The basic colours in modern POPF (See Table 11) are red, black, white, etc. As a result, actors apply powder, ink, paint, and soot to their faces, creating the art of POPF. Surely, the POPF is characterised by symbolism and exaggeration.Īs Peking Opera developed, vividly painted faces enable audiences to see expressions clearly even from a distance, a great advantage in the days when dramatic performances were usually staged in the open air before large crowds. They are the creations of generations of dramatic artists, based on their observations and life experience and their analysis of the dramatic personae. Painted faces were not created by the fancy of some individual. Thus the painted face is quite appropriately called ‘a mirror of the soul’. Therefore, a knowledgeable audience, seeing a painted face, can tell easily whether it is a hero or a villain, a wise man or a fool, to be loved or hated, respected or ridiculed. Meanwhile, the symbolic semantics of POPF is composed by cultural elements including the facial colour, the type and the symbolic meaning.
It is stylised in form, colour, and pattern to symbolise the characteristics of specific roles.
Such make-up is worn mostly by actors playing roles known as Jing (painted faces) and Chou (clowns). The term “painted face” refers to the colourful facial make-up of an actor in traditional Peking Opera.
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