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The Fragrance of the Chrysanthemum Garden 

–The Beauty of Peking Opera

In 1790, the fifty-fifth year of the Qianlong Emperor’s reign, Anhui provincial opera troupes converged on Beijing to take part in celebrations for the emperor’s birthday. The arrival in the capital of what were known as the ‘Four Great Anhui Troupes’, which included the ‘Three Celebrations’, ‘Four Happinesses’, ‘Harmonious Spring’ and ‘Spring Stage’ troupes, was the prelude to the birth of Peking Opera. The event was hugely significant in the history of the opera’s development. 

In Chinese, the world of Peking Opera is often referred to as either the Pear Garden or the Chrysanthemum Garden. Whatever you call it, Peking Opera is certainly a jewel of traditional Eastern culture. Created in the middle of the 19th Century, it’s been in existence for nearly two hundred years. Based on the popular opera forms of Anhui and Hubei provinces, as it evolved it absorbed the best elements of ancient kunqu opera, Shaanxi Province’s qinqiang and other traditional Chinese operas. The influence of the patronage of the imperial court can be seen in its sumptuous, elegant, and refined style of presentation. Combining the achievements of different Chinese opera styles, as well as those of Chinese poetry, music and other arts,  Peking Opera may be called the quintessence of Chinese culture. 

Peking Opera is profoundly influenced by traditional Chinese culture. Free, vigorous and inspired performance vividly conjures up the external world in all its variety. Stories are told in song and dance: singing, recitation, gesture and martial arts are all means by which the actors convey the rich inner worlds of their characters. 

Peking Opera is an art governed by aesthetic rules of expression. Characters who appear on stage fall into the broad categories of sheng, male roles, dan, female roles, jing, ‘painted faces’ and chou, clowns. Within each of these categories there are many sub-types. The actors create a rich repertoire of performance styles within their specialized roles.

For the most part, the music of the Peking Opera consists of two types of basic melodies known as xipi and erhuang. The jinghu, a two-stringed fiddle, is the leading instrument in the Peking Opera orchestra. The percussionist, meanwhile, plays a role much like that of conductor.

The painted masks of Peking Opera are visually symbolic. The colours and patterns not only indicate different characters but also their age and personality. Red, white, black, blue, and yellow are the main colours used. In Peking Opera, red indicates loyalty and white signals treacherousness. 

In its nearly two centuries of history, Peking Opera has produced many brilliant artists. Tan Xinpei, nicknamed the King of Actors, was a key transitional figure in the development of laosheng, or older male roles. Then there was Yang Xiaolou, the ‘Master of the Martial Arts Role’. Perhaps the most famous of all was Mei Lanfang, a revered male player of female roles who achieved international reknown. He was one of a group known as the ‘Four Great Players of Female Roles’. The others include Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng. Together with Ma Lianliang, widely acclaimed as one of the ‘Four Great Players of Older Male Roles’, they made the first half of the 20th Century the golden age of Peking Opera. 

UNESCO today recognises Peking Opera as part of the protected Intangible Heritage of Humanity. It faces many challenges today, including that of attracting younger audiences. But thanks to the efforts of its artists, the opera is still evolving and its star continues to shine. 

菊 苑 流 芳

声音时长要求：京剧专题片，配音内容一共688个字，要求时长控制在四分钟内读完，语速要有节奏的变化，适当时候可留足气口。

声音调性要求：大气浑厚，能托起京剧的画面主题。

声音参考：见附件中声音的参考

京剧，是古老东方的一颗艺术明珠，她形成于19世纪中叶的北京，至今已有近二百年的历史。她在徽调和汉戏的基础上，吸收了昆曲、秦腔等戏曲剧种的优点演变而成，在形成的阶段便受到当时宫廷的影响，在表演风格和表现手段方面呈现出富丽堂皇、高雅别致的风范。堪称中国戏曲集大成者，因此被誉为国“粹”。

京剧深受中国传统文化的影响，自由洒脱，通过写意的表演，形象地表现千变万化的外部世界，用唱、念、做、打等综合手段，载歌载舞地叙述故事，形象地展现剧中人物丰富的内心世界。

京剧是规定的表现手法的艺术，舞台上的人物，主要分为生、旦、净、丑四大行当，每个行当之中，又各有分支。而演员们也根据不同的行当，创造出类型丰富的表演。

京剧的音乐，主要由“西皮”和“二黄”两种基本腔调组成，京胡，是乐队伴奏的主要乐器。鼓师，相当于乐队的指挥。

中国戏曲的脸谱长期以来被视作是一种视觉符号，通过不同的色彩和纹饰，体现不同的人物，以及人物的年龄、性格。脸谱的色彩主要分为红、白、黑、蓝、黄等颜色。红色，在京剧中被视作是忠义的表现而白色则代表奸诈。

在京剧近200年的历史中，出现过很多中国*顶尖的艺术家。谭鑫培，被誉为“伶界大王”，是京剧老生行当中承上启下的一位重要人物。杨小楼，被誉为“武生宗师”，对后世武生行当的发展具有极大的影响力。梅兰芳，是一个在世界范围都极具影响力的响亮名字，他和程砚秋、尚小云、荀慧生合称“四大名旦”；马连良是广受赞誉的“四大须生”之一，曾经与“四大名旦”一起，开启了一个属于中国京剧的辉煌时代。

今天，京剧已经入选联合国教科文组织保护非物质文化遗产名录，并在当代艺术家们的努力下，焕发出更加夺目的光彩。

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