Chinese Painting Scroll Figures in Traditional Chinese Operas by Mei lanfang

Description

An Introduction of the "Figures from Traditional Chinese Operas Collected by Mei Lanfang"
Chinese traditional operas belong to integrated art. Great and profound. they bring together all the aspects of the excellent traditional Chinese culture of the Chinese nation. In the rnid-18th century, Beijing Opera became very popular in the imperial court of the Qing Dynasty. and paintings of figures from traditional Chinese operas in thousands of postures appeared. According to historical materials, over 300 paintings of figures from operas were collected in the rosewood wardrobe in the empress dowager's resting place Shoukang Hall. These paintings were done during the years front 1861 to 1875 by painters employed by the emperor. These 44 paintings kept by Mei Lanfang. a great master of Beijing Opera, are part of these paintings. These paintings collected by Mei Lanfang, along with the two albums of over a hundred paintings from operas at present housed in Beijing Palace Museum, some paintings housed in National Library of China and some kept by Zhou Yibai, are all collections of the Qing court and are considered national treasures. They are the treasures that had been taken out of the imperial palace while Emperor Puyi, the last emperor. was still living in the Forbidden City. Later these paintings got lost among the people. In the 10 year of the Republic of China, Mei Lanfang discovered these paintings in Liulichang and bought them and kept them as treasures. The master copy of this painting was provided by Mei Lanfang to the Beijing Chinese Opera Association in the late 20s and early 30s of the 20th century.
Mei Langfang's collections include the main characters from Yang Silang Visits His Mother, Capturing Yingyang. Jiang Wei Spies on Enemv Situation. The Sunny Mansion, 'rhe Weishui River, Duanmi Gully, Borrowing Zhaoyun. Nanyang Pass and etc. Each painting presents one character. Some of these painting treasures are from the Ming Dynasty. Some from the Qing Dynasty and some from the early years of the Republic of China. These true-to-life works of art vividly took down the styles and features of the art of Chinese operas of the time prior to the emergence and popularization of photography and video recording technology. Today, the ancient art of facial makeup is no longer just the object of study by Chinese opera artists in the field of traditional Chinese opera studies, it also has stepped down from the theater and become part of our real life, achieving a quality that is both traditional and modern iii contemporary aesthetic
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