Journal of the Korean Applied Science and Technology (한국응용과학기술학회지)

The Korean Society of Applied Science and Technology (한국응용과학기술학회)
권호 표지
DOI QR코드

DOI QR Code

A Study on the Characteristics of Character Modeling Art in Shanxi Shadow Puppetry

산시성 피영극 캐릭터 조형예술특징에 관한 연구

  • JIN-DI HU (Seokyung University, Department of Beauty Arts) ;
  • Hee-kyung Lim (Seokyung University, Department of Beauty Arts)
  • ;
  • 임희경 (서경대학교 미용예술학과)
  • Received : 2024.05.23
  • Accepted : 2024.06.21
  • Published : 2024.06.30
Download PDF
⟨ Previous Next ⟩

Abstract

Shadow puppetry (皮影戏) is a traditional Chinese folk art that was inscribed in 2011 as an Intangible Cultural Heritage of Humanity by UNESCO. This study focuses on analyzing the character sculptures, colors, and patterns recorded in professional books from Shanxi Province in northern China. The findings indicate that Shanxi shadow puppetry can be categorized into two types. The 'Xiaoyi' in northern Shanxi mainly features characters from the story of 'The Investiture of the Gods' (封神演义) and is characterized by the use of both intaglio and relief carving, dark colors, and a paper screen background. The 'Houma' shadow puppetry in southern Shanxi is influenced by the traditional Shanxi opera 'Jinju' (晋剧) and features four roles: Sheng (生), Dan (旦), Jing (净), and Chou (丑), using a mesh screen background. Shadow puppetry represents costumes, beliefs, lifestyles, social status, social systems, and Confucian culture from the Song, Ming, and Qing dynasties, utilizing both intaglio and relief elements, and traditional five-element colors(五行色). This study aims to understand the characteristics of the modeling art in Shanxi shadow puppetry, and to maintain the traditional craft features while adding innovative elements from animation and film, thereby promoting and preserving the traditional values of shadow puppetry culture for children and youth.

피영극(皮影戏)은 중국 전통 민속예술로서, 2011년 유네스코 세계인류 무형문화유산으로 등재된 연극이다. 본 연구는 중국 북부지역의 산시성의 전문서적에 수록된 캐릭터 조각 및 색채, 문양을 중심으로 분석한 결과 산시성(山西省)의 피영극은 두 종류로, 산시성 북부의 '효의(孝义)'는 주로 『봉신연의(封神演义)』의 스토리 인물 캐릭터로 피영극의 주요 특징은 음각과 양각 조각의 사용과 색채가 어두우며, 종이스크린의 배경을 사용한다. 산시성 남부의 '후마(侯马)' 피영극은 산시성의 전통 연극인 '진극(晋剧)'의 영향을 받았으며 캐릭터의 특징은 생(生), 단(旦), 정(净), 추(丑) 4가지 역할로 망사스크린의 배경을 사용한다. 피영극은 송나라, 명나라, 청나라 시대의 의상과 신앙, 생활습관, 신분, 사회제도 및 유교문화 등을 음각과 양각의 조형적인 요소를 사용하여 표현하며, 전통적인 오행색(五行色)으로 색채를 연출한다. 본 연구는 산시성 피영극의 조형예술의 특성 이해 및 전통 공예의 특징 유지와 애니메이션, 영화 등 혁신적 요소를 더하여 아동 청소년들에게 피영극 문화의 전통적 가치를 전파와 계승 발전을 기대해 본다.

Keywords

References

  1. W. Wu. Folk shadow puppetry. pp. 2-74, Hebei Children's Publishers, (2004).
  2. Y. Li. "A brief analysis of the carving and plastic art of Shanxi shadow play", Friend of Science Amateurs, Vol. 30, No. 1, p. 88-90, (2009).
  3. L. Q. Wei. History of Chinese Shadow Puppetry Art. p. 1, Beijing Cultural Relics Publishers, (2007).
  4. Z. R. Han. A Study on the Characteristics of Shadow Puppetry Art: Taking Shanxi Xiaoyi Shadow Puppetry as an Example. p. 12, Chinese National Academy of Arts, (2022).
  5. Q. Q. Yang. Preliminary Exploration of Shanxi Shadow Play Craft Technology. p. 25, Shanxi University, (2014).
  6. K. H. Lim. "Body painting design research using airbrush Through analysis of works from the World Body Painting Festival", Jouranl of the Korean Applied Science and Technology, Vol. 40, No. 6 pp. 338-348, (2024).
  7. T. Huo, H. K. Lee. "A Study on the Chinese Dai Tattoo Culture", Jouranl of the Korean Applied Science and Technology, Vol. 41, No. 2 pp. 348-354, (2023).
  8. Z. H. Lian. Chinese Houma Shadow Puppetry. p. 29-174, Shanxi Education Publishers, (2009).
  9. Y. Tong. Shadow Puppetry. p. 112, Huangshan Book House, (2015).
  10. G. D. Feng. A Study on the Characteristics of Shanxi Shadow Puppetry Art. p. 11, Taiyuan University of Technology, (2013).
  11. P. L. Hou. Chinese Filial Piety Shadow Puppetry. pp. 10-194, Shanxi Education Publishers, (2005).
  12. L. Zhang. Research on the Artistic Characteristics of Lian Zhenhua's Shadow Puppetry. p. 20, Shanxi University, (2014).
  13. Y. Hao. The Styling Characteristics of Jinnan Shadow Puppet Costume and the Application of Shadow Puppet Elements in Fashion Design. p. 12, Shandong University Of Art & Design, (2022).
  14. Y. H. Wu. Xiaoyi Shadow Puppetry. pp. 6-133, Shanxi People's Publishers, (2013).
  15. L. Wang. "Exploration of the Art Form of Shadow Puppetry in Shanxi Province", Packaging World, Vol. 17, No. 2, p. 88-89, (2010).
  16. M. Y. Kong. "The Traditional Production Art of Shanxi Shadow Puppetry", Chinese opera, Vol. 14, No. 2, p. 299-316, (2007).
  17. W. R. Shi. "Dancing silhouettes showcase the charm of Shanxi shadow puppetry", Forum or arts, Vol. 22, No. 2, p. 91-94, (2015).
  18. S. H. Wu. The historical context and artistic characteristics of Shanxi shadow puppetry. p. 23, Shanxi University, (2017).