My imagination has been captured by the traditional Chinese artists who can quickly change their wildly painted faces--three, nine, or even 24 times in one performance. Since coming to China in 1998, I have heard many stories about this secret art, and I enjoyed seeing it depicted in the Chinese movie The King of Masks. Knowing that I would be leaving China soon, as a final make-up assignment for missed quizzes or classes, I asked some of my last students in China to research and write short essays on the ancient Chinese art of "Bian Lian" or "Face Changing"--sometimes translated as "Mask Changing" today. The following information has been compiled from the students' papers. Many of the examples and phrases are taken directly from their papers in order to give insight into their perspective of their own Chinese culture.
First, most of the students reported that Bian Lian is a romantic performance art associated with the traditional Chinese opera of Sichuan Province. As the performers gracefully raise their hands, flourish their arms, or swiftly turn their heads, their brightly painted facesor masks transform again and again. The various designs of the face paint or masks are used in the opera to depict special characters such as gods, spirits, monsters, or heroes. The Bian Lian was designed to show the real-time changes in the inner state and emotions of the characters, expressing invisible and intangible feelings through the visible and tangible masks. For example, red could signify anger, black could mean extreme fury or sometimes righteousness, white could suggest cunning or insidious acts, and green could depict fear or desperation. A change of face would signify a change of feelings, heart, or intent.
It is said that people first used this art as a survival technique, as the ancient ancestors painted images and designs on their faces in order to frighten away wild animals. Only later was it adopted as a dramatic art on stage. The Face Changing was originally not a magical effect but a simple visual change with no complex technique. My students also wrote about an ancient legend of a Chinese hero who stole from the rich and gave to the poor. In these folk stories, whenever the hero was caught by feudal officials, he changed his face to puzzle them and escape.
Face Changing, as it is known today, probably began 300 years ago during the Qing dynasty. In the early years of Chinese opera, the actors went backsatge to change their faces; as time went by, however, higher skills were required for the actors. The secrecy of the art, which was passed down only from father to son or master to appretintice, caused it to grow in attraction and mystery. The secret of Bian Lian has been passed down within families, with only males permitted to learn it for fear that woman who married into another family would let the secret out. The movie The King of Masks tells the story of an old master who finally teaches a girl his craft after they share an experience that changes their fate.
There are two main kinds of Bian Lian: the "little change" and the "big change." The "little change" involves just part of the face, for example, the beard or eyes. The beard might be changed from black to gray and finally to white, expressing anger or excitement. The "big change" involves the transformation of the whole face. By the 1920s, opera masters began using layers of oiled paper or dried pig bladder. Skilled performers could peel off one mask after another in less than a second. Modern-day masters use full-face painted silk masks also worn in layers that can be pulled off one by one. In ancient times, the face was only changed once or twice. In 1994, performers were changing up to four faces in a show. By 1998, the number of changes had risen to eight. Today the number has increased still further to 18 or 20 or more--even involving faces on the back of the head. In the picuture at the top of this page, one modern-day mask can be seen depicting the Amazing Spider Man from Marvel Comics!
Three main methods or skills have been used in the art of face changing: plastering, powdering, and pulling. Plastering involves spreading concealed paste or make-up across the face. The paste or paint is hidden in the hands or even on parts of the face. In the art of powdering, the master blows into hidden boxes of powder to cover the oiled face with a desired color. In spite of many public performances, no one knows how the artists are able to blow the powder so accurately in only a few seconds. Pulling masks is by far the most complicated and fascinating skill: the master prepares and layers stacks of masks in advance, each mask having a silk thread which is attached to the waist, enabling it to be torn away under cover of dancing. The consumate skill is the changing of three masks within one second, without a flaw or trace.
Although traditionally only men have performed the art, a Chinese girl named Candy Chong has learned the art from her father and is now famous for her performances. Wang Daozheng, the 68 year-old man called the "King of Bian Lian," said that when he performed in Japan in 1987, a Japanese actor wanted to buy the secret. Although the actor offered 50 thousand dollars, Wang refused to teach the secret art. Two years later, Wang returned to Japan and was disappointed to find many Japanese artists performing Bian Lian.
The unique skill of Face Changing is the only art to be ranked as a "level two" national secret of China. My students, even now in 2010, believe that the art of face changing is an important "inheritance" or heritage of Chinese culture. One student wrote that although "the government has declared face changing is a protected national art-form, there are still many people trying their best to discover the secret of face changing. However few people besides the opera masters understand it exactly." Many of the Chinese students say that the people using the art to make money are disclosing state secrets and doing harm to a precious national treasure that should be preserved as a traditional Chinese art and as a piece of the ancient history and culture they are so proud of.
First, most of the students reported that Bian Lian is a romantic performance art associated with the traditional Chinese opera of Sichuan Province. As the performers gracefully raise their hands, flourish their arms, or swiftly turn their heads, their brightly painted facesor masks transform again and again. The various designs of the face paint or masks are used in the opera to depict special characters such as gods, spirits, monsters, or heroes. The Bian Lian was designed to show the real-time changes in the inner state and emotions of the characters, expressing invisible and intangible feelings through the visible and tangible masks. For example, red could signify anger, black could mean extreme fury or sometimes righteousness, white could suggest cunning or insidious acts, and green could depict fear or desperation. A change of face would signify a change of feelings, heart, or intent.
It is said that people first used this art as a survival technique, as the ancient ancestors painted images and designs on their faces in order to frighten away wild animals. Only later was it adopted as a dramatic art on stage. The Face Changing was originally not a magical effect but a simple visual change with no complex technique. My students also wrote about an ancient legend of a Chinese hero who stole from the rich and gave to the poor. In these folk stories, whenever the hero was caught by feudal officials, he changed his face to puzzle them and escape.
Face Changing, as it is known today, probably began 300 years ago during the Qing dynasty. In the early years of Chinese opera, the actors went backsatge to change their faces; as time went by, however, higher skills were required for the actors. The secrecy of the art, which was passed down only from father to son or master to appretintice, caused it to grow in attraction and mystery. The secret of Bian Lian has been passed down within families, with only males permitted to learn it for fear that woman who married into another family would let the secret out. The movie The King of Masks tells the story of an old master who finally teaches a girl his craft after they share an experience that changes their fate.
There are two main kinds of Bian Lian: the "little change" and the "big change." The "little change" involves just part of the face, for example, the beard or eyes. The beard might be changed from black to gray and finally to white, expressing anger or excitement. The "big change" involves the transformation of the whole face. By the 1920s, opera masters began using layers of oiled paper or dried pig bladder. Skilled performers could peel off one mask after another in less than a second. Modern-day masters use full-face painted silk masks also worn in layers that can be pulled off one by one. In ancient times, the face was only changed once or twice. In 1994, performers were changing up to four faces in a show. By 1998, the number of changes had risen to eight. Today the number has increased still further to 18 or 20 or more--even involving faces on the back of the head. In the picuture at the top of this page, one modern-day mask can be seen depicting the Amazing Spider Man from Marvel Comics!
Three main methods or skills have been used in the art of face changing: plastering, powdering, and pulling. Plastering involves spreading concealed paste or make-up across the face. The paste or paint is hidden in the hands or even on parts of the face. In the art of powdering, the master blows into hidden boxes of powder to cover the oiled face with a desired color. In spite of many public performances, no one knows how the artists are able to blow the powder so accurately in only a few seconds. Pulling masks is by far the most complicated and fascinating skill: the master prepares and layers stacks of masks in advance, each mask having a silk thread which is attached to the waist, enabling it to be torn away under cover of dancing. The consumate skill is the changing of three masks within one second, without a flaw or trace.
Although traditionally only men have performed the art, a Chinese girl named Candy Chong has learned the art from her father and is now famous for her performances. Wang Daozheng, the 68 year-old man called the "King of Bian Lian," said that when he performed in Japan in 1987, a Japanese actor wanted to buy the secret. Although the actor offered 50 thousand dollars, Wang refused to teach the secret art. Two years later, Wang returned to Japan and was disappointed to find many Japanese artists performing Bian Lian.
The unique skill of Face Changing is the only art to be ranked as a "level two" national secret of China. My students, even now in 2010, believe that the art of face changing is an important "inheritance" or heritage of Chinese culture. One student wrote that although "the government has declared face changing is a protected national art-form, there are still many people trying their best to discover the secret of face changing. However few people besides the opera masters understand it exactly." Many of the Chinese students say that the people using the art to make money are disclosing state secrets and doing harm to a precious national treasure that should be preserved as a traditional Chinese art and as a piece of the ancient history and culture they are so proud of.