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/ ○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/○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）當前戲曲使用的面具/ ○八八
（七）丑而不丑的臉譜藝術/ ○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. 老調梆子/三一七6. 武安平調/三一七7. 豫劇/三二六8. 大平調/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/三四四
13. 越調/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/六四四
王朝聞先生與我談戲曲臉譜藝術/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
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