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The Han Dynasty Baiqu encompassed many forms of artistic performance, and it is said that this is the earliest acrobatic technique in ancient times, the most characteristic of which is the horn opera and music and dance acrobatics, but its costumes are a lesser-touched and often forgotten field in the academic world.
The costumes of the Han Dynasty Jiao Dou Opera are closely related to the false costumes of the artists, and their shape is characterized by wearing a mask on the head, wearing feathers or animal skins, and complementing the roles played.
Therefore, although the costumes of the Han Dynasty and the costumes of the Han Dynasty are not all-encompassing, but from a certain point of view, they also highlight the characteristics of the Han Dynasty costumes.
[▶> Han Dynasty Hundred Opera Corner Arrival Opera, Music and Dance Acrobatic Costumes <◀]
In the Han Dynasty, the Jiaoyu opera was originally developed from gladiatorial competition, and its performance form first came from the Qin Dynasty.
In the earliest documents, the Qin Dynasty already had the name of "Jiaoyu", as recorded in the "Historical Records of Li Silie": "It was when the second emperor was in Ganquan, and he made the view of arriving at Youhai." ”
Pei Qiuji quoted Ying Shaoyu and said: "During the Warring States Period, I slightly increased the etiquette of martial arts, thinking that it was a drama and exaggeration, and Qin changed its name to say that the horn is against the horn, and the horn material is also against the horn, and it contradicts each other." ”
It can be seen that the earliest form of theatrical entertainment in ancient China was about the Qin Dynasty Jiao Opera, which was not only related to military training, but also related to the martial spirit of the Qin people.
The Qin Dynasty has complete military arms and strong combat effectiveness, which is a peak in ancient China, truly showing the atmosphere of a great country, and the martial atmosphere of the Qin people is particularly prominent. ”
"Han Feizi: First Sight of Qin" said when describing the martial and brave Qin people: "Out of the arms of his parents, he has never tasted Ko'er. When he heard the war, he paused his feet in vain, committed white blades, walked in the furnace, and died in the former. ”
Therefore, gladiatorial fighting became the theatrical concept of the ancient Chinese, and the Han Dynasty recorded the grand performance of the gladiatorial opera, due to the Han Wu Emperor Liu Che's implementation of the policy of communication with the Western Regions, the economic and cultural exchanges between China and the West became more and more frequent.
Due to the change of social atmosphere in the Qin and Han dynasties, the costumes of the Han Dynasty were different from those of the Qin Dynasty, and most of them had the artistic color of the costumes of gods and monsters.
The reason for this is that the culture of the Han Dynasty mainly originated from Chu, and the rulers of the early Western Han Dynasty brought the atmosphere of the Chu Dynasty into the court and swept the government and the opposition, so it was influenced by the social atmosphere at that time.
Although the Han Dynasty in many respects reflected the inheritance of the "Han Dynasty and Qin system", in the drama art performance, including the drama costumes, there are all with the gods and monsters of the Chu Di Chongwu Temple, as Mr. Li Zehou said:
"Han culture is Chu culture, Chu and Han are inseparable, although in terms of political, economic, legal and other systems, 'Han inherited the Qin system', the Liu Han Dynasty basically inherited the Qin Dynasty system, but in some aspects of ideology, especially in the field of literature and art, the Han still maintained the local nature of the homeland of Southern Chu. ”
The Han Dynasty is also an important period of rapid development of ancient Chinese immortal thought, the full popularization of immortal beliefs, in the period of Emperor Wu of the Han Dynasty, Li Shaojun, Shaoweng and other immortal monks were favored by Emperor Wu of the Han Dynasty, he in order to welcome the immortals, a large number of palaces and towers.
It is also from the beginning of the period of Emperor Wu of the Han Dynasty, the idea of immortals and the concept of ghosts and gods were formally combined, and the "Historical Records of Xiaowu Benji" recorded: "Emperor Xiaowu ascended the throne at the beginning of his reign, and he especially respected the worship of ghosts and gods. ”
Since then, the scale and content of the performances of the Han Dynasty have been further expanded, from a single gladiatorial performance to a musical and dance acrobatic show performed by musicians, maiko and haiyu artists.
Due to the general pursuit of hedonism in the Han Dynasty society at this time, in order to meet the needs of the public's entertainment life, the division of professional functions of music and dance acrobats was further refined, and female music and excellent people appeared, and the female music department evolved from witch song and dance.
The witches of the Zhou Dynasty developed the art and skills of dance in the long-term ritual process of witches seeking rain and other sacrifices, and turned them into the inheritance of female music for the feast performances of the human world, and the excellent people were transformed from the underdeveloped dwarfs who were used for people to laugh and tease......
【▶> Han Dynasty Hundred Operas, Music, Dance, and Acrobatic Costumes <◀】
One of the main performances in the hundred operas of the Han Dynasty is the music and dance acrobatics, which are generally composed of dancers, musicians and funny haiyu in the performances, which are recorded in the Hanshu Dongfang Shuo Biography:
"Set up a theater car...... Hit the bell of ten thousand stones, hit the drum of thunder, be a haiyou, and dance Zheng Nu. ”
Music and dance acrobatics became a common performance scene in the halls of bureaucrats and nobles in the Han Dynasty, and performances in the homes of ordinary wealthy people in the Han Dynasty also contributed to the performance momentum of music and dance acrobatics:
"Today's customs are due to people's mourning in order to drink and meat, fortunate to sit and sit and blame, singing and dancing, and even laughing and playing. ”
The musicians, maiko, and haiyu in the gakucho often appear in the same performance at the same time, and the performers who perform the same content are roughly similar in their costumes and wear, except for a slight change in position and number, which has formed a certain stylized characteristic.
For example, in the portrait stone of Chen Pengcai painting in Nanyang City, the second musician from the left wears a flat upper hat, wearing a red robe, and the foot suit is covered by the robe, and the middle is wearing a fake head, the upper body is naked and the lower body is wearing a robe, and the fourth female dancer from the left combs her hair in a bun and wears a long-sleeved dance dress.
In the portrait stone of the tomb of "Yuping Dayin" of the Tang River Han Dynasty, the second musician from the left wears a curtain, wearing a robe with a collar on the right side, and the foot clothes are covered by the robe, and the third female playwright from the left combs her hair in a bun and wears a long-sleeved dance dress, and the fifth person from the left is wearing a narrow-sleeved robe and performs an upside-down performance on the bottle.
It can be seen that the music and dance acrobatics in the hundred operas of the Han Dynasty are generally composed of musicians wearing narrow-sleeved robes for handstand performances, musicians wearing curtains on their heads, and musicians performing in robes with crossed collars and other haiku, and the costumes of the artists are all derived from the daily life costumes of the Han people.
The first costume is in line with the status of the music and dance acrobats, and the long-sleeved dance clothes worn by the female performers in the performance express various thoughts and feelings by virtue of the long sleeves flying in a thousand postures.
Today's water sleeve dance on the stage of Peking Opera has actually begun to emerge in the long-sleeved dance clothes worn by female dancers in music and dance acrobatics.
In the cultural relics of music and dance acrobatics, it is often seen that there is a naked, stubby, and funny Haiyu next to the female performer, making a gag performance, and the Haiyu wears a fake on his head, and his upper body is naked and his lower body is wearing a robe.
Therefore, the costumes of the music, dance and acrobatics in the hundred operas of the Han Dynasty were influenced by the social atmosphere of the Han Dynasty's entertainment, and the costumes of the artists who performed the same content in the music and dance acrobatics were generally similar and had a certain degree of formality.
【▶> Han Dynasty Hundred Opera Corner Costume <◀]
In the Han Dynasty's capital Chang'an, the development of cultural and entertainment performances represented by Jiao Opera has made it a worldwide entertainment capital.
Han Zhangheng's "Xijing Fu" restores the grand occasion of the horn scene performance with a variety of contents, grand scenes and exquisite programs at that time. ”
From another historical material of the Han Dynasty, "Salt and Iron Treatise: Insufficient Dispersion", we can get a glimpse of the fact that Chongyou and the elephant people often perform together, and the records of the advocates and the elephant people in the "Hanshu Lile Zhi" are:
"Thirty people from Chang Cong Advocate, four people from Chang Cong Xiang people, sixteen people from Zhao Sui Chang Cong Advocate, twenty-nine Qin advocates, three Qin Advocate personnel, one Zhao from Qin Advocate, nine Yada personnel, and Chao He is happy to drink wine."
The Elephant Man is also the main actor in the third scene of "The Drama of Manyan" in "Xijing Fu", playing the roles of lions, fish, turtles, shrimps, mussels, etc., in which the artists are required to wear costumes that match the roles played.
In this way, the audience can distinguish the role and identity of the artist in the performance, and a large number of cultural relics of the Han Dynasty confirm the record of the costumes of the artists in Zhang Heng's "Xijing Fu", and clearly present us with the specific appearance of the costumes of the actors in the hundred operas of the Han Dynasty.
For example, in the portrait stone of the Yinan Bird Opera in Shandong, the artist on the right side wears a finch head mask with a decorative bouquet on it, and wears a feather coat with a bird feather, and is guided by the artist who wears a crown on his left head, wears a mask on his face, wears a robe, ties around his waist, and wears trousers and shoes.
In the leopard opera portrait stone, the artist wears a leopard-shaped mask, wears a leopard skin or leopard skin costume, holds a staff in his left hand, and holds a flag in his right hand.
In the "Xijing Miscellaneous Records" written by Ge Hong of the Jin Dynasty, the story of "Huang Gong of the East China Sea" is also recorded, but compared with the "Xijing Fu", the costumes of the diagonal play are recorded more carefully.
One artist dressed as Huang Gong and the other as the White Tiger, the one who plays the role of Huang Gong "ties his hair with a silk thread", and uses the "Red Gold Knife" as a prop to play the White Tiger, he needs to wear a white tiger skin or a costume similar to the white tiger skin, so as to be vivid.
"Huang Gong of the East China Sea" inherited the performance form of gladiatorial wrestling in the Qin Dynasty, and followed the martial style of the pre-Qin period, and promoted the Confucian principle of "attaching equal importance to civil and military".
In the door beast portrait stone unearthed in Dongguan, Chengxian County, Henan, you can see the image of Huang Gong who wears a mask on his head, naked upper body, pants on his lower body, a knife-like object in his left hand, and a tiger tail in his right hand.
Therefore, due to the influence of the Han Dynasty's immortal worship of immortals, it can be concluded that the Jiaodi opera artists who played the immortals were dressed in feather costumes, and the horned opera artists wore fake animal faces and animal skin costumes.
It can be seen that the costumes of the Han Dynasty are closely related to the fake costumes of the artists, and their shape is characterized by wearing a mask on the head, wearing feathers or animal skins, and is different from the daily life costumes of the Han people.
Through the costumes they wear, these Jiao Gong opera artists jointly express a mythical world that is both real and illusory, lifelike, and evasive, and at the same time, a large number of Jiao Du opera costumes recorded in the Han Fu are the artistic reflection of the Han people's concept of immortals.
The development background of the costumes of the Hundred Operas of the Han Dynasty was influenced by the social atmosphere of worshipping immortals and the style of entertainment in the Han Dynasty, respectively, so the costumes of the Han Dynasty were closely related to the society of the Han Dynasty.
It can be seen from this that the costumes of the music, dance and acrobatics in the Han Dynasty are derived from the daily life costumes of the Han people, which reflects the characteristics of art coming from life, and the costumes of the horn and dance operas in the Han Dynasty are different from the daily life costumes of the Han people, which also reflects the characteristics that art is higher than life.
The costumes of the Han Dynasty's Hundred Opera Corners and Acrobatic Performances not only complement the Han Dynasty drama performances, but they are also a vibrant part of the colorful costume culture of the Han Dynasty!