中國戲曲畫臉全譜（全三冊 漢英對照）

序一曹禺/二一 序二張庚/二三 序三王朝聞/二五 前言黃殿祺/二九   引述/○○一 章 中國戲曲臉譜的演變/○○五 （一）從中國新石器時代至商周時期的面具文化/○○六 陶、石器上的各種人面裝飾/○○六商周的面具紋樣/○一○ 饕餮神徽的紋面/○二二 （二）漢代面具化裝向唐代涂面化裝演進(jìn)/ ○二五 漢代百戲的面具和假形化裝/○二五唐代面具與涂面化裝/○二六 中國戲曲臉譜中的女花臉/○三一 （三）宋金元時期的面具與涂面/ ○四二 宋代《五瑞圖》/○四五 （四）明初至清末臉譜的成熟發(fā)展/ ○五○ 明代秦腔臉譜/○五八從明代至現(xiàn)代馬武臉譜的衍進(jìn)/○五九 同治光緒年間《鐘球齋臉譜》/○六○ 清代升平署扮相譜/○六一 （五）簡述戲劇面具文化/ ○八二 （六）當(dāng)前戲曲使用的面具/ ○八八 （七）丑而不丑的臉譜藝術(shù)/ ○九○ 第二章 中國戲曲臉譜的色彩、圖案、符號、譜式/○九三 （一）戲曲臉譜的色彩/ ○九四 （二）戲曲臉譜的圖案/一二八 （三）戲曲臉譜的符號/一三五 （四）戲曲臉譜的譜式/一四二 中冊 第三章 中國戲曲臉譜流派/二一三 1. 何桂山/二一四2. 王長林/二一六3. 錢金福/二一九 4. 楊小樓/二二六5. 許德義/二三○ 6. 郝壽臣/二三三 7. 范寶亭/二四三8. 金少山/二四六9. 侯喜瑞/二五四 10. 劉奎官/二六四11. 劉硯亭/二七○ 12. 馬連昆/二七○ 13. 李萬春/二七一14. 裘盛戎/二七三15. 袁世海/二七四16. 張金梁/二七五 附：從《同光名伶十三絕》圖看戲曲臉譜流派/二八五 第四章中國戲曲主要劇種臉譜/二九一 1. 北方昆曲/二九二2. 河北梆子/二九三3. 絲弦/三一二4. 河北亂彈/三一二 5. 老調(diào)梆子/三一七6. 武安平調(diào)/三一七7. 豫劇/三二六8. 大平調(diào)/三四一 9. 大弦戲/三四二10. 羅戲/三四三11. 宛梆/三四三12. 懷調(diào)/三四四 13. 越調(diào)/三四五14. 秦腔/三四六15. 晉劇/三六一16. 山西蒲州梆子/三七五 17. 紹劇/三八四18. 莆仙戲/三八七19. 淮劇/三九○ 20. 滇劇/三九○ 21. 山東梆子/三九一22. 閩劇/三九三23. 漢劇/三九三24. 柳子戲/三九七 25. 荊河戲/三九九26. 宜黃戲/四○四27. 九江青陽腔/四○六28. 東河戲/四○八 29. 徽劇/四○八30. 贛劇/四一六31. 祁劇/四一七32. 長沙湘劇/四二八 下冊 33. 辰河戲/四三五34. 衡陽湘劇/四三五35. 常德戲/四四六36. 巴陵戲/四五二 37. 川劇/四五五38. 川劇變臉/四六三39. 粵劇/四六六40. 陜西社火/四七四 41. 白劇/四七八 42. 京劇/四八二43. 藏戲/五八一44. 木偶戲/五八七45. 皮影戲/五九○ 46. 甘肅北豳神怪皮影/五九六47. 路景達(dá)與北京皮影/五九八48. 天津薊縣皮影/六○○ 49. 貴州安順地戲/六○一50. 貴州儺堂戲/六○四51. 云南關(guān)索戲/六一○ 第五章 中國戲曲臉譜的化裝程序/六一三 （一）凈角的化裝程序/六一四 （二）丑角的化裝程序/六一六 （三）凈、丑角化裝的顏料/六一七 （四）凈、丑角化裝用具/六一七 （五）戲出人物畫賞鑒/六二六 附錄 戲曲臉譜的研究整理/六三七 新中國成立后戲曲臉譜的繼承與發(fā)展/六三八 齊如山簡談戲曲臉譜/六三九 翁偶虹與戲曲臉譜/六四○ 張大千談臉譜藝術(shù)/六四四 王朝聞先生與我談戲曲臉譜藝術(shù)/六四六 編后記/六五三  
 
英文目錄 CONTENTS VOLUME ONE Preface by Cao Yu /22 Preface by Zhang Geng /24 Preface by Wang Zhaowen /27 Foreword by Huang Dianqi /30 Facial Makeup in Chinese Opera: a Synopsis /001 Chapter I. Evolution of Chinese Theatrical Face Painting /005 1. Masks from the New Stone Age to the Zhou Dynasty (c.8000 BC-256 BC) /006 Human Faces Decorating Earthen and Stone Objects /006 Designs on masks dated to the Shang (1600BC-1100BC) and Zhou (1100BC-256BC) dynasties /010 Motifs /022 2. Evolution from Han Dynasty Masks to Tang Dynasty Painted Faces /025 Masks and costumes in acrobatic performances During the Han Dynasty /025 Masks and painted faces During the Tang Dynasty /027 Painted Faces for Female Roles in Chinese Opera /030 3. Masks and Painted Faces During the Song, Jin and Yuan Dynasties /042 The Song Dynasty Painting /046 4. Full Development of Facial Makeup from the Early Ming to End of the Qing Dynasty /050 Ming Dynasty Facial Makeup for Qinqiang Opera /058 Evolution of Facial Makeup for Ma Wu from the Ming Dynasty to Today /059 Painted Faces from Zhongqiu Studio, Tongzhi and Guangxu Reigns /059 How Actors Looked in the Qing Court Theatrical Office, Qing Dynasty /061 5. A Brief Survey of Theatrical Mask-related Culture /082 6. Theatrical Masks Used Today /088 7. Facial Makeup for Clowns /090 Chapter II. Color, Design and Symbolism in Different Styles of Painted Faces in Chinese Opera /093 1. Color in Theatrical Facial Makeup /094 2. Designs on Painted Faces /128 3. Signs Used in Facial Makeup in Chinese Opera /135 4. Patterns of Painted Faces in Chinese Opera /142 VOLUME TWO Chapter III. Schools of Chinese Theatrical Facial Makeup /213 1. He Guishan /214 2. Wang Changlin /215 3.Qian Jinfu/219 4.Yang Xiaolou /226 5. Xu Deyi/230 6. Hao Shouchen /233 7. Fan Baoting/243 8. Jin Shaoshan /246 9. Hou Xirui /254 10. Liu Kuiguan /264 11. Liu Yanting /270 12. Ma Liankun /270 13. Li Wanchun /271 14. Qiu Shengrong /273 15. Yuan Shihai /274 16. Zhang Jinliang /275 Schools of Theatrical Facial Makeup as Seen in the Painting Thirty Stars of the Tongzhi and Guangxu Eras/285 Chapter IV. Facial Makeup in Major Types of Chinese Opera /291 1. Northern Kunqu Opera /292 2. Hebei Bangzi Opera /293 3. Sixian Opera /312 4. Hebei Luantan Opera /312 5. Laodiao Bangzi Opera /317 6. Wu’an Pingdiao Opera /317 7. Yuju Opera /326 8. Dapingdiao Opera /341 9. Daxian Opera /342 10. Luoxi Opera /343 11. Wangbang Opera /343 12. Huaidiao Opera /344 13. Yuediao Opera /344 14. Qinqiang Opera /346 15. Jinju Opera /361 16. Puzhou Bangzi Opera /375 17. Shaoju Opera /384 18. Puxian Opera /387 19. Huaiju Opera /390 20. Dianju Opera /390 21. Shandong Bangzi Opera /391 22. Minju Opera /393 23. Hanju Opera /393 24. Liuzi Opera /397 25. Jinghe Opera /399 26. Yihuang Opera /404 27. Qingyang Opera of Jiujiang /406 28. Donghe Opera /408 29. Huiju Opera /408 30. Ganju Opera /416 31. Qiju Opera /417 32. Xiangju Opera of Changsha /428   VOLUME THREE 33. Chenhe Opera /435 34. Xiangju of Hengyang /435 35. Changde Opera /446 36. Baling Opera /452 37. Chuanju Opera /455 38. Face-Changing in Chuanju Opera /463 39. Yueju Opera of Guangdong /466 40. Religious Processions on Traditional Festivals in Shaanxi /474 41. Baiju Opera /478 42. Beijing Opera /482 43. Masks Used in Tibetan Opera /581 44. Puppet Shows /587 45. Shadow Plays /590 46. Shadow Puppets of Sprites and Demons from Beibin, Gansu Province /596 47. Lu Jingda and Bejing Shadow Puppets /598 48. Shadow Plays of Jixian County, Tianjin /600 49. On-the-Ground Plays of Anshun, Guizhou Province /601 50. Nuotang (Exorcism) Opera, Guizhou Province /604 51. Guan Suo Opera, Yunnan Province /610 Chapter V. Chinese Opera Face-Painting Procedures /613 1. For a Male Role with a Multicolor Face /614 2. For the Clown /616 3. Colors and Solvents Used /617 4. Tools Used /617 5. Figure Paintings on Plays /626 Appendix: Studies in Facial Makeup /637 The Inheritance and Development of Theatrical Facial Makeup Since the Foundation of PRC /638 Qi Rushan on Facial Makeup /639 Weng Ouhong on Facial Makeup /640 Chang Daichien on Facial Makeup /643 Dialogue Between Wang Zhaowen and the Author, on Facial Makeup /646 Publisher’s Note /655