Each design is unique to a specific character. Peking opera now boasts 15 basic facial patterns, but there are over 1000 specific variations. After the 14th century, facial patterns multiplied, and new colors have been introduced. During the Yuan dynasty (1271–1368) red and white facial designs were used in opera to distinguish good characters from bad ones. Face design įace painting in Chinese theatre probably began with masks, and actors painted their faces as early as 9th-century Tang dynasty (618–907). The colour and face design represents the identity and personality of the character. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles. This type of role will entail a forceful character, so a Jing actor must have a strong voice and be able to exaggerate gestures. However, not all characters with painted faces fall into this category, with Chou (clowns) being another major painted-face role type. As a result, it is also known as Hualian ('Painted face').

In many genres (such as Peking opera and Cantonese opera), this role requires heavy face painting.

The Jing is a role type in Chinese opera for 'rough' or 'mighty' male characters. The hero Xiang Yu from the Peking opera The Hegemon-King Bids His Concubine Farewell is an example of a Jing character.

Peking opera headdress