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Description

Reversible transformation robe (fan gongzhuang) with a stand-up collar, wide sleeves, side slits and a centre opening with brass frog fasteners. On surface A, the upper front, back and sleeves have phoenix, bat, cash, narcissus and peony motifs in silver on a red ground. The sleeve border has chrysanthemum motif in silver on a black ground. Below the waist the robe divides into overlapping multicoloured strips with canopy, mountain, cloud, chrysanthemum and narcissus motifs in silver. There are green glass eyes and circular mirrors on the front, back and sleeves. On surface B, the front, back and sleeves have bird, chrysanthemum, leaf, tree and butterfly motifs in many colours on a tourquoise ground. The collar, sleeve and border bands have a chrysanthemum motif in red, pink, purple and yellow on a turquoise ground. There are circular mirrors and tin reflectors.

History Of Use

This costume is one of a set of almost identical costumes called Transforming Palace Robes (Faan Gung Jong), in various colour combinations that were used in two splendid and auspicious performances, “Six Kingdoms Present a Chancellor” ("Luhk Gwok Daaih Fung Seuhng"), and “The Celestial Fairy Presents a Son” ("Tin Gei Sung Jih"). The appeal of the costumes, which were particular to Cantonese opera, was that they could transform on stage by reversing the double-sided flaps. 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 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 are not as strict as those for Beijing opera, and the performance style of Cantonese opera is also much more flexible than that of Beijing opera. 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 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. 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 is the “ching yi”, a humble, struggling gentlewoman. A third 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 the general role 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 lehng” (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 except for that at the centre back, which is done by hand and pasted flat. Wear on other costumes made of the same type of fabric reveals that it was woven with a silk warp and cotton weft, or vice versa. The blue hemp lining fabric on the long tabs was pasted to the outer fabric. Fringe was knotted into a mesh with square openings. Embroidery on inner side was done with silk floss using long satin stitches.

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.

Iconographic Meaning

Shows colourful cranes on the “mortal” side (green background) and golden bats with coins on the “immortal” side (red background with colourful dress panels). Two large coins with radiating spokes of light appear directly below the bat in gold couching, forming a rebus image that conveys the phrase fu zai yan qian (prosperity appearing before one's eyes).

Item History

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