Crown refers to the flat crown worn by emperors, the Kowloon crown, the phoenix crown worn by empresses, and the purple and gold crown worn by princes or prominent figures in teenagers; Hat, there are soft and hard points, but also poor and humble. There are imperial hats worn by emperors and felt hats worn by poor people. There are gauze hats worn by bureaucrats (including loyalty yarn, rape yarn, round yarn and phase yarn), as well as tartar hats, Hou hats, monk hats, soap hats and Luo hats. Luo hats are worn by warriors in the courtyard (servants) and martial arts, and they can be divided into soft Luo hats and hard Luo hats with pompoms. The eunuch hats are called eunuch hats, and the cricket hats worn by likui jy and Zhu Guangzu in Wu Chou.
Helmets include the handsome helmet worn by Marshal, the master helmet worn by Zhao Yun, the inverted helmet worn by Ma Chao, the overlord helmet worn by Xiang Yu, the scarf helmet worn by Gao Chong, the tiger helmet worn by Dian Wei, the sky-drilling helmet worn by the Monkey King, the butterfly helmet worn by Hu Sanniang, the Zhongjun helmet dedicated to Zhongjun, and the grass king helmet worn by King Shan.
Most of the towels are casual hats, such as those worn by Chen Boyu, Zhao Gao, Liang Shanbo and Zhu Yingtai, daojin and Chen Gong, Zhuge Liang, Xu Xian, and Lin Chong. Only Guan Yu's master towel, Huang Zhong, Dou Erdun and Shi Wengong can be used in officialdom.
In addition to the above four kinds, there are Guanyin Pocket worn by Guanyin Bodhisattva, Jiulong Hoop worn by Zhuge Liang (borrowing wind), Crescent Hoop worn by Lu Zhishen, Duzitou worn by Yue Yun, Xiang Sable worn by Qiao Xuan, Jin Dadeng worn by Yang Jiye, Jin Sable worn by Yang Hong, Caidan Hoop worn by Ugly Woman and Yu Ji. In addition, some accessories can be added to the crown, hat and helmet towel according to the needs of characters and plots. For example, foreigners can add pheasant tails, and some can add ribbons, silk strips, face cards, cymbals and shovels.
In the early years, most of them were made by various theatrical troupes. These helmets were created by designers and actors to highlight characters and performances. Most of them were made of cardboard, covered with paint, and decorated with techniques such as cloisonning silk and touching green.
when it comes to the production of helmet head, I have to mention Mr. Zhang Liancheng.
Zhang Liancheng (1919-1989) was born in Nanyuan, Beijing. At the age of 14, he joined the helmet shop of Jinhua, Beijing, and worked as an apprentice with Mr. He Pengchun (1875-1956). After the death of the old gentleman, Zhang Liancheng went to Shenyang, Tianjin, Shanghai and other places to learn the helmet head making skills. His works are a combination of the North and the South, and he is a leader in the helmet manufacturing industry in Beijing from the late 194s to the mid-196s. He not only made some commonly used helmets for famous actors at that time, but also made new helmets for new drama roles created by famous actors such as Mei Lanfang, Jin Shaoshan, Ma Lianliang, Tan Fuying and Li Shaochun.
Zhang Yuelan was born in Beijing in 1943. After graduating from high school, she went to work in "Beijing Helmet Head Drama Production Cooperative", studied under the guidance of her father Zhang Liancheng, and later transferred to the technical department as a technician. In addition to developing new helmet heads, she also participated in the drawing of hundreds of helmet head renderings, leaving precious information for the production of opera helmet heads. Later, she developed the small helmet head of Peking Opera facial makeup, including: Dakouzi, Master's helmet, King's helmet, Thief's helmet, inverted tassel helmet, Christophe Wen's hat, towel-tying, etc. She made the helmet head into a semi-three-dimensional style, which made the technology closer to people's daily life and became a portable tourist product, which further advanced the helmet head making technology.
The production of helmet head of Beijing opera draws lessons from and absorbs Chinese traditional painting, sculpture, calligraphy, embroidery and other arts, making the works colorful, vivid and of high artistic value.
With the slow development of traditional Chinese opera, the demand for helmet props has also decreased. Because of its complicated workmanship, long production cycle and high production cost, it often makes ends meet. Therefore, it is urgent to protect this endangered art.