序一曹禺/二一
序二张庚/二三
序三王朝闻/二五
前言黄殿祺/二九
引述/○○一
章 中国戏曲脸谱的演变/○○五
（一）从中国新石器时代至商周时期的面具文化/○○六
陶、石器上的各种人面装饰/○○六商周的面具纹样/○一○ 饕餮神徽的纹面/○二二
（二）汉代面具化装向唐代涂面化装演进/ ○二五
汉代百戏的面具和假形化装/○二五唐代面具与涂面化装/○二六
中国戏曲脸谱中的女花脸/○三一
（三）宋金元时期的面具与涂面/ ○四二
宋代《五瑞图》/○四五
（四）明初至清末脸谱的成熟发展/ ○五○
明代秦腔脸谱/○五八从明代至现代马武脸谱的衍进/○五九
同治光绪年间《钟球斋脸谱》/○六○ 清代升平署扮相谱/○六一
（五）简述戏剧面具文化/ ○八二
（六）当前戏曲使用的面具/ ○八八
（七）丑而不丑的脸谱艺术/ ○九○
第二章 中国戏曲脸谱的色彩、图案、符号、谱式/○九三
（一）戏曲脸谱的色彩/ ○九四
（二）戏曲脸谱的图案/一二八
（三）戏曲脸谱的符号/一三五
（四）戏曲脸谱的谱式/一四二
中册
第三章 中国戏曲脸谱流派/二一三
1. 何桂山/二一四2. 王长林/二一六3. 钱金福/二一九
4. 杨小楼/二二六5. 许德义/二三○ 6. 郝寿臣/二三三
7. 范宝亭/二四三8. 金少山/二四六9. 侯喜瑞/二五四
10. 刘奎官/二六四11. 刘砚亭/二七○ 12. 马连昆/二七○
13. 李万春/二七一14. 裘盛戎/二七三15. 袁世海/二七四16. 张金梁/二七五
附：从《同光名伶十三绝》图看戏曲脸谱流派/二八五
第四章中国戏曲主要剧种脸谱/二九一
1. 北方昆曲/二九二2. 河北梆子/二九三3. 丝弦/三一二4. 河北乱弹/三一二
5. 老调梆子/三一七6. 武安平调/三一七7. 豫剧/三二六8. 大平调/三四一
9. 大弦戏/三四二10. 罗戏/三四三11. 宛梆/三四三12. 怀调/三四四
13. 越调/三四五14. 秦腔/三四六15. 晋剧/三六一16. 山西蒲州梆子/三七五
17. 绍剧/三八四18. 莆仙戏/三八七19. 淮剧/三九○ 20. 滇剧/三九○
21. 山东梆子/三九一22. 闽剧/三九三23. 汉剧/三九三24. 柳子戏/三九七
25. 荆河戏/三九九26. 宜黄戏/四○四27. 九江青阳腔/四○六28. 东河戏/四○八
29. 徽剧/四○八30. 赣剧/四一六31. 祁剧/四一七32. 长沙湘剧/四二八
下册
33. 辰河戏/四三五34. 衡阳湘剧/四三五35. 常德戏/四四六36. 巴陵戏/四五二
37. 川剧/四五五38. 川剧变脸/四六三39. 粤剧/四六六40. 陕西社火/四七四
41. 白剧/四七八
42. 京剧/四八二43. 藏戏/五八一44. 木偶戏/五八七45. 皮影戏/五九○
46. 甘肃北豳神怪皮影/五九六47. 路景达与北京皮影/五九八48. 天津蓟县皮影/六○○
49. 贵州安顺地戏/六○一50. 贵州傩堂戏/六○四51. 云南关索戏/六一○
第五章 中国戏曲脸谱的化装程序/六一三
（一）净角的化装程序/六一四
（二）丑角的化装程序/六一六
（三）净、丑角化装的颜料/六一七
（四）净、丑角化装用具/六一七
（五）戏出人物画赏鉴/六二六
附录 戏曲脸谱的研究整理/六三七
新中国成立后戏曲脸谱的继承与发展/六三八
齐如山简谈戏曲脸谱/六三九
翁偶虹与戏曲脸谱/六四○
张大千谈脸谱艺术/六四四
王朝闻先生与我谈戏曲脸谱艺术/六四六
编后记/六五三
英文目录
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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