jacket
| Nom de l'objet : | jacket |
| Type de l'objet : | jacket |
| Catégorie de l'objet : | DRESS & ADORNMENT |
| Sous-catégorie de l'objet : | textiles |
| Matériaux : | adhesive, paste dye fibre, hemp metal, brass mineral, mica ? fibre, cotton fibre, silk glass metal, gold metal, silver |
| Technique de fabrication : | couched dyed embroidered sewn stiffened woven |
| Numéro de catalogue : | N1.690 a |
| Province d'origine : | Guangdong |
| Pays d'origine : | China |
| Continent d'origine : | Asia |
| Municipalité d'utilisation : | Vancouver |
| Province d'utilisation : | British Columbia |
| Pays d'utilisation : | Canada |
| Continent d'utilisation : | North America |
| Culture : | Chinese: Cantonese |
| Secteur géo-culturel : | East Asia |
| Contexte culturel : | theatre |
| Date de début de production : | 1920 |
| Date de fin de production : | 1920 |
| Description : | Green jacket (part a) with a rounded neck, side slits and centre opening with brass frog closures. On the front, back and sleeves are bat, peony and prunus motifs in gold, purple, blue, pink, orange and red. The sleeves have a mauve band. The border along |
| Commentaires : | A large group of Cantonese opera costumes, musical instruments, props, trunks, and stage fittings was left with the Jin Wah Sing Musical Association, apparently by some of the many itinerant troupes visiting Vancouver to perform in the Chinatown theatres in the pre World War II period. There is no certain knowledge of why these materials were not taken back to China by them. They were used by the Jin Wah Sing Musical Association in their performances until they became too dated. The association continued to preserve them carefully, storing them in their headquarters and in the basement of the Chinese Freemasons building until several groups of materials were sold and donated to the Museum of Anthropology. |
| Fonctions : | This jacket is part of a set constituting a costume worn to represent a guard for a person of high rank, either civil or military, in a civil rather than military situation. The guard was called "wuh waih", "bou waih", "sih waih", or "bou wuh". If the guard was for a landlord, he would be called "da sauh". The role type was "military gentleman", "mouh saang". It was worn with a set of hip panels, black boots, and with any kind of pants, including black bulbous pants, "dang luhng fuh". In an opera there would normally be two or four guards standing on each side of an important person, each wearing costumes of a different colour, such as orange, green, red, and blue. One of the sets might be a darker shade of one of these colours, or black. This costume is in Qing Dynasty style. The style of most Cantonese opera costumes derives from clothing of the Ming Dynasty, with the exception of some costumes that are specific in style to clothing of the Qing Dynasty, for operas set in that dynasty. Ming Dynasty style costumes are used for operas set in all other dynasties. In Cantonese opera, the standards for indicating particular role types and character types through costumes were and are not as strict as those for Beijing opera, and the use of symbols appears to have been inconsistent. The performance style of Cantonese opera is also much more flexible than that of Beijing opera, and change and novelty were and are valued. This is reflected in the costumes. It was important that robes and headdresses be appropriate to each other, but the footwear was less strictly controlled. Early in the twentieth century there was a multiplicity of role types, but the number of role types was simplified over time, and some were merged. More than one actor can play a particular role type at any one time, and they are ranked. A basic list follows, but more role types exist. Among the female role types are those who can fight (called "fa daan"). The highest of these can sing, and is called the "jing yahn fa daan". Another female role type is the "ching yi", a humble, struggling gentlewoman. A third female role type is the old woman "louh daan". A fourth is the female clown "neuih chauh". Male role types include the "siu saang" (young gentleman), "mouh saang" (military man), "fa mihn" (painted face, military man with less education), "sou saang" (bearded gentleman, older civil male), "jung saang" (mid-rank male with many skills, but not outstanding), and "chauh saang" (male clown). Costumes are specific to general role type and often to character type, but rarely to the specific character. They are divided into civil and military types, as indicated by their sleeves. Civil costumes have wide sleeves, while military costumes have tight sleeves. Other details such as colour indicate the role type and character type. As indicated by this collection, "water sleeves" "seuih jauh" were rarely used in the pre World War II period. Many costumes conform to named types, such as "yuhn lehng" "round neck" and "hoi ching", scholar's long robe overlapping at the front, with wide sleeves. Male and female role types can be played by either men or women, depending on their abilities and attributes. In the past, troupes were all-male, but later all-female troupes and mixed troupes were formed. Mixed troupes were accepted in the overseas Chinese context before they were accepted in China. |
| Hauteur : | 79 |
| Largeur : | 143.5 |
| Unité de mesure linéaire : | cm |
| Sujet ou image : | plants, flowers |
| Signification iconographique : | The narrow sleeves indicate that the costume is for a military character and role type. The disks represent bronze mirrors that would deflect evil influences and protect the wearer. |
| Département : | Museum of Anthropology |
| Établissement : |
UBC Museum of Anthropology
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| Ville de l'établissement : | Vancouver |
| Province de l'établissement : | British Columbia |
| Enregistrement de l'institution : | Fiche complète provenant du site du musée |
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