#minukku

[annaminijayan3dblog]

Red Vs Blue - Part 2

When I started working on the concept for the character, I decided to go on a more stylized route since I have always wanted to attempt doing a full body stylized character. While looking for references I came across a 3D artwork on Artstation by Joao Camara. I was very inspired by it and wanted my character to reach the same level. ArtStation - SAM - Modeling & Lookdev

ArtStation - SAM - Modeling & Lookdev

Concept Creation

I decided to use cultural elements from my birthplace Kerala for the concept of this character. I drew elements from an ancient performative dance form called Kathakali. In this performance, characters are usually distinguished by specific costumes and colors. Among the seven types of characters are the ones called Minukku, who are usually minor characters. Minukku characters are often female and therefore I wanted to give them more prominence by representing them in my design of the adventurer protagonist. Below is an image depicting the Minukku character.

I also decided to add design elements from another traditional dance form from Kerala called Mohiniyattam. In my mind the character has now developed into one that can perform dance moves in order to proceed through the game. Below is a jewelry advertisement depicting the Mohiniyattam costume

Abaran timeless jewelry advertisement

By combining all these elements I drew an initial draft of the character as shown below.

I also drew inspiration from characters like Lalafell from Final Fantasy and Zelda from Legend of Zelda

Yusuke Mogi, Lalafell concept Art, Final Fantasy XIV Key art of Zelda from Tears of the Kingdom

The final concept art:

Bibliography

Camara, J. (2022) SAM - Modeling & Lookdev, Artstation. Available at: https://www.artstation.com/artwork/WmrNXG (Accessed: November 06, 2023)

Thomas, P. (2015) Kathakali Female Character BNC. Available at: https://en.wikipedia.org/wiki/File:Kathakali_Female_Character_BNC.jpg (Accessed: November 06, 2023)

Abaran timeless jewelry. Nrityabaran. Available at: https://i.pinimg.com/originals/09/0e/55/090e555b66e00f2420cc444e04b6b551.jpg (Accessed: November 06, 2023)

Mogi, Y. (2010) Lalafell concept Art, Final Fantasy XIV. Available at: https://sjc1.vultrobjects.com/cucdn/gallery-19/art/ff14-lalafell-female.jpg (Accessed: November 06, 2023)

Nintendo EPD. (2023) The Legend of Zelda. Nintendo Switch. Kyoto:Nintendo. Available at: https://www.zeldadungeon.net/wiki/Zelda#/media/File:Zelda_-_TotK_key_art.png (Accessed: November 06, 2023)

[akshaya-i-v]

Kathakali is a major form of Indian classical dance... Minukku (മിനുക്ക്‌) #painting #paintingoftheday #paintingphotography #classic #classicaldance #indianclassicaldance #kerala #keralaartform #stageart #acrylicpainting #kathakali #minukku #minukkuvesham #tradition #templeart #traditional #dance #dancer #performer #performance #photography #thalassic_art_works https://t.me/thalassic_art_works https://www.instagram.com/p/CFrmd6_DdQG/?igshid=se1fqpeyru5a

[mariasavidismarkatos]

Lalitha appearing as a beautiful woman (Minukku)

Munnar, Kerala, India 2019

One way to enjoy India and the culture of Kerala on a rainy day is to go to a Kathakali performance. If you travel to New York City, there is a good chance that you will visit a performing arts venue. New York has Broadway, Kerala has Kathakali. Kathakali is a stylized dramatic dance showing intense emotions. Performers use body language to convey a story. Hands play a significant role This was taken at Punarjani Traditional Village, Munnar, Kerala.The story is about beautiful temptress, Lalitha who is trying to get the affection of Jayanthan, the son of Indra. His family does not want her and so he rejects her advances. More photos: https://photographybymariasavidis.com/India-Kerala.html Blog: https://photographybymariasavidis.com/India-Kerala.html YouTube: Join Maria and Stephan | Two Silver-streaked travelers as they tour the Indian State of Kerala. This, the 8th in a series of 11 videos show-casing India, takes you through Munnar, Kuchinthanny and Thekkady. See photographs of tea plantations, beautiful lush green hills and valleys,breathtaking landscapes, a Kathakali performance, and more in under 3 minutes. https://youtu.be/r2BbMbGnKys\

Instagram: https://www.instagram.com/p/CLzDL5WBX9m/   

[yummyummy-404]

Minukku Vesham.....Kathakali by drvimalnath Performing Arts

[dypuh-blog]

Kathakali - The Grand Spectacle of Kerala

Kathakali is a profoundly stylised old style move show portrayed by its alluring make-up of its characters, expound outfits, definite motions and very much characterized body developments introduced in line with the grapple playback music and going with percussion. It began in the territory of Kerala during the sixteenth century AD, roughly somewhere in the range of 1555 and 1605. Kathakali has experienced fast updation and enhancements throughout the years.

The fundamental rights of a fruitful Kathakali entertainer are his aptitudes of fixation and physical endurance. Imperative endurance to last an entire night of thorough execution is picked up from controlled preparing dependent on Kalaripayattu, the old military craft of Kerala. This preparation readies an on-screen character for his requesting job. The preparation can frequently keep going for 8-10 years, and is escalated. The serious Kalaripayattu preparing has additionally subliminally impacted the non-verbal communication of Kathakali characters.

Historical underpinnings:

The name Kathakali gets from the Malayalam words "katha" (story) and "kali" (which means: play or execution).

Brief History:

As indicated by legends, Kathakali began from a forerunner move show structure called Ramanattam and owes a considerable lot of its exhibitions to Krishnanattam. To put it plainly, these two forerunning structures to Kathakali managed introducing accounts of the Hindu Gods Rama and Krishna (both are natural appearances of the Preserver among the Hindu trinity-Vishnu).

Legend has it that Kottarakkara Thampuran (1555-1605) (leader of the south Kerala area of Kottarakkara) formed most plays dependent on the Ramayana that in the long run prompted the development of Kathakali. In spite of the fact that Ramanattam as a work of art is wiped out, its accounts keep on living as a piece of Kathakali.

Kathakali is the consequence of effective amalgamation from different artistic expressions. It imparts likenesses to Krishnanattam, Koodiyattam (a Sanskrit dramatization execution of Kerala) and Ashtapadiyattam (an adjustment of twelfth century melodic called Gitagovindam). It likewise joins a few components from other conventional ceremonial works of art like Mudiyettu, Thiyyattu, Theyyam and Padayani other than a minor portion of society expressions like Porattunatakam.

Kathakali melodies are rendered in Manipravalam-which is a blend of the traditional language Sanskrit and neighborhood language Malayalam. Despite the fact that a large portion of the melodies are set in ragas dependent on the microtone-overwhelming Carnatic music, there is an unmistakable style of plain-note interpretation, which is known as the Sopanam style. This normally Kerala style of version takes its underlying foundations from the sanctuary melodies which used to be sung (proceeds even now at a few sanctuaries) when Kathakali was conceived.

The characters of Kathakali show up with vigorously painted faces and expand outfits. The movement is profoundly best in class (principally created Kaplingad Narayanan Namboodiri - 1739-1789) and authorizes stories transcendently from the Hindu sagas. Despite the fact that Kathakali was customarily been acted in sanctuaries and castles,Alex Kime Chicago over the previous century it has likewise discovered settings in post-reap paddy fields just as proscenium phases of open corridors/auditoria. Kathakali is a visual treat and its green painted entertainer has gotten interchangeable with the raised culture of Kerala.

Noticeable highlights of Kathakali:

Kathakali comprises of five old style components of compelling artwork:

Articulations (Natyam, the segment with accentuation on outward appearances)

Move (Nritham, the segment of hit the dance floor with accentuation on mood and development of hands, legs and body)

Establishment (Nrithyam, the component of dramatization with accentuation on "mudras", which are hand signals)

Tune/vocal backup (Geetha)

Instrument backup (Vadyam)

Kathakali plays

Generally there are 101 traditional Kathakali stories. The most usually organized stories among them may associate with 30-40. In those occasions when amusement media was amazingly constrained, Kathakali exhibitions were intended to last an entire night. We may state it might have evoked the reaction of a contemporary live performance.

Execution

Kathakali in its most flawless structure is acted before the immense Kalivilakku (kali importance move or execution and vilakku meaning light). The light was lit with a thick wick fuelled by coconut oil. This light was the single wellspring of brightening when the plays used to be performed inside sanctuaries, royal residences or homes of aristocrats and blue-bloods. This aided in making a feeling of wonderment and riddle and helped the entertainer misrepresent the characters he played. It was conceivably one of the principal compelling employments of light to highlight the characters and make a display.

Kathakali is instituted with the backup of music (geetha) and instruments (vadyam). The percussion instruments utilized are Chenda, Maddhalam and Edakka. The lead artist is classified "Ponnani" and his devotee is designated "Shingidi". The lead artist utilizes the "Changala" (gong made of chime metal, which can be hit with a wooden stick) to direct the Vadyam and Geetha segments, similarly as a conduit utilizes his wand in western traditional music and the Shingidi utilizes the "Elathalam" (a couple of cymbals) to add a variety to the music. Most music is customarily framed in gatherings of up to 14 individuals. Be that as it may, typically the melodies are formed with more than 20 individuals.

The distinctive element of Kathakali is that the entertainers never talk yet use hand signals, articulations and cadenced moving rather than discourse (however for two or three uncommon characters). The story is established simply by the developments of the hands (called mudras or hand motions) and by outward appearances (rasas) and substantial developments. The articulations are gotten from Natya Shastra (the tome that manages the study of articulations) and are arranged into nine as in most Indian old style fine arts. Artists additionally experience exceptional practice meetings to learn control of their eye developments.

Kathakali execution rotates around 24 essential mudras - the change and mix of which would include a piece of the hand motions stylish today. Each can be separated again can be grouped into 'Samaana-mudras'(one mudra representing two substances) or "Misra-mudras" (both the hands are utilized to show these mudras). The mudras are a type of gesture based communication used to recount to the story.

The fundamental outward appearances of a Kathakali craftsman are the 'Navarasams' (Nine tastes or articulations). The Navarasams are: Sringaram (love), Hasyam (scorn, humor), Bhayanakam (dread), Karunam (sentiment), Roudram (outrage, rage), Veeram (valor), Beebhatsam (sicken), Adbhutam (wonder, awe), Shantam (serenity, harmony).

Kathakali has an intricate make-up code. The make-up might be characterized into five essential sets to be specific Pachcha, Kathi, Kari, Thaadi, and Minukku. The contrasts between these sets lie in the prevalent hues that are applied on the face. Pachcha (which means green) has green as the prevailing shading and is utilized to depict honorable male characters that are said to have a blend of "Satvik" (devout) and "Rajasik" (regal) nature. Rajasik characters having a detestable streak ("tamasic"= fiendish) - no different they are screw-ups in the play, (for example, the evil spirit ruler Ravana) - and depicted with dashes of red in a green-painted face. Too much underhandedness characters, for example, evil presences (absolutely tamasic) have an overwhelmingly red make-up and a red facial hair. They are called Chuvanna Thaadi (Red Beard). Tamasic characters, for example, ignoble trackers and woodsmen are spoken to with a transcendently dark make-up base and a dark facial hair and are called Kari/Karutha Thaadi (which means dark whiskers). Ladies and religious zealots have glistening, yellowish appearances and this semi-sensible classification shapes the fifth class. Moreover, there are alterations of the five fundamental sets portrayed better than as Vella Thadi (white whiskers) used to delineate Hanuman (the Monkey-God) and Pazhuppu, which is significantly utilized for Lord Shiva and Balabhadra.

Minukku

Minukku is the cleaned assortment of facial make-up comprising in smoothening the entertainer's face with a covering of a blend of yellow and red shades. The arrangement gets 'a self' (or normal skin) appearance shading. It mirrors the characters normally found in Brahmins, Ascetics and Virtuous ladies. The eyes and eye-lashes are painted and shapes lengthened with the dark unguent and oily collyrium. Some of the time the face is enriched with white or cream shading specks, running from the cheeks to the front head in a bow-shape. The lips are blushed and the temple is enriched with a station mark. This shading plan serves to give a representative sparkle of devotion to a fan character. Ladies job types are given sensitive contacts of the make-up.

Pachcha

Pachcha delineates a dark green face. The endorsed jobs are Gods, commended legendary saints, and ethical personages, representing internal refinement balance, chivalry and good greatness. This incorporate legends of a play and honorable characters, Indra, Krishna, Rama, Lakshmana, Bharata, Sathrugnan, Harishchandra and Nala. The forward portion of their appearances is given smooth dark green base on which chuttis (white rice-glue bends) run from the focal point of the jawline, covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted dark and the lips splendid red. It expect the state of a wide cutting edge saber or of a broad bend of a bow. The brow, over the tie formed painted segment, is secured by a red lace of the overlaid head gear.

[jasonicdawson]

Katha Kali Aatam (crudely translated into Story-Play-dance) is a renowned dance artfrom that originated in the shores of Kerala over 300 years ago. It combines devotion, grace, intimidation, shock value, drama, dance, music, costumes and intricately applied make up, delivering a divine mind blowing & multi-faceted experience for all who get to view it. It retells the great stories of the past, mostly from Indian epics, South Indian history, parables and leaves one spellbound at the various intricacies & skills involved in the performance. Every single quiver of the lips, flicker of the eyes, flash of the blade or a movement involving the fingers twirling, has great significance & underlying meaning. The entire performance sees the audience captivated & unable to take their eyes away from the spectacle taking place on stage. My favorite part of the performance is of course the make up, which includes the face painted in vivid hues. The Vesham or make-up is of five types - Pacha, Kathi, Thadi, Kari and Minukku. This is one more step in my long journey of retracing my Malayali ancestry. @ Cochin/Kochi, Kerala, India. 🇮🇳 ▪️ ▪️ ▪️ ▪️ ▪️ #KathaKali #kathakalidance #Dance #Theater #performance #Art #Drama #Music #MakeUp #heritage #tradition #traditionaltdance #Cochin #Kochi #Kerala #GodsOwnCountry #SouthIndia #India #Asia #IncredibleIndia #IndianCulture #Malayali #Mallu #Keralite #Indian #vacation #wanderlust #CitizenOfTheWorld #Artlover #photooftheday (at Cochin, Kerala) https://www.instagram.com/ajvondoom/p/Bw6yvofF3mJ/?utm_source=ig_tumblr_share&igshid=193xv5q6lhle0

[vidyasury]

#IncredibleIndia ’s Kathakali costume and makeup dazzle the beholder. The makeup involves several hours of face paint transforming the artist’s face. The paint is applied directly on the face. The colors are natural. . Red and yellow come from powdering stones while white is made from a mix of lime and rice flour. Green is made with manayola stone and Neelam or blue. . These powders are mixed with coconut oil to make the paint. A base paint is applied on the face to protect the skin. The eye makeup or kajal is made from sesame oil. Red Kumkum is also used in makeup. . The color of the face paint is also significant and relates to the nature of the character being played. Green is divine, white is spiritual, red is aggressive, yellow is passive and black, of course, evil. . The artist initially applies the basic paint on his own – called the theppu. Next, the makeup artist applies a series of chutti or white ridges starting from the chin to either side of the cheek. . The design of the chutti varies depending on the character/role played and categorized into Pachha (Green), Katti (knife), Tadi (beard) and Kari (black), Minukku (for the gentler roles where only basic face is required: women, sages, etc). . Then, the kathakali artist lays on a mat for the elaborate designs on the face. Once this is done, next comes the costume. . . . . . #fms_paint #fmsphotoaday #fmspad #kathakali #incredibleindia #india_gram #indiaclicks #indiaphotos #IndiaNaturally #indianshutterbugs #artistsoninstagram #kerala #indianart #colorsofindia #storiesofindia #desi_diaries #indiafeature #lifethroughmylens http://bit.ly/2ALim12

[jaynavcd-blog]

Cultural Face Painting

Tribal or Cultural Face Painting has been used for many motives. For hunting, religious reasons, and military reasons (mainly as a method of camouflaging) or to scare ones enemy.

Decorating one's face in various patterns and shapes has been a part of the cultural make-up of many societies since the beginning of time.

Face painting is a common theme across cultures as divergent as the Indigenous American tribes in North America and various tribes in Africa and South America.

In Native American Tribes, Face Painting has been used for artistic expression since ancient times. The art of transforming ourselves with make-up and masks is a universal phenomenon. Before we sought to vent our artistic impulse on a cave wall, we painted on our faces and bodies.

Indigenous peoples of the Amazon have said that in this power to change ourselves, we demonstrate our humanity and set ourselves apart from the world of the animals.

Patterns developed over time to signify a variety of cultural events and these, conveyed an emotional meaning that was attached to them. The wide range of patterns that a face painter can create, enhance the emotions and meaning of the cultural events.

The patterns can be color specific or randomly geometric seemingly without any significance. The shapes and colors convey a strong bond and meaning amongst people who have a face painting tradition. They are a connection to their past and carry a very strong cultural meaning in their lives.

The reason tribes use face art to transform themselves may be varied. Sometimes they choose to do so as a part of a tribal ritual or at other times they do so to mark their status (as is the case with some aboriginal tribes), but the colorful and dynamic language of the face painting remains the same.

Raw materials used for Tribal Face Painting

Tribal Societies, who still follow the ancient custom of face painting, choose the colors according to the available raw materials. In ancient times, only primary and locally available colors like red, blue, yellow or white were used.

Painting a face is an art, perhaps the very first art, going back to the origins of human culture. Artists paint bold, mask-like designs inspired by imagery from Nature, imagination, and traditional masks. Unlike dance and music where the most charming modes and sweetest strains disappear before they are understood, painting captures the emotions and expressions and retains the impact for a long period.

Face painting is considered to be an important tradition among Native Americans. It is much more than just a beautifying practice. It’s a sacred social act of distinction and a cultural heritage. On special occasions faces of the tribe members are painted to augment one’s appearance and power. Each tribe of the Indians has its own and unique way of face painting. For Native Americans Indians, roots, berries and tree barks are most commonly used to make the dyes for face painting. These natural raw materials are ground and made to a paste to make the dye. Clay of different hues is also used in Native Indian face painting. These wonderful colors along with the ideal face painting designs do create a desired effect. The process envolved a strict ritualistic order, that is maintained during the application of these colors. The colors are first applied around the nose and only the index finger and middle finger is used for the application. The rest of the face i.e. the forehead, chin and eye areas are then carefully covered with paint. For some face paintings they would cover their face and then plaster it down with mud leaving the holes for the eyes and mouth. Generally the warriors would paint their faces with colored clay. They would then do the design of their tribe. Each tribe has its own designs for war and ceremonies. After warriors came home from a hunt, they would have a big feast, cutting up the animal they hunted and killed. They would play a lot of games, containing parts of the animal they killed. The Indians would use every part of the animal they killed.

The Plains Indians used paints to adorn themselves, their clothing, their homes and their horses. Though their culture lacked a written languages, the pictures and symbols they drew were rich in meaning and told the stories of the people. Many different colors of paint were used, originally made with the materials at hand — plants, clays, even duck dung. Reds were by far the most popular color, but early natives used brown, red, yellow, black, blue, green and white as well. With the availability of pigments from white traders, 19th century Indians used other colors as well. A yellow paint was made from earth from the Yellowstone River, as well as from bull berries and pine tree moss. Blue was obtained from duck droppings found on the shores of lakes, or from blue-colored mud. White earth and clay were used to make white paint. Green was made from plants, copper ore or mud. The pigments were placed over a fire to dry, then ground into a fine powder on mortars of stone or wood. They were then mixed with tallow. The colors, kept separate in small buckskin bags, were mixed with hot water when the artist was ready for them.

Significance of the Colors

Colors in Native American culture have special significance. Red is a violent color; it is the color of war. Strangely enough black, which is considered to be an inauspicious colors in most cultures, is the color of ‘living’, worn on the face during war preparations. White predictably is the color of peace. The color green when worn under the eyes is believed to empower the wearer with a night vision. Yellow is the most inauspicious color, it is the color of death, as it is the color of "old bones." Care should be taken not to wear a lot of yellow, and is worn only when a person is in mourning. Also yellow, means a man has lived his life and will fight to the finish. Each Indian tribe has its own and unique way of face painting. Face paintings can be the lightest streak of color on the face. It can also mean covering their faces completely.

19th Century Seminoles

While early 19th century Seminoles would paint their face and hands for special occasions, this practice was no longer done in public by the late 19th century. It was done on special occasions only, to augment one's appearance and power. All face painting should be done sparingly, and with high regard for the occasion. It might not be out of place at a battle re-enactment or for a serious ceremony, but would be entirely inappropriate for an encampment or for a casual demonstration. A reenactor would be misplaced if he painted himself while he lounged around camp, or while stomp dancing in any except a Green Corn Dance. It would be a big mistake to put on face painting without having a genuine reason or need. Face paint was a way the Seminole drew upon the natural powers in his world to add to his own. A rough parallel might be the personal strength many Christians find in a crucifix hung from their neck.

In India

Body painting and face painting are being practiced in Indian culture since ancient times. Men painted their bodies and faces for camouflage when they went hunting. Face painting is a ritual in Indian villages in their religious festivities, dance and drama. Face painting is very much a part of Indian folk culture and tribal art even today. People are often seen getting their faces painted in different styles during temple festivals and religious events in India. Face painting is also an intrinsic part of the rich dance and drama culture of Indian life.

Kathakali

As all the stories depicted in Kathakali relate to mythological characters and as the natural stage is nothing more than a few square feet, lit by a single coconut oil fed lap, the entire get up is designed to generate an atmosphere to suit the story. The loud instrument used, the make-up and costumes employed, the painting of the faces, the display of the 'Chutti' as part of the facial make-up, are only the instruments used to achieve this objective. Irrespective of the individual who puts on the costume of a character like Nala, the audiences sees only Nala. The individual artiste is fully submerged by the elaborate make-up. It is, however, true that the outstanding talents of an individual artiste cannot be contained within the formal frame-work of a standard costume. In course of time, the individual does make an impression on the audience, but on a basis quite different from other histrionic arts. The costumes are thus intended to make the play as impersonal as possible.

The costumes are very elaborate and fall into basic types. The make up is equally elaborate. While being made up, the actors lie on their backs as the make up men work on their faces. The facial makeup is designed in such a way as to indicate the intrinsic nature of each and every character. Pacha, Kathi, Thadi, Kari, Minukku and Theppu are the different types of make-up followed in Kathakali which are determined according to the basic qualities of the character portrayed. The underlying purpose is to create in the minds of the audience an atmosphere of the supernatural.

Women in India are traditionally painted henna on their hands and feet, insides of their arms and up their shins most often for a wedding, or other special occasion. Sometimes the chest, neck and throat will be tattooed. The subject matter is rather abstract, and often incorporates religious and auspicious symbols. The history and origin of Henna is hard to trace with centuries of migration and cultural interaction it is difficult to determine where particular traditions began. There is very persuasive evidence that the Neolithic people in Catal Huyuk, in the 7th millennium BC, used henna to ornament their hands in connection with their fertility goddess. The earliest civilizations to have used henna include the Babylonians, Assyrians, Sumerians, Semites, Ugaritics and Canaanites. The earliest written evidence that mentions henna specifically used as an adornment for a bride or woman's special occasion is in the Ugaritic legend of Baal and Anath, inscribed on a tablet dating back to 2100 BC, found in northwest Syria. Henna has also been used extensively in southern China and has been associated with rituals for at least three thousand years, during the ancient Goddess cultures. The use of Henna in the 4th-5th centuries in the Deccan of western India is clearly illustrated on Bodhisattvas and deities of cave wall murals at Ajanta, and in similar cave paintings in Sri Lanka. The evidence proves henna usage in India seven centuries before the Moghul invasion, and hundreds of years before the inception of the Islamic religion, which began in the mid-7th century AD.

Aboriginal Face & Body Painting

Aborigines who inhabit central Australia have inherited specific face painting designs from their ancestors. These designs are painted onto the face and body using ground ochre mixed with water. They are applied either in stripes or circles. Even the modern paintings of the Central and Western Desert are characterized by these specific designs. It seems the aboriginal tribes have devised an entirely new language of painting, using cryptic symbols for different things. Body painting, decoration and personal adornment traditionally carry deep spiritual significance for Australian Aboriginal people. Body painting is carried out within strict conventions that are primarily related to spiritual matters, although the creative nature of these activities is also acknowledged. The particular designs or motifs used by individuals reflect their social position and relationship to their family group and also to particular ancestors, totemic animals and tracts of land. People are not free to change their appearance at will; they must conform to respected patterns. In many situations individuals are completely transformed so that they 'become' the spirit ancestor they are portraying in dance. 

Chinese Face Painting

The development of the art of painting faces is closely related to that of dramatic art, although the earliest painted faces, or their precursors appeared long before Chinese drama took shape. As Chinese dramatic art developed, the drawbacks of wearing masks became increasingly evident, for masks prevented the actors from showing their facial expressions. A vividly painted face however enables audiences to see expressions clearly. In the beginning only three sharply contrasting colours - red, white and black were generally used in facial make up. The earliest painted faces were simple and crude but within time the designs became more elaborate and ornamental. Chinese Operas were based on old tales of heroes and the supernatural. Today the stories often deal with heroes of the communist revolution or with great historical events of the recent past. The variety of Chinese Opera known as Beijing Opera is the most familiar in the west. It was developed in the 19th century as a synthesis of earlier provincial forms.