shadow play

Shadow play is a traditional performing art that uses a flat, jointed, hollow figure and places it between a light source and a translucent screen or curtain for storytelling and entertainment.

In the past, when the media such as movies and television were not yet developed, shadow plays were one of the most popular folk entertainment activitiesContentsContents1 India.

China

Shadow plays may have originated in Central Asia – mainland China or India around 1000 BC.^{^[1]^[2]}

During the reign of Emperor Wu of the Han Dynasty, Li Shao-weng, a scholar of the Fangs, said that he had the art of attracting souls, and that he had set up a tabernacle to invite the dead spirits of his concubine Li's wife ^{^[3]}.As the shadow puppetry of Shanxi began to circulate, "Painting and Shadow plays began in the Han Dynasty, flourished in the Tang Dynasty, and flourished in the Song Dynasty."Another story is related to the dead spirit, which was said to have been used by monks in the Tang Dynasty to preach the theory of lamp shadow and to transcend the spirit of the dead.So, shadowy is closely related to religion.

In any case, shadow puppetry was already quite large and popular by the Song dynasty.In the Southern Song Dynasty, Hangzhou had its own "painted leather club"and the film industry.In the Yuan Dynasty, the army followed the army on an expedition to spread the shadow to Central Asia, and in the 13th and 15th centuries, from Western Asia to European countries.Shadow plays are popular in the guanzhong area, with hundreds of traditional plays and dozens of vocal styles.

Shadow plays became very popular during the Wanli period of the Ming Dynasty (1573-1619).In the late Ming and early Qing dynasties, shadow art and Taoism were combinedThe shadow of the love affair of Wanxian County was formed.By the Qing Dynasty, shadow art had reached its peak.At that time, many large families were proud of having their filmmakers carved by their teachers, and of placing quality film boxes and private filmmakers.

But in the late Qing Dynasty, some local governments feared that there would be a crowd of people at shadow theatres, and that there had been a ban on acting and the arrest of shadow puppeteers.During the Second World War, people were living in a state of turmoil.However, in the War of Resistance Against Japan, Zhangzhou in Fujian Province used shadow plays to promote the struggle against Japan.After the liberation of China, shadow puppet shows and artists were revived with the support of the then government.But by the time of the Cultural Revolution, shadow art had been hit again by the destruction of the old.After the reform and opening-up, traditional culture was gradually taken seriously.Although shadow puppetry has been revived and developed, it is still affected by electronic television and pop culture.

After a long period of change, the art of shadow puppetry has developed into different local schools, such as shadow puppetry in Shanxi, shadow puppetry in eastern Long and shadow shadow puppetry in Shaanxi.The unique characteristics of Beijing, Shandong, Qinghai and Ningxia are reflected in their unique styles.In rural areas such as Shaanxi and Tianshui, Gansu, this simple folk art form was once popular.

Hebei

Luanzhou Shadow

Taiwan

Taiwanese shadow puppetry was said to have been introduced from Chaozhou, Guangdong, more than 300 years ago.

File:ShadowPlay InShop .jpg

shadow play objects

Because shadow puppetry is a reason for folk art,every aspect of it is different.The materials are also based on the local use of animal skins.

According to the Book of Dream Liang of the Song Dynasty, "In the early days of the capital, the paper was made of plain paper."Since then, the carving has been done with exquisite craftsmanship, and the carving is done with sheep's skin, which is used in colour decoration and does not cause damage." The shadow was originally made of paper before it was later carved out of leather.Today's shadow puppetry items include shadow figures, stage props and scenes, all of which are made from hand-made, cowhide, sheep hide and donkey hide are more commonly used.

The basic steps of traditional folk craftsmanship are:Scrape, pulp, tracing, carving and coloring.However, if you are careful, the process can be done by scraping, grinding, washing, engraving, coloring, and so on. The process can be done by hand with a total of 24 processes, including hand-carving of about 300 pieces."shadows and other artistic styles of painting in the Han dynasty."The engraved lines not only give a beautiful appearance but also avoid a large black shadow during the performance.

"The silhouette is about 30cm tall, mostly in profile, and has a wheel."The main features are simple lines, smooth and smooth.The shadow figure is not about seeking truth and accuracy, but about meeting the needs of the performance needs.Beautiful in the light.The shadow puppeteers were vividly displayed before the audience.

shadow play Contents

The main content of shadow puppetry in the Song dynasty was ", the spirit, the iron horse, the case, the history books, the storybook of kings and officials from all dynasties."^{^[4]} By the Qing Dynasty, there were two categories of film and drama: the whole (also known as a complete set) and the single (also known as a single discount).During the reign of Tao Kuang (1821-1850), Gao Shu-yao, a writer of film and drama at the Hebei Music Pavilion, was honored as the four new films of Luanzhou's film and drama, and Gao Shu-yao's plays became the basis for assessing the level of shadow puppetry artists.Today, the famous schools of shadow art are shadow puppetry in Shanxi, shadow puppetry in eastern Gansu and shadow puppetry in Shaanxi.

The key to the performance of shadow plays is their skill and singing skills.This key technique is the result of a long period of apprenticeship and a master's master.In addition, shadow plays have to be accompanied by music and lighting to touch the moods of the audience.

animation

Shadow plays are made into animations and shown in movies.

reference literature

^ [1]Fan Pen Chen (2003), Shadow Theaters of the World Asian Folklore Studies, Vol. 62, No. 1 (2003), pp. 25-64
^ [2] Orr, Inge C. Puppet Theatre in Asia. Asian Folklore Studies (Nanzan University). 1974, 33 (1): 69–84. doi:10.2307/1177504.
^ [3]高承《事物纪原·影戏》中说：“故老相承，言影戏之源，出于汉武帝，李夫人之亡，齐夫人少翁言能致其魂，上念天人无巳，迺使致之。少翁为方帷，张灯炉，帝坐他帐，自帐中望见之，仿佛夫人之像也，不得就视之，由是世间有影戏。”
^ [4]《梦粱录》云：“凡傀儡敷衍烟粉、灵怪、铁骑、公案、史书、历代君臣将相故事话本，或讲史，或作杂剧，或如崖词，……大抵弄此，多虚少实，如《巨灵神》、《朱姬大仙》等也。”

see

[1] [1]Fan Pen Chen (2003), Shadow Theaters of the World Asian Folklore Studies, Vol. 62, No. 1 (2003), pp. 25-64

[2] [2] Orr, Inge C. Puppet Theatre in Asia. Asian Folklore Studies (Nanzan University). 1974, 33 (1): 69–84. doi:10.2307/1177504.

[3] [3]高承《事物纪原·影戏》中说：“故老相承，言影戏之源，出于汉武帝，李夫人之亡，齐夫人少翁言能致其魂，上念天人无巳，迺使致之。少翁为方帷，张灯炉，帝坐他帐，自帐中望见之，仿佛夫人之像也，不得就视之，由是世间有影戏。”

[4] [4]《梦粱录》云：“凡傀儡敷衍烟粉、灵怪、铁骑、公案、史书、历代君臣将相故事话本，或讲史，或作杂剧，或如崖词，……大抵弄此，多虚少实，如《巨灵神》、《朱姬大仙》等也。”

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