ID Number

Title

Item Name

Culture

Material

Manufacturing Technique

Date Made

Place Made

Date Owned

Owner

Acquisition Date

Source

Source

Measurements

Condition

Accession Number

Cultural Context

Used in puppet theatre performances.

Iconographic Meaning

Since the true nature of supernatural beings are expressed on the headdress (ucla), a bird-like being may be represented.

Description

Male character in Daoist robe, Golden Rays style. Costumed, cloth hand puppet with carved, painted wooden head, hands, and feet. Forehead is green, back of head and eye areas are white, face and neck are pink, bird headdress is brown with black outlines suggesting feathers, red mouth is wide open, red dots on cheeks. Tan dyed hair, glued across top of head. Body (part a) is undyed cotton flaps, attaching around head, with attached white/cream hands with holes through sideways, partially stuffed with paper, stuffed legs, white and green soled black boots. Pasted and stitched blue silk, cotton lined robe (part b); sleeves pink/orange with orange borders and collar; blue, white, yellow and pink fur trim. Flower-like decorations, in foil wrapped thread, plastic sequins and tin edged mirrors. Yellow and white brocade trim at centre, backed with character printed paper. Costume is detachable, tied with cord 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.