9/27/2023 0 Comments Chinese shadow puppetry historyCertain puppets had special requirements: consider the Khmer ascetic figure Preah Muni Eysi that is supposed to be made of bear or panther skin. Skinning, scraping, and stretching of hide involve the maker very directly with issues of death and transformation. The puppet is made from hide: goatskin and donkey were used in China, water buffalo in South East Asia, and goat or buffalo in India. The shadow theatre of in both its pragmatic and mythic dimension has a link with death. While generalizations must be treated with caution, some ideas come from some fundamental principles of the art Death and the shadow theatre 90 x1.5 metres and a multi-person troupe led by a narrator to tell stories from the Ramayana, Mahabharata, and Puranas. Translucent puppets are found in Maharashtra’s miniature, Karnataka’s, and Andhra Pradesh’s and a related theatre of Tamil Nadu. Indian theatres may use opaque figure, like the of Orissa and the of Kerala, both of which tell Ramayana stories. The of the Islamic world (see ) may be related to Chinese shadows via migrations toward the west or from through movement of outcaste, gypsy groupings north, though some argue local invention. This allows the puppet greater acrobatic flexibility as it flips, smoothly emulating the spectacular feats of the martially trained dancers of Chinese opera. The figures are manipulated with rods but unlike Indo-Malay figures where the main rod extends like a spine through the middle of the figure and is held from beneath in the puppeteers hand, the yingxi have the major rod attached to the neck and the figures are pressed against the screen with this neck rod held perpendicular to the screen. Small translucent, coloured puppet yingxi are found in many provinces in, including Shaanxi, Luanzhou, Shandong, Sichuan, Hanzhou, Hunan, Chaozhou, as well as in Taiwan. Thailand’s large court puppet genre ( nang yai) and Cambodia’s analogue ( nang sbek thom) use opaque figures about 1 x 1.3 metres danced by multiple puppeteers moving in the style of court mask to present largely a Ramayana repertoire chanted by a narrator. In ayang or nang sbek touch corresponds to the nang talung. Modern tales have largely displaced the traditional. Puppets are translucent and coloured, perhaps due to Chinese influence. Related to the Kelantan art is ’s nang talung/nang daloong, which is found among the Thai and Lao speakers. Wayang kulit operated widely in the east coast area in where one finds the now rare wayang jawa (a style based on Javanese wayang kulit purwa) and wayang siam of Kelantan which presents Ramayana stories. Comparable genres present varied stories from the Ramayana ( wayang Ramayana, in Bali), to tales of Panji the Prince of East Java and local chronicles ( wayang gedog, in Java).įilipino shadow figures were noted in the 19th century but died out prior to revivals in the 20th century (see ). The wayang sasak of the neighbouring island of Lombok tells tales of Prophet Mohammed’s uncle, Amir Hamzah. Balinese wayang parwa uses simpler yet similar figures for Mahabharata stories accompanied by four gender metallophones. Wayang kulit Banjar of Kalimantan, and wayang kulit betwai in West Java play the same repertoire. The kulit purwa of Java (see ) uses intricately perforated and painted opaque figures which are performed by a single puppet master called a (Javanese: dhalang) accompanied by a gong chime orchestra (gamelan), presenting and stories. The shadow theatre in South East AsiaĪsian shadow theatres documented for millennium are diverse in geographical, religious, and cultural backgrounds. Leather puppets, exquisitely decorated, are used in a shadow theatre which has become known around the world and is represented in many museums. When and where shadow puppetry was first introduced is a question on which specialists disagree, particularly in regard to and where shadow theatre has cultural and religious traits. Introduced into Europe in the 17th century, the form was renovated and rethought in the 20th century. The former originated in Asia (in China, India and Indonesia, spreading into Central Asia, the Middle East and North Africa) and continues to the present, although diminishing. Here we distinguish between traditional shadow puppetry and contemporary forms.
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