![]() A light source is placed behind a white cloth screen between two banana trees, and the show is accompanied by a mini band of drums, clarinets, and gongs. A typical Kelantan shadow play consists of cut-out puppets for gods, humans, demons, apes, and lesser creatures made from animal hides. This art has been preserved to this day as an important artistic and cultural representative of Malaysian culture. ![]() Malaysian shadow plays originated in Kelantan and spread to other regions of the country including Melayu, Gedek, and Purwa. However, most don't realize that this ancient form of Chinese art was introduced to Southeast Asia in the 13th Century and took root there. With a long history and strong appeal, this form of art is still popular among Chinese people. In the Yuan Dynasty (1279-1368), the art was introduced to West Asia and Europe. According to historical records, shadow plays were born in the Han Dynasty (206 BC-220 AD) and flourished in the Tang (618-907) and Qing (1644-1911) dynasties. Shadow plays are one of the oldest forms of drama in China and an ancient folk tradition and art that originated in Huaxian County, Shaanxi Province. Figures crafted from animal hides, alongside a light source, a white screen, and some music, can open the door to a wonderful black-and-white world. People often find a piece of themselves in the shadows. They can depict happiness and sadness, courage and timidity, good and evil. They can capture perfect silhouettes of anything in the world while eliminating specific texture. Shadows are also commonly used for entertainment. In the chapter titled "Capital's Entertainment Center and the Industry of Arts and Handicrafts" in the book The Eastern Capital: A Dream of Splendors Past, the record says, "Dingyi and Shouji play a kind of 'qiaoying show'.Shadows are a common optical phenomenon that have long inspired the imagination. At that time, there were different types of shadow play. As the demand grew, craftsmen gradually formed a professional trade. This proves that the shadow theater was further developed in the period from the Northern Dynastyto the Southern Dynasty. Wulin was the capital of the Southern Song Dynasty(1127-1279), and was also known as Lin'an (now Hangzhouin Zhejiang Province). ![]() This professional trade was recorded in the Former Events in Wulin. In the painting entitled "The Festival of Pure Brightness on the River" by Zhang Zeduan, a well known Song Dynasty genre artist, a puppet show and the like can be seen as an entertainment activity enjoyed by the folks in the capital of Bianliang.ĭuring the Song period, evidence for the prosperous shadow theater can also be obtained from the record of a newly emerging trade of professional craftsmen who carved and made shadow puppets. And its text of dialogue is quite like a narrative textbook of history." The capital referred to here was Bianliang (today's Kaifengof Henan Province), the then capital of the Northern Song Dynasty(960-1127). ![]() It says: "The shadow show is played by people in the capital with figures and patterns carved and cut out from white paperin the initial stage and later on from painted sheep's skin. In An Account of the Capital's Wonders published in the Song period, a general description can be found of the materials that were used to make shadow puppets and the development of their variations as well as the contents of performance. Hence the show of images of the wars among the kingdoms of Wei, Shu, and Wu has been handed down to the present. According to the Records of the Origins of Events by Gao Cheng of the Song Dynasty, during the reign of Emperor Renzong, there were some people who could tell Romance of the Three Kingdoms stories or make puppets for a shadow play adapted from the stories. In temples, shadow figures were used as the supposed souls of the dead when their sin was expiated after death by monk preachers in charge of public service.ĭuring the Song Dynasty, it became one type of the prosperous folk arts, combined with the genre of popular entertainment mainly consisting of talking and singing. During that period, it served as a media for the preaching of Buddhist Dharma of transmigration and retribution. According to a survey made by the late writer Sun Kaidi, Chinese shadow play dated back to the mid-or late Tang Dynasty, or the later Five Dynasties(907-960). ![]()
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