{ "instructions": [ { "date": [ { "earliest": 1999, "value": "1999-08-26", "latest": 1999, "primary": true } ], "note": "EOWEN", "instruction": "amber", "type": "HANDLING STATUS" } ], "note": [ { "type": "catalogue note", "value": "OLD DESCRIPTION: Bought MEM for the Educational Centre from Covent Garden (Neal st. East)" } ], "loan": { "value": "N" }, "subject": [ { "summary": { "title": "Masks" }, "@admin": { "uid": "hmc-subject-44", "id": "subject-44", "uuid": "204f75d5-7cdb-3a38-ab51-5f738775771f" }, "@entity": "reference" } ], "description": [ { "type": "catalogue description", "value": "Papier-m\u00e2ch\u00e9 face mask.", "primary": true }, { "type": "manufacture basic (online)", "value": "This mask is made from papier-m\u00e2ch\u00e9, layers of paper and glue. It is probably mass produced for the tourist market." }, { "historical": true, "type": "description", "value": "Papier mache face mask. Bought MEM for the Educational Centre from Covent Garden (Neal st. East)" }, { "historical": true, "type": "description", "value": "Papier mache face mask. Bought MEM for the Educational Centre from Covent Garden (Neal st. East)\n\nBOOKS: 1.\tPeking Opera \u2013 An Introduction Through Pictures' ALLEY, Rewi (1957)\n\n2.\t'The Rise of the Peking Opera 1770-1870' MACKERRAS, Colin P. (1972) 0 19 815137\n\n3.\t'Masks \u2013 Faces of Culture' NUNLEY, John W. (1999) 0891780785\n\n4.\t'Masks \u2013 Their Meaning and Function' LOMMEL, Andreas (1981) 0905746112\n\n5.\t'Peking \u2013 City of the Unexpected' MULLER, James Arthur (1920)\n\n6.\t'A Modern Revolutionary Peking Opera \u2013 On The Docks' (1973)\n\n7.\t'A Modern Revolutionary Peking Opera \u2013 Song of the Dragon River' (1972)\n\n8.\t'A Modern Revolutionary Peking Opera \u2013 Shachiapang' (1970)\n\nMissing or on loan\n\n1.\t'Peking Opera' LIN-JUI, Chen, (1956)\n\n2.\t'Peking Opera' SIAO, Eve, (1957)\n\n3.\t'Theatre of the Gods; Dance Drama of South Asia' CORDDRY, Jane (-)\n\n4.\t'Masks' Horniman Museum (1992)\n\n5.\t'Masks' Metropolitan Museum of Art (1992) 978079942459\n\n6.\t'Masks' WAGSTAFF, Nigel (1980)\n\n7.\t'Masks \u2013 The Art of Expression' MACK, John (1994) 9780714125077\n\n8.\t'Annual Customs & Festivals in Peking' LI-CHEN, Tun (1936)\n\n Peking Opera Painted Faces With Notes on 200 Operas. - Menglin, Zhan - Morning Glory Publishers: Beijing, 1996. \nBarba, E & Savarese, N \u2013 The Secret Art of the Performer. Routledge: London (1991) Looks at theatre traditions from around the world and compares performance styles and approaches to acting \/ theatre making.\n\nWEBSITES:\nwww.chinaculture.org \u2013 Website of the Chinese Ministry of Culture \nwww.china.org. \nhttp:\/\/www.chinahighlights.com\/travelguide\/beijing-opera\/unicorn-trapping-purse.htm \nhttp:\/\/www.paulnoll.com\/China\/Opera\/China-opera-set-01.html - Images of 126 Chinese Opera masks with descriptions of each character and some info about their role \nhttp:\/\/www.china-w.com\/AboutChina\/Culture\/Peking\/INTRO.HTM - Consultancy firm supporting research into anything to do with China.\n\n VIDEOS AND PHOTOGRAPHS:Suggest we invest in a copy\/recording of Farewell My Concubine .Some of the scenes showing the arduous training the young boy actors have to go through would be interesting for school groups to see.\n\nhttp:\/\/www.china.org.cn\/english\/culture\/78486.htm" }, { "type": "description", "value": "Papier-m\u00e2ch\u00e9 face mask. Bought MEM for the Educational Centre from Covent Garden (Neal st. East)\n\nBOOKS: 1.\tPeking Opera \u2013 An Introduction Through Pictures' ALLEY, Rewi (1957)\n\n2.\t'The Rise of the Peking Opera 1770-1870' MACKERRAS, Colin P. (1972) 0 19 815137\n\n3.\t'Masks \u2013 Faces of Culture' NUNLEY, John W. (1999) 0891780785\n\n4.\t'Masks \u2013 Their Meaning and Function' LOMMEL, Andreas (1981) 0905746112\n\n5.\t'Peking \u2013 City of the Unexpected' MULLER, James Arthur (1920)\n\n6.\t'A Modern Revolutionary Peking Opera \u2013 On The Docks' (1973)\n\n7.\t'A Modern Revolutionary Peking Opera \u2013 Song of the Dragon River' (1972)\n\n8.\t'A Modern Revolutionary Peking Opera \u2013 Shachiapang' (1970)\n\nMissing or on loan\n\n1.\t'Peking Opera' LIN-JUI, Chen, (1956)\n\n2.\t'Peking Opera' SIAO, Eve, (1957)\n\n3.\t'Theatre of the Gods; Dance Drama of South Asia' CORDDRY, Jane (-)\n\n4.\t'Masks' Horniman Museum (1992)\n\n5.\t'Masks' Metropolitan Museum of Art (1992) 978079942459\n\n6.\t'Masks' WAGSTAFF, Nigel (1980)\n\n7.\t'Masks \u2013 The Art of Expression' MACK, John (1994) 9780714125077\n\n8.\t'Annual Customs & Festivals in Peking' LI-CHEN, Tun (1936)\n\n Peking Opera Painted Faces With Notes on 200 Operas. - Menglin, Zhan - Morning Glory Publishers: Beijing, 1996. \nBarba, E & Savarese, N \u2013 The Secret Art of the Performer. Routledge: London (1991) Looks at theatre traditions from around the world and compares performance styles and approaches to acting \/ theatre making.\n\nWEBSITES:\nwww.chinaculture.org \u2013 Website of the Chinese Ministry of Culture \nwww.china.org. \nhttp:\/\/www.chinahighlights.com\/travelguide\/beijing-opera\/unicorn-trapping-purse.htm \nhttp:\/\/www.paulnoll.com\/China\/Opera\/China-opera-set-01.html - Images of 126 Chinese Opera masks with descriptions of each character and some info about their role \nhttp:\/\/www.china-w.com\/AboutChina\/Culture\/Peking\/INTRO.HTM - Consultancy firm supporting research into anything to do with China.\n\n VIDEOS AND PHOTOGRAPHS:Suggest we invest in a copy\/recording of Farewell My Concubine .Some of the scenes showing the arduous training the young boy actors have to go through would be interesting for school groups to see.\n\nhttp:\/\/www.china.org.cn\/english\/culture\/78486.htm" }, { "type": "more (online)", "value": "Performers in the Peking opera paint their faces like this mask." }, { "historical": true, "type": "use", "value": "Worn by actors in traditional Chinese Opera performances." }, { "historical": true, "type": "use", "value": "How is it used? \nPeking Opera tells different stories about famous people from Chinese history and folklore. The actors wear bright colourful costumes, masks and\/or face paintings. In the past actors only wore masks, but these days they normally paint their faces instead. The face colours and designs tell the audience more about the character in the story. A red face like this mask usually represents a brave and loyal hero.\nWe believe the face painted on this mask is most likely a 'Jing' warrior.\n\nWho is it used by and why them? \nThis mask was probably made to be sold to tourists and not to be worn in performance. In the Peking Opera performers have two ways of covering their face: facial painting and masks. When they are on stage they can change their appearance by quickly pulling down a mask which they wear, unnoticed by the audience, on their head. Performers are highly trained at theatre schools and both men and women can perform in Chinese opera." }, { "historical": true, "type": "use", "value": "China has over 300 different types of opera performance, said to have originated from Wu sorcery dances as far back the 16th \u00e2\u20ac\u201c 11th centuries BC. Peking Opera is more than 200 years old and is a mixture of song, dance, dialogue, mime and martial arts. The music that accompanies it is provided by a traditional Chinese string orchestra and a percussion band (to create the clash of a battle scene), using drums, bells, gongs, cymbals and castanets. One musician usually plays the castanets and a drum and these are used to conduct the rest of the band. The band usually sits on the left of the stage. There are four main types of role and several characters within each role: \n\u00e2\u20ac\u00a2Male roles (Sheng) \n\u00e2\u20ac\u00a2Female roles (Dan) \n\u00e2\u20ac\u00a2Painted Face Male (Jing) \n\u00e2\u20ac\u00a2Comedy Actor or Clown (Chou) \nIn the past it was performed mostly on stages in the open air, at teahouses or in temple courtyards and because the orchestra played very loudly, the actors created a high-pitched style of singing that could be heard by everyone. Traditionally, oil lamps were used to light the stage space so the lighting was a little bit dim. As a result, costumes were made of very bright colours so that people could see them better in the darkness. Only the Jing and Chou have painted faces and this is called 'Lianpu'. This tradition goes back 1400 years to the time when all leading actors wore masks. It is believed that the gradual changeover from wearing masks to face painting came about because this allowed more facial expression. No two 'painted faces' are the same. For example, there are more than 100 designs for the face of King Xiang Yu and each one is very different. In Chinese culture, some people believe that the shape and pattern of your face can tell a lot about the type of person you are, and who you will become in the future. A wide forehead and strong chin are signs of bravery, a straight nose indicates loyalty, but a crooked nose and small protruding mouth are signs of a dubious character. Peking opera masks and face painting exaggerated all these features but since there was so much variation from one opera company and region to another it needed to be standardised. In the 17th century paintings were commissioned of characters in full costume for over 200 operas and these were distributed to be adopted as the official patterns for face paintings. Colours are used to show what type of person somebody is or what kind of mood they are in. Red, for example, is the colour of loyalty, integrity and courage, black suggests a serious person, while white shows a crafty and suspicious character." }, { "type": "use", "value": "Worn by actors in traditional Chinese Opera performances. \n \nHow is it used? \nPeking Opera tells different stories about famous people from Chinese history and folklore. The actors wear bright colourful costumes, masks and\/or face paintings. In the past actors only wore masks, but these days they normally paint their faces instead. The face colours and designs tell the audience more about the character in the story. A red face like this mask usually represents a brave and loyal hero. \nWe believe the face painted on this mask is most likely a \u00e2\u20ac\u02dcJing\u00e2\u20ac\u2122 warrior. \n \nWho is it used by and why them? \n \nThis mask was probably made to be sold to tourists and not to be worn in performance. In the Peking Opera performers have two ways of covering their face: facial painting and masks. When they are on stage they can change their appearance by quickly pulling down a mask which they wear, unnoticed by the audience, on their head. Performers are highly trained at theatre schools and both men and women can perform in Chinese opera. \n \nChina has over 300 different types of opera performance, said to have originated from Wu sorcery dances as far back the 16th - 11th centuries BC. Peking Opera is more than 200 years old and is a mixture of song, dance, dialogue, mime and martial arts. The music that accompanies it is provided by a traditional Chinese string orchestra and a percussion band (to create the clash of a battle scene), using drums, bells, gongs, cymbals and castanets. One musician usually plays the castanets and a drum and these are used to conduct the rest of the band. The band usually sits on the left of the stage. There are four main types of role and several characters within each role. \n\u00e2\u20ac\u00a2\tMale roles (Sheng) \n\u00e2\u20ac\u00a2\tFemale roles (Dan) \n\u00e2\u20ac\u00a2\tPainted Face Male (Jing) \n\u00e2\u20ac\u00a2\tComedy Actor or Clown (Chou) \nIn the past it was performed mostly on stages in the open air, at teahouses or in temple courtyards and because the orchestra played very loudly, the actors created a high-pitched style of singing that could be heard by everyone. Traditionally, oil lamps were used to light the stage space so the lighting was a little bit dim. As a result, costumes were made of very bright colours so that people could see them better in the darkness. \nOnly the Jing and Chou have painted faces and this is called \u00e2\u20ac\u02dcLianpu\u00e2\u20ac\u2122. This tradition goes back 1400 years to the time when all leading actors wore masks.It is believed that the gradual changeover from wearing masks to face painting came about because this allowed more facial expression. No two \u00e2\u20ac\u02dcpainted faces\u00e2\u20ac\u2122 are the same. For example, there are more than 100 designs for the face of King Xiang Yu and each one is very different. In Chinese culture, some people believe that the shape and pattern of your face can tell a lot about the type of person you are, and who you will become in the future. A wide forehead and strong chin are signs of bravery, a straight nose indicates loyalty, but a crooked nose and small protruding mouth are signs of a dubious character. Peking opera masks and face painting exaggerated all these features but since there was so much variation from one opera company and region to another it needed to be standardised. In the 17th century paintings were commissioned of characters in full costume for over 200 operas and these were distributed to be adopted as the official patterns for face paintings. Colours are used to show what type of person somebody is or what kind of mood they are in. Red, for example, is the colour of loyalty, integrity and courage; black suggests a serious person, while white shows a crafty and suspicious character." }, { "attribution": { "attributor": "Patel, India" }, "type": "description", "value": "Papier-m\u00e2ch\u00e9 face mask." }, { "attribution": { "attributor": "Owen, Eve" }, "type": "description", "value": "Papier-m\u00e2ch\u00e9 face mask. Bought MEM for the Educational Centre from Covent Garden (Neal st. East)" } ], "language": [ "eng" ], "title": [ { "type": "catalogue title", "value": "Peking opera mask", "primary": true }, { "type": "display title" }, { "type": "more (online)", "value": "Performers in the Peking opera paint their faces like this mask." }, { "type": "display title", "value": "Peking opera mask" } ], "type": { "sub_type": [ "general" ], "scope": "WHOLE", "base": "object" }, "legal": { "status": "handling collection" }, "options": { "item_count": "1", "option7": "Anthropology", "option5": "Masks", "use": "Peking Opera tells different stories about famous people from Chinese history and folklore. The actors wear bright colourful costumes, masks and\/or face paintings. In the past actors only wore masks, but these days they normally paint their faces instead. The face colours and designs tell the audience more about the character in the story. In the Peking Opera performers have two ways of covering their face: facial painting and masks. When they are on stage they can change their appearance by quickly pulling down a mask which they wear, unnoticed by the audience, on their head. Performers are highly trained at theatre schools and both men and women can perform in Chinese opera.", "flag4": "N", "option6": "Mackerras, C. P. (1972) 'The Rise of the Peking Opera 1770-1870' ISBN 0 19 815137.; \nNunley, J. W. (1999) 'Masks - Faces of Culture' ISBN 0891780785.; \nLommel, A. (1981) 'Masks \u2013 Their Meaning and Function' ISBN 0905746112.; \nhttp:\/\/www.chinaculture.org; \nhttp:\/\/www.china.org; \nhttp:\/\/www.chinahighlights.com\/travelguide\/beijing-opera\/unicorn-trapping-purse.htm", "flag3": "N", "flag2": "N", "flag1": "N", "system_count": "0", "option1": "Masks are used worldwide for a variety of reasons in ceremony, theatre, dance, festival or simply to protect the face. Different styles have developed in different places and even within one country, there may be different styles in different regions and for different events. The use of a certain pattern or colour can mean different things to different people. For example, white is used to show that a person is crafty, cunning and suspicious in Peking Opera but in another culture white may be used to show purity and other very good qualities. The same is true of body posture and movements. For example, if an actor puts his hands behind his back, he is seen to be bracing himself against an expected threat or danger in Peking Opera and yet in other cultures this often shows that you are relaxed, open and unthreatened. \n\nSo if you live in a multicultural city, and London is just one of many around the world, think carefully about your understanding of people's behaviour. In their culture, their gestures or even their tone of voice may have a different meaning and misunderstandings can easily happen.", "option2": "This mask is made from papier mache, layers of paper and glue, and probably mass produced for the tourist market.", "option10": "ComEd: Hands on our Masks; Schools: Chinese New Year Schools: Local History: Mr Horniman" }, "appraisal": [ { "source": "catalogue", "@entity": "lifecycle" } ], "term": [ { "summary": { "title": "Chinese Peoples" }, "@link": { "role": [ { "value": "maker or user" } ] }, "@admin": { "uid": "hmc-term-500577", "id": "term-500577", "uuid": "03bb9d9b-1372-3268-839f-8d553f94d347" }, "@entity": "reference" }, { "summary": { "title": "masks" }, "@link": { "role": [ { "value": "object name (Horniman Ethno.)" } ], "attribution": { "date": [ { "earliest": 1999, "value": "26-Aug-99", "latest": 1999, "primary": true } ], "attributor": "Horniman Education Centre" } }, "@admin": { "uid": "hmc-term-508491", "id": "term-508491", "uuid": "450ce96f-2335-39ea-a859-e6d920cbb2c6" }, "@entity": "reference" }, { "summary": { "title": "shell" }, "@link": { "role": [ { "value": "classified as" } ] }, "@admin": { "uid": "hmc-term-1016308", "id": "term-1016308", "uuid": "d70dcb44-62ad-3e14-b299-ecce51efdadb" }, "@entity": "reference" } ], "physical": [ { "note": "Owen, Elizabeth M. 1999-08-26", "component": "overall", "term": "complete", "descriptor": "completeness", "@reference": { "@entity": "literal" }, "type": "completeness" }, { "component": "overall", "term": "paint", "descriptor": "material", "@reference": { "summary": { "title": "paint" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1016448", "id": "term-1016448", "uuid": "4896bfb4-2d4b-3d84-a579-4ddc8e8fa2e9" }, "@entity": "reference" }, "type": "material" }, { "component": "overall", "term": "paper", "descriptor": "material", "@reference": { "summary": { "title": "paper" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1016455", "id": "term-1016455", "uuid": "8e15c417-63d2-36d3-860b-da44d10f36d0" }, "@entity": "reference" }, "type": "material" } ], "creation": { "place": [ { "summary": { "title": "China" }, "@admin": { "uid": "hmc-place-162", "id": "place-162", "uuid": "431d00e5-de31-373e-8e45-f3d2bfdb51ed" }, "historical": true, "@entity": "reference" }, { "summary": { "title": "China, East Asia; Asia" }, "@link": { "source": "catalogue" }, "name": [ { "value": "China, East Asia; Asia" } ], "@entity": "literal" }, { "summary": { "title": "China" }, "@admin": { "uid": "hmc-place-162", "id": "place-162", "uuid": "431d00e5-de31-373e-8e45-f3d2bfdb51ed" }, "historical": true, "@entity": "reference" }, { "summary": { "title": "Asia" }, "@admin": { "uid": "hmc-place-95", "id": "place-95", "uuid": "11eb17fe-f9ea-31ea-b8d6-88e8e05e666d" }, "@entity": "reference" } ] }, "measurements": { "display": "overall: 210 x 180 x 100 mm", "count": "1", "dimensions": [ { "type": "catalogue dimensions", "value": "overall: 210 x 180 x 100 mm", "primary": true }, { "units": "in", "dimension": "depth", "value": "3 15\/16" }, { "units": "mm", "dimension": "depth", "value": "100" }, { "units": "in", "dimension": "height", "value": "8 1\/4" }, { "units": "mm", "dimension": "height", "value": "210" }, { "units": "in", "dimension": "width", "value": "7 1\/16" }, { "units": "mm", "dimension": "width", "value": "180" } ] }, "summary": { "title": "opera mask" }, "identifier": [ { "accession_number": "HC.1999.1474", "type": "accession number", "value": "HC.1999.1474", "primary": true } ], "collection": "Anthropology", "condition": [ { "date": { "earliest": 2020, "value": "2020-01-06", "latest": 2020 }, "examiner": "Maycock, Lucy; Welch, Alison", "value": "1: good" } ], "@admin": { "processed": 1744135283949, "sequence": 6696633, "uid": "hmc-object-9903", "added": 1664637522820, "stream": "collections-online", "id": "object-9903", "source": "hmc", "uuid": "e24239a0-96bb-3ba2-9b6b-519e50766bb5" }, "material": [ { "type": "catalogue materials", "value": "papier mache", "primary": true } ], "culture": [ { "@link": { "source": "catalogue" }, "name": [ { "type": "catalogue culture", "value": "Chinese" } ], "@entity": "literal" }, { "summary": { "title": "Chinese Peoples" }, "@link": { "role": [ { "value": "maker or user" } ], "variation": 111778 }, "@admin": { "uid": "hmc-term-500577", "id": "term-500577", "uuid": "03bb9d9b-1372-3268-839f-8d553f94d347" }, "@entity": "reference" }, { "value": "Chinese" } ], "name": [ { "type": "catalogue name", "value": "opera mask", "primary": true }, { "@reference": { "summary": { "title": "masks" }, "@link": { "role": [ { "value": "object name (Horniman Ethno.)" } ], "attribution": { "date": [ { "earliest": 1999, "value": "26-Aug-99", "latest": 1999, "primary": true } ], "attributor": "Horniman Education Centre" }, "variation": 117334 }, "@admin": { "uid": "hmc-term-508491", "id": "term-508491", "uuid": "450ce96f-2335-39ea-a859-e6d920cbb2c6" }, "@entity": "reference" }, "type": "object name (Horniman Ethno.)" }, { "type": "object name" }, { "type": "object name (Horniman Ethno.)", "value": "mask" }, { "type": "object name", "value": "opera mask" }, { "type": "object name", "value": "Chinese Opera Mask" } ], "location": [ { "type": "home location", "value": "HMG - Forest Hill; Horniman Museum; Hands on Base; Right Hand Archive; bay 4; Shelf B; Box 3" } ], "category": [ { "type": "category1", "value": "Education Handling Collection: Anthropology" } ], "facility": [ { "summary": { "title": "Box 3" }, "@link": { "date": { "earliest": 2024, "value": "2024-01-04", "latest": 2024 }, "level5": "Shelf B", "level4": "bay 4", "current": "Y", "level6": "Box 3", "last": { "level5": "Shelf B", "level4": "bay 4", "level6": "Box 3", "location": "HMG - Forest Hill", "level1": "Horniman Museum", "level3": "Right Hand Archive", "level2": "Hands on Base" }, "purpose": "annual audit", "location": "HMG - Forest Hill", "level1": "Horniman Museum", "level3": "Right Hand Archive", "level2": "Hands on Base" }, "@admin": { "uid": "hmc-facility-11027", "id": "facility-11027", "uuid": "f8d86e7f-452c-3678-a44b-cdb1cf16f211" }, "@entity": "reference", "primary": true }, { "summary": { "title": "HMG - Forest Hill" }, "note": [ { "value": "Data imported from source database without location date." } ], "@link": { "date": { "earliest": 1, "value": "0001", "latest": 1 }, "current": "N", "role": [ { "value": "historical" } ], "location": "HMG - Forest Hill", "level1": "Horniman Museum", "level2": "2\/45" }, "@admin": { "uid": "hmc-facility-548", "id": "facility-548", "uuid": "3b8534e3-4d29-3619-bc5e-1216c54b42dc" }, "@entity": "reference" }, { "summary": { "title": "Hands on Base" }, "@link": { "date": { "earliest": 2007, "value": "2007-02-21", "latest": 2007 }, "current": "N", "role": [ { "value": "historical" } ], "last": { "level4": "000014-16", "location": "Hands on Base Bay 14-16", "level1": "FH", "level3": "0000M7", "level2": "3\/70" }, "purpose": "Exhibition", "moved": { "by": "Cort, Julia" }, "location": "Horniman Museum. Hands on Base", "level1": "Display", "level2": "Pegboard 14" }, "@admin": { "uid": "hmc-facility-50", "id": "facility-50", "uuid": "0883a9b0-c9c4-3cde-b33d-c612b2dc8f70" }, "@entity": "reference" }, { "summary": { "title": "Box 3" }, "@link": { "date": { "earliest": 2013, "value": "2013-06-14", "latest": 2013 }, "level4": "Box 3", "current": "N", "role": [ { "value": "historical" } ], "last": { "level5": "Discovery Box replacement", "level4": "Box 1", "location": "Horniman Museum. Hands on Base", "level1": "Right Hand Archive", "level3": "Shelf A", "level2": "Bay 4" }, "purpose": "regular storage", "moved": { "by": "Hinton, Abigail" }, "location": "Horniman Museum. 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