Hand Puppet Item Number: Ia57 a-b from the MOA: University of British Columbia
Description
Costumed cloth hand puppet with carved, painted wooden head, hands and feet. Represents character of Bearded male (aggressive), Golden Rays style. Varnished white face, pinkish tinge under eyes; black, slightly bulbous painted hair. Red mouth, red spot on forehead, dots in eyes. Two moustache tuffs and full beard of black hair attached in channel at chin. Body (part a) is made of undyed cotton flaps, attached around head; attached white hands with holes through sideways, stuffed legs, white and green soled black boots. Stitched yellow silk robe (part b) with dark blue sleeves, waist and border trim, cotton lined. Front has orange trim outside blue, also on inside front (reinforced with paper). Sleeves edged in pink fur; rickrack on upper body; yellow, pink and white fur at edge. Two centre flaps, reinforced with paper, pasted cotton at black fur edged trim. Red, yellow and blue silk sections, decorated with metal sequins and silver foil wrapped thread. Silver 'thread', sequins and mirrors decorate borders, bodice, and back. Front, bottom panel; 'thread' flowers in silver, pink and green. Costume detachable; tied at neck.
History Of Use
Chinese hand puppet theatre continues to be an active form of popular entertainment in Taiwan. In general, it has a long (over 2,000 years) history which reached a peak of activity during the Qing Dynasty. By then Fukinese hand puppet theatre had reached Taiwan and by 1900, five hundred troupes were touring the island, playing during seasonal festivals, religious celebrations, birthdays, weddings and banquets. Traditionally, 7 men made up a troupe, 2 to manipulate the puppets and speak the roles, and 5 musicians to provide accompaniment and sound effects. Plots are adapted from novels, fairy and folk tales, history and from supernatural events. Short comic scenes opened the presentation, followed by long plays. By 1900, in Taiwan, puppet theatre began taking on distinctive Taiwanese traits, and after the outbreak of the Sino-Japanese War, Fukinese puppets were no longer imported. Puppets became larger (closer to 50 cm) and less finely carved. Costumes are patterned on Ming Dynasty (1368-1644) dress, and the iconographic style often follows Chinese opera.
Cultural Context
Used in puppet theatre performances.
Narrative
Transcription of legible characters reads: line 1; xiang xin pu; line 2; (too faint) (too faint) zhong zhang lo. The first line appears to give the locality and the second line, the name of the puppet troupe (Graham Johnson p.c.).
Iconographic Meaning
Puppet represents character of Xu Wen, or bearded man. White face with pink tinge signifies nobility, honor (malkin) or bravery (ucla). Bared teeth and staring eyes signify a bellicose, rather than a gentle character. Since the pink is very faint, the white face may signify a villainous nature (malkin). The long beard suggests an old man. Costume, yellow robe, signifies a monarch.
Item History
- Made in Taiwan before 1950
- Owned by Dorian Rae before October 31, 1980
- Received from Museum of Anthropology Shop Volunteers (Funding source) and Dorian Rae (Seller) on October 31, 1980
What
Who
- Culture
- Taiwanese
- Previous Owner
- Dorian Rae
- Received from
- Museum of Anthropology Shop Volunteers (Funding source) and Dorian Rae (Seller)
Where
- Holding Institution
- MOA: University of British Columbia
- Made in
- Taiwan
When
- Creation Date
- before 1950
- Ownership Date
- before October 31, 1980
- Acquisition Date
- on October 31, 1980
Other
- Condition
- fair
- Accession Number
- 0677/0001