Thursday, March 26, 2009

Chinese Shadow Play--Precursor of Modern Cinema


Shadow play, a traditional Chinese folk art with a history of more than 2,000 years, has embarked on a revival path after a period of marked decline, thanks to conservation efforts and lasting interest in rural area.




Known as a precursor of modern cinema, shadow play is a kind of drama in which silhouettes made of hard paper, buffalo and donkey hide are projected onto a white screen. The performer manipulates the characters behind the screen while singing the libretto to tell the story.
The artistic effect of the play is produced through light, screen, music, singing, and puppetry. The shadow play is widely referred to as “a magic, lightning-like art" that can win people's high praise internationally.

The puppets in the shadow play are made of transparent leather and Chinese shadow artists first carve out the lines of the design and then dye them in bright colors. These transparent leather puppets become very lively and beautiful under the lantern light. With strong local characteristics, the shadow puppets are folk handiworks and a wisdom crystallization of Chinese shadow play artists through the ages.


Known as a precursor of modern cinema, shadow play is a kind of drama in which silhouettes made of hard paper, buffalo and donkey hide are projected onto a white screen. The performer manipulates the characters behind the screen while singing the libretto to tell the story.
The artistic effect of the play is produced through light, screen, music, singing, and puppetry. The shadow play is widely referred to as “a magic, lightning-like art" that can win people's high praise internationally.

The puppets in the shadow play are made of transparent leather and Chinese shadow artists first carve out the lines of the design and then dye them in bright colors. These transparent leather puppets become very lively and beautiful under the lantern light. With strong local characteristics, the shadow puppets are folk handiworks and a wisdom crystallization of Chinese shadow play artists through the ages.


Chinese shadow play, which came into being during the Han Dynasty (206 BC-220 AD) in northwest Shanxi Province, spread to South Asia, Central Asia, West Asia and North Africa in the 13th century. The ancient Chinese art spread to Europe in the 17th century with the famous German poet Goethe staging a European opera in the form of Chinese shadow play, and modern movies derived, in part, from the ancient art.
Shadow play, with distinctive folklore styles, had long been one of the only entertainment forms in Chinese villages till two decades ago.


But the ancient art gradually fell from the limelight due to the impact of modern audio-visual media such as television and movies. Many shadow play groups have been disbanded, and many of the most talented artists have died. In many areas, certain types of plays and the art of performance are actually nearing extinction.
Fortunately, shadow play is still alive and warmly welcomed among people in some rural areas in China.

Both Chinese artists and the Government are making great efforts to conserve and propagate the ancient art form. China is applying to the United Nations Educational, Scientific and Cultural Organizations (UNESCO) for a certification as an intangible cultural heritage.

The Legend of Shadow Play
Concerning its origin there is a beautiful love story that has Liu Zhe, the Emperor Wu of Han Dynasty, who liked all kinds of entertainment and kept many artists in his palace. Among the musicians Li Yannian was the best. Not only was he good at playing all kinds of musical instruments, but also at improvising songs. One year the King of Qiuzi, a tribe in the northwest, came to present a tribute and at the reception banquet Li Yannian was ordered to give a performance where he sang about an exceeding beauty. All the people were fascinated and lost in the graceful scene he created. Later when someone reported to the Emperor Wu that Li's sister was such a beauty, the emperor was so pleased as to call her in. Finding she was pretty beyond description, he fell in love with her at first sight wherein she received great favor and gave birth to a son the next year.


But good times did not last long for she fell seriously ill afterwards. When the emperor visited her, she covered her face with a quilt and said, 'I hope your majesty can take good care of my brother and son for the sake of our past.' But she refused his request of taking a last look at her, 'A woman makes up to please her lover but I am not as good-looking as before and not dressed up. Please leave me as I am.' So finally the emperor went away disappointed. As explained to her maid she said, 'His majesty favors me because of my appearance. I'm no longer pretty with illness and he will forget all my goodness at my sight. But otherwise he'll remember me forever.'

After her death the emperor missed her so much that a necromancer was summoned to call back her spirit. Though his mind racked, the necromancer found no way to meet this expectation. In the evening when pacing up and down in his room, he saw his shadow reflected on the wall. Thus an idea was hit upon. He copied the concubine's picture onto a piece of leather and after coloring and cutting a lifelike silhouette was made. With all the details well prepared, Emperor Wu was invited to the room. From far away, he saw his concubine's silhouette came up slowly and gracefully, knelt down respectfully and remained there. Just as he was approaching, the necromancer stopped him and said the spirit needed a respectful distance. And hundreds of years later Pi Ying Xi was passed down from the descendants of the necromancer.

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