Painting the face of traditional Chinese culture
- By Wang Yanfang
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E-mail China.org.cn, August 4, 2013
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| In 2009, the then 29-year-old Guo Shigang became the youngest folk toy master craftsman in the Beijing toy association for his undoubted talent in painting the faces of Chinese folkloric or historic figurines. [Wang Yanfang/China.org.cn] |
In 2009, the then 29-year-old Guo Shigang became the youngest folk toy master craftsman in the Beijing toy association for his undoubted talent in painting the faces of Chinese folkloric or historic figurines.
The different types of facial painting in traditional Chinese culture all adhere to unique artistic models and are a Chinese national art gem. They are mainly divided into two types: Makeup in traditional Chinese opera and artistic handicrafts (mostly made of plaster and clay).
From early childhood, Guo was influenced by his father, also a facial painting craftsman.
Guo begun taking his painting work seriously in 2003, and from that moment on was honored with quite a few prizes in various design competitions. One set of his works, including 28 China's mythical figures, can be found on display at the China National Arts and Crafts Museum. The EU headquarters invited him to display traditional folk handcrafts in September of 2009.Guo blossomed from a lover of facial painting into a Chinese folk toy master craftsman.
"My parents and I have a small workshop, where we do about 70 life-size plaster facial paintings per month and, without promoting, customers will come and take them," Guo said. "In addition, as decorative art, the facial painting is believed to have the power to bring good luck or to ward off bad luck -- according to different figures."
A facial painting requires several procedures, including mold making, model making, airing and polishing, painting, headdress making and assembling. Figurines in different models or with different characteristics bear entirely different facial paintings.
The facial painting, mostly drawn in free sketches, expresses various attitudes and emotions through the shapes of bats, butterflies and swallows.
The colors of the masks too carry several determinate meanings and contents. Various colors stand for various characters and roles: black for uprightness, white for treachery and bad faith, red for loyalty, blue or green for irritability and gold for gods.
"Besides creating facial paintings, I often give lectures. I hope people not only like their beauty on the surface, but also understand their rich underlying culture. Each line of the facial painting is meaningful," Guo said.
"Most of my audiences are traditional Chinese culture lovers, both from home and abroad. Some are captivated by the traditional Chinese opera, others merely interested in painting. I have [even] discussed the culture of facial paintings with former UN Secretary-General Kofi Annan and his family during their tour of Beijing," Guo said with his eyes gleaming.
"The traditional handicraft business has actually been quite good, but rising raw material costs and production lines make it difficult," he said. "It is even hard to get a good brush."
Through the production line, a worker can make hundreds of facial paintings in one day. The paint is replaced by acrylics, which is quick-drying, low-cost and brightly-colored.
"This [production line] is suitable for bold lines, not good for delicate painting," Guo said. "The difference could be recognized immediately."
"I believe it won't be long before people will become aware of the value and preciousness of exquisite handicrafts," Guo said.
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