliant, is a symbol of the spirit of the Chinese nation moral.

BEIJING OPERA(flash)

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Beijing Opera (Facial Design )

Beijing opera types of facial makeup in operas, is a special feature of a national cosmetic. As each historical figure or a certain type of person has an approximate spectral type, like sing, play music to the music, so called “types of facial makeup in operas”. On the types of facial makeup in operas sources, the general view is from mask.
Beijing opera types of facial makeup in operas are based on certain personality, temperament or some special types of figures for the use of certain colors. Red has expressed his Warriors of strong types of facial makeup in operas such as Guan Yu, concubines Victoria, regular book; Black said the types of facial makeup in operas ming criticized people, integrity, bravery and even reckless, such as Zheng and Zhang Fei, Li; Yellow types of facial makeup in operas that vicious brutality, such as Yu Chengdu, and Dian Wei. Blue or green types of facial makeup in operas that some of the figures represented irritable, such as Dou Ambassador, Ma Wu; General treacherous court official said the types of facial makeup in operas white, bad guys, such as Cao Cao, Zhao higher.
Beijing opera types of facial makeup in operas of color painting methods, basically divided into three categories : rub face, face towel, different faces. Types of facial makeup in operas initial role is exaggerated her role with striking places and face the veins, using exaggerated by the performance of dramatis personae of personality, psychological and physiological characteristics, and using this to the entire drama circumstances, but Later types of facial makeup in operas by Kan to complex, from rough to the small, Youbiaojili, from shallow to deep, itself becoming a nation of characteristics, to the facial expression means for the pictorial arts.

Beijing Opera (3)

jing

chou

jing 净：also known as the painted face, used on a chivalrous and rugged male role.

chou 丑： also known as the little painted face, used on villainous or comic characters.

jing and chou follow a standard way of make up. It uses different colours and strokes to exaggerate the actors' features, either to beautify them or to make them ugly. They are used to show the personality of the character and to add a touch of drama to the role. This is the Chinese facial make up that we are familiar with.

Beijing Opera(2)

Chinese facial make-up is a unique part of Chinese opera. Chinese opera is based on these four character types:

sheng 生：a male role, such as a young man, an elderly man, or a warrior.

dan 旦：a female role, such as a young lady, a beautiful lady, a lady warrior, or an elderly woman.

The make up for sheng and dan roles should highlight the eyes and eyebrows and the application of rouge. This type of make up is known as the sumian 素面(plain face).

Beijing Opera (1)

The early Qing Dynasty saw a great development of a plethora of operas. In the middle of the Qing Dynasty, Hui and Han operas were brought into Beijing. They became immensely popular with the imperial family, nobles, officials and the commoners. The marriage of Hui and Han operas became known as the Beijing opera.

Beijing opera consists of singing, recital, gestures and fighting actions. The song-and-dance routine, the dazzling costumes, the stylized performance and colorful facial make-up were a huge draw.

stylized action

Beijing opera recreates settings and props through the use of mimed gestures and actions. The stage has no real door, carriage, boat, mountain or horse; hence the actors will mime the action of opening the door, entering through the door, getting on a carriage, rowing a boat, climbing up a mountain and riding a horse.

For example, the hands showing the action of holding a rein means the actor is riding a horse, the act of opening a door means just that and walking round the stage in one circle means a long journey.

Blown sugar

Blown sugar is an industry of old Beijing, Beijing dialect for "children blown sugar," one of the Han nationality folk handicrafts.Blowing candy. In the past, the twentieth Century sixty or seventy's high streets and back lanes, often can see the stalls of folk artists, was blown sugar children sold.Han folk occupation. Popular in Beijing, Sichuan, Anhui etc..