Abstract
One of the most typical features of the Peking opera is its use of vivid makeup, especially in its variety of painted faces. The idea of the painted face was derived from the mask. Like masks in the western theater, painted faces generate the effect of facial transformation. Painted faces and masks share some common functions, reflecting the essence of the theatrical art. This study examines the origin and development of painted faces in Peking opera and of masks in the western theater. Through extensive comparisons and analyses, this study attempts to explore similarities and differences of these theatrical disguises in terms of ontology, aetiology, performance style, artistic expression, and cultural significance.
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