中国戏曲净扮考略

A study on the makeup of Jing roles in Chinese opera

本文对中国戏曲净扮从古至今的发展与演变历程进行详细梳理,试图探明戏曲净扮发展背后的审美动因与技术路径。净扮的功能主要是使用浓重的粉墨色彩通过“变形取神”来塑造人物。其源于巫傩面具中的凶武之像,早期是以面具为主的形式呈现,到了唐宋时期逐渐转变为“涂面”,但其和丑扮一样还都是局部勾脸,也都具有喜剧功能。明清时期,随着净、丑行当分野,净扮最终转变为整脸脸谱,在人物塑造上则专注于形象的专业化和性格化,并具备了说明性和评议性两个最主要的属性。步入近现代,随着脸谱流派的出现,净扮脸谱艺术走向高度成熟。

This article meticulously outline the development and evolution of the Jing role in Chinese opera from ancient times to the present,attempting to ascertain the aesthetic motivations and technical trajectory behind its development.The primary function of the Jing role is to use heavy makeup to create characters through"deformation for the sake of spirit".It originated from the aggressive image in Wu Nuo(refers to a type of traditional ritualistic dance or drama which involves exorcism and the dispelling of evil spirits)masks,and was primarily presented in the form of masks in the early period.By the Tang and Song dynasties,it gradually transitioned to"face painting,"but like the comedian(Chou)roles,it was still partial face-painting and maintained a comedic function.In the Ming and Qing dynasties,with the division of roles between Jing and comedian roles,the Jing role eventually transitioned to full-face makeup,focusing on professional and characterful portrayal of figures,embodying both illustrative and critical attributes.Entering the modern era,with the emergence of makeup schools,it signifies the Jing role's makeup art becoming highly mature.