• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2010년도 춘계 종합학술대회 논문집
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• pp.475-477
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• 2010

경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2017년도 춘계 종합학술대회 논문집
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• pp.57-58
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• 2017

중국 경극에서 얼굴에 다양한 분장을 하는 것을 검보라 하며, 극 중에서는 다양한 상징성을 갖는다. 검보는 민족적 특색을 내재하며, 극중 캐릭터를 위한 "영혼의 화면"이라 불린다. 반면, 일본 노극은 가면을 쓰고 연기하는 독특한 고전 가무극으로 히타멘(直面, 가면을 쓰지 않음)과 가면을 쓰는 공연으로 나뉘며, '유현(幽玄)의 예술" 이라고 불린다. 이러한 경극의 검보와 노극의 가면은 애니메이션에 캐릭터에 차용되며, 극의 서사와 상징성을 드러내는 매개 역할을 하고 있다. 이에, 본 연구에서는 경극의 검보와 노극의 가면이 연출된 애니메이션 영화를 중심으로 사례 비교연구를 진행하고자 한다.

• 복식문화연구
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• 제12권4호
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• 한국의상디자인학회지
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• 제22권3호
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2004년도 정기총회 및 춘계학술대회
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• pp.40-43
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• 2004

연극은 인류와 함께 시작되어 인류의 생활과 밀접한 관계를 맺어왔으며 인류의 생활을 재현하거나 인류의 바람을 표현하는 과정에서 시간과 공간을 아우르는 종합예술로 성장하였다. 세계 희극 예술의 근간이 된 3대 주류로는 그리스의 비극과 희극, 인도의 범극, 중국의 희곡을 들 수 있는데 이는 세계 연극 형성에 큰 영향을 끼쳤다. ‘희곡(戱曲)’은 중국의 전통 연극을 일컫는 독특한 용어이다. (중략)

• 미술이론과 현장
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• 제5호
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• pp.175-196
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• 2007

• 복식
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• 복식
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• 제59권2호
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• pp.143-153
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• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• 비교문화연구
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• 제26권
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• pp.145-171
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• 2012

The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

• 비교문화연구
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• 제31권
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.