Символика на сценичния костюм (Ши Фу) в Пекинската опера: исторически, митологични и социокултурни измерения
Symbolism of the Stage Costume (Xi Fu) in Peking Opera: Historical, Mythological and Sociocultural Dimensions

Summary/Abstract: As an unique musical-theatrical form, which synthesizes in a holistic manner Chinese culture, history, literature, dance, acrobatics, stage fighting, as well as the fine arts of face painting and hand embroidery on silk, the Peking opera (Jing Ju, 京劇) influences the spectator throughout a mixture of various interrelated components. Each of them brings a multiple symbolic meaning, drawn from Chinese mythology, ancient philosophical and religious doctrines, and also from specific aspects of the statutory and social hierarchy, behaviour and rituals. Focusing on the Peking opera costume (signified by the archaic term xing tou, and more recently, by the term xi fu), this article aims at unfolding the elaboration process of its patterns, rooted still in the rules of imperial clothing of the Ming (1368-1644) and Qing (1644-1911) dynasties. By drawing on the significant role of emperor Qianlong as a key figure in the final formation of both the genre and the rules of preparing stage costumes, it is argued that the meanings of the five main colours are closely related to five general elements (the five cardinal directions, the five seasons, the five tones of the pentatonic scale, etc.) and the most common symbols appear as a tool of differentiation in the social and military hierarchy. In addition, it is argued that in spite of the holistic profile of the symbolism implied in any component of the Peking opera, each of them, including the costume, has developed expressiveness of its own and elaborated a separate code system.

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