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Description

A shadow puppet of a young Chinese man with elegant smooth features and long black hair with a round green, yellow, and red hat. Wearing a floral robe of red, yellow, green, pink, and light brown with trousers to match, and black sandals. Joined in the shoulder, elbow, waist, hips, hands, and fingers with plastic rivets on the arm parts, and hide rivets on the body. Black horn bent at right angle following length of hair connected to sideburn with black string.

Narrative

The puppet was purchased by Friesen in an antique shop in Jakarta, Java, in 1974.

History Of Use

First documented evidence of shadow puppetry in China was C.E. 960-1126. Puppeteering is a family profession performed at festivals and religious celebrations. Before 1900, no women were allowed to see these performances in public. Performances were, therefore, held in their homes. Now appreciated by all ages and classes. Puppets vary in size according to regional styles. Anatomy and construction of figures similar throughout. Puppets portray idealized types. The solid faces are incised and painted with designs which indicate the figures' personalities. Hairstyles and headdresses are designed with appropriate shaped motifs and colours to match characters' status. More elaborate costumes represent characters of higher rank. Peking puppets: faces on profile; beards and headdresses carved as part of head; arms attached at same spot on opposite side of torsos; jointed at waists, hips, knees, shoulders, elbows, wrists and hands in 2-3 parts. Originally used donkey skin, now use same, but also cowhide, sheepskin, water buffalo, and pigskin. Operating sticks made of water buffalo horn.

Cultural Context

Theatrical performance.