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Description

Ecru robe with wide extended sleeves, side slits, side opening and banded neck edge. Four-toed dragon and fish designs on the front and back, in gold, pink, blue on orange ground. Collar, sleeve, and border bands with endless knot, rare vase, wheel, hsi, and double gourd symbols in gold and pink, red and blue on white ground. There are mirrors, green glass eyes and tin reflectors on the front and back. Belt carriers are silver chrysanthemums on deep pink ground stiffened with paper and glue. The inside lining is ecru linen.

History Of Use

This type of costume was worn to represent a high-ranking official, or one of the eight Immortals. The role type is ”gentleman”, “saang”. If it represents one of the eight immortals it would have been used in the short ritual playlet “Eight Immortals Offer Birthday Congratulations”, “Baat Sin Hoh Sauh”. In the first decades of the twentieth century the performance this auspicious playlet was commissioned by wealthy people as part of the celebration of an important birthday. Other auspicious playlets were also sometimes performed. These include “The Fairy Presents a Son”, “Tin Gei Suhng Ji” and “Promotion to Be an Official”, “Da Ga Gun”, which was performed with a white mask. Together they symbolize long life, having sons, and promotion. In recent years they may be performed at the beginning of an opera or opera series, or for a special occasion.
The style of most Cantonese opera costumes derives from clothing of the Ming Dynasty, with the exception of some costumes that are specific in style to clothing of the Qing Dynasty, for operas set in that dynasty. Ming Dynasty style costumes are used for operas set in all other dynasties. In Cantonese opera, the standards for indicating particular role types and character types through costumes were and are not as strict as those for Beijing opera, and the use of symbols appears to have been inconsistent. The performance style of Cantonese opera is also much more flexible than that of Beijing opera, and change and novelty were and are valued. This is reflected in the costumes. It was important that robes and headdresses be appropriate to each other, but the footwear was less strictly controlled.
Early in the twentieth century there was a multiplicity of role types, but the number of role types was simplified over time, and some were merged. More than one actor can play a particular role type at any one time, and they are ranked. A basic list follows, but more role types exist. Among the female role types are those who can fight (called “fa daan”). The highest of these can sing, and is called the ”jing yahn fa daan”. Another female role type is the “ching yi”, a humble, struggling gentlewoman. A third female role type is the old woman “louh daan”. A fourth is the female clown “neuih chauh”. Male role types include the “siu saang” (young gentleman), “mouh saang” (military man), “fa mihn” (painted face, military man with less education), “sou saang” (bearded gentleman, older civil male), “jung saang” (mid-rank male with many skills, but not outstanding), and “chauh saang” (male clown). Costumes are specific to general role type and often to character type, but rarely to the specific character. They are divided into civil and military types, as indicated by their sleeves. Civil costumes have wide sleeves, while military costumes have tight sleeves. Other details such as colour indicate the role type and character type. As indicated by this collection, “water sleeves” “seuih jauh” were rarely used in the pre World War II period. Many costumes conform to named types, such as “yuhn leng” “round neck” and “hoi ching”, scholar’s long robe overlapping at the front, with wide sleeves.
Male and female role types can be played by either men or women, depending on their abilities and attributes. In the past, troupes were all-male, but later all-female troupes and mixed troupes were formed. Mixed troupes were accepted in the overseas Chinese context before they were accepted in China.

Cultural Context

theatre

Specific Techniques

Seams are enclosed. All stitching that is visible was done by hand except for that on the nylon sleeve extensions. Metallic yarns are couched in place. Details are embroidered. Wear on other costumes made of similar fabric suggests that it was woven with a silk warp and cotton weft, or vice versa.

Iconographic Meaning

The round neck, “wings”, and dragon are signs of official status. The belt loops are for a hoop belt that is also a sign of official status. The wide sleeves and sleeve extensions indicate that indicate that the role type and character are civil rather than military. The hat identified with it may indicate that this costume is for one of the Eight Immortals, Jeung Gwo-louh.

Narrative

A large group of Cantonese opera costumes, musical instruments, props, trunks, and stage fittings was left with the Jin Wah Sing Musical Association, apparently by some of the many itinerant troupes visiting Vancouver to perform in the Chinatown theatres in the pre World War II period. There is no certain knowledge of why these materials were not taken back to China by them. They were used by the Jin Wah Sing Musical Association in their performances until they became too dated. The association continued to preserve them carefully, storing them in their headquarters and in the basement of the Chinese Freemasons building until several groups of materials were sold and donated to the Museum of Anthropology.

Item History

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