作爲中國五大戲曲劇種之一，京劇是中華民族的藝術瑰寶，因其獨特的魅力所以也被列爲中國國粹。京劇起源於清朝光緒年間（也有學者認爲是道光年間）的北京, 至今已有近兩百年的歷史，它是在徽戲的基礎上，吸收了崑曲、秦腔等一些戲曲劇種的特點和長處而逐漸演變成的。京劇用歌舞來演繹故事，同時也有對白和武打等，是綜合了文學、舞蹈、音樂、武術和雜技等爲一體的藝術表現形式。

按照人物的性別年齡、身份職業和性格特徵，京劇的行當包括生、旦、淨、末、丑等。“生”是指除了花臉和醜角以外的男性正面角色；“旦”是指女性的正面角色；“淨”俗稱花臉，多指性格或容貌方面有些特殊的男性人物；“丑”指的是喜劇角色，其常在鼻樑上抹一小塊白粉，也俗稱小花臉。

京劇臉譜通常用顔色來表現人物性格，例如，紅臉有褒義，代表了忠誠勇敢；黑臉爲中性，象徵了勇猛智慧；藍臉和綠臉也爲中性，代表了草莽英雄；黃臉和白臉是貶義，象徵著狡詐凶惡；金臉和銀臉代表了神秘，如神仙和妖魔。如今許多中國地方戲劇仍然保留著這種傳統。

京劇表演的四種主要藝術手法是唱、念、做、打。戲曲演員從小就要接受這四個方面的嚴格訓練。只有基本功夠，才能展現出京劇的表演藝術魅力。 梅蘭芳是京劇藝術最卓越的表演藝術家之一。他表演的劇目《霸王別姬》和《貴妃醉酒》等廣受讚譽，堪稱經典。

Simplified Character Text 简体字版

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作为中国五大戏曲剧种之一，京剧是中华民族的艺术瑰宝，因其独特的魅力所以也被列为中国国粹。京剧起源于清朝光绪年间（也有学者认为是道光年间）的北京, 至今已有近两百年的历史，它是在徽戏的基础上，吸收了昆曲、秦腔等一些戏曲剧种的特点和长处而逐渐演变成的。京剧用歌舞来演绎故事，同时也有对白和武打等，是综合了文学、舞蹈、音乐、武术和杂技等为一体的艺术表现形式。

按照人物的性别年龄、身份职业和性格特征，京剧的行当包括生、旦、净、末、丑等。“生”是指除了花脸和丑角以外的男性正面角色；“旦”是指女性的正面角色；“净”俗称花脸，多指性格或容貌方面有些特殊的男性人物；“丑”指的是喜剧角色，其常在鼻梁上抹一小块白粉，也俗称小花脸。

京剧脸谱通常用颜色来表现人物性格，例如，红脸有褒义，代表了忠诚勇敢；黑脸为中性，象征了勇猛智慧；蓝脸和绿脸也为中性，代表了草莽英雄；黄脸和白脸是贬义，象征着狡诈凶恶；金脸和银脸代表了神秘，如神仙和妖魔。如今许多中国地方戏剧仍然保留着这种传统。

京剧表演的四种主要艺术手法是唱、念、做、打。戏曲演员从小就要接受这四个方面的严格训练。只有基本功够，才能展现出京剧的表演艺术魅力。 梅兰芳是京剧艺术最卓越的表演艺术家之一。他表演的剧目《霸王别姬》和《贵妃醉酒》等广受赞誉，堪称经典。

Pinyin Text 拼音

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Zuòwéi Zhōngguó wǔ dà xìqǔ jùzhǒng zhīyī, jīngjù shì zhōnghuá mínzú de yìshù guībǎo, yīn qí dútè de mèilì suǒyǐ yě bèi lièwéi Zhōngguó guócuì. Jīngjù qǐyuán yú qīngcháo Guāngxù niánjiān (yě yǒu xuézhě rènwéi shì Dàoguāng niánjiān) de Běijīng, zhìjīn yǐ yǒu jìn liǎngbǎi nián de lìshǐ, tā shì zài huīxì de jīchǔ shàng, xīshōu le kūnqǔ 、qínqiāng děng yìxiē xìqǔ jùzhǒng de tèdiǎn hé chángchù ér zhújiàn yǎnbiàn chéng de. Jīngjù yòng gēwǔ lái yǎnyì gùshì, tóngshí yě yǒu duìbái hé wǔdǎ děng, shì zōnghé le wénxué 、wǔdǎo 、yīnyuè 、wǔshù hé zájì děng wéi yìtǐ de yìshù biǎoxiàn xíngshì.

Ànzhào rénwù de xìngbié niánlíng 、shēnfèn zhíyè hé xìnggé tèzhēng, jīngjù de hángdàng bāokuò shēng 、dàn 、jìng 、mò 、chǒu děng. “Shēng”shì zhǐ chúle huāliǎn hé chǒujué yǐwài de nánxìng zhèngmiàn juésè; “dàn”shì zhǐ nǚxìng de zhèngmiàn juésè; “jìng”súchēng huāliǎn, duō zhǐ xìnggé huò róngmào fāngmiàn yǒu xiē tèshū de nánxìng rénwù；“chǒu”zhǐ de shì xǐjù juésè, qí cháng zài bíliáng shàng mǒ yì xiǎo kuài báifěn, yě súchēng xiǎo huāliǎn.

Jīngjù liǎnpǔ tōngcháng yòng yánsè lái biǎoxiàn rénwù xìnggé, lìrú, hóngliǎn yǒu bāoyì, dàibiǎo le zhōngchéng yǒnggǎn; hēiliǎn wéi zhōngxìng, xiàngzhēng le yǒngměng zhìhuì; lánliǎn hé lǜliǎn yě wéi zhōngxìng, dàibiǎo le cǎomǎng yīngxióng; huángliǎn hé báiliǎn shì biǎnyì, xiàngzhēng zhe jiǎozhà xiōng’è; jīnliǎn hé yínliǎn dàibiǎo le shénmì, rú shénxiān hé yāomó. Rú jīn xǔduō Zhōngguó dìfāng xìjù réngrán bǎoliú zhe zhè zhǒng chuántǒng.

Jīngjù biǎoyǎn de sì zhǒng zhǔyào yìshù shǒufǎ shì chàng 、niàn 、zuò 、dǎ. Xìqǔ yǎnyuán cóng xiǎo jiù yào jiēshòu zhè sì gè fāngmiàn de yángé xùnliàn. Zhǐyǒu jīběngōng gòu, cái néng zhǎnxiàn chū jīngjù de biǎoyǎn yìshù mèilì. Méi Lánfāng shì jīngjù yìshù zuì zhuóyuè de biǎoyǎn yìshùjiā zhī yī. Tā biǎoyǎn de jùmù 《Bàwáng biéjī 》hé 《Guìfēi zuì jiǔ 》děng guǎng shòu zànyù, kānchēng jīngdiǎn.

English Text 英文版

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As one of the five traditional classical Chinese operas, Peking Opera is the art treasure of Chinese nation. It is also regarded as the quintessence of China because of its unique charm. Originated from the Guangxu’s reign(also some scholars think that it should be Daoguang’s reign) in the Qing Dynasty in Beijing, Peking Opera has a history of nearly 200 years until now. Based on Hui Opera, Peking Opera absorbed the characteristics and strengths of Kunqu Opera, Shanxi Opera and other operas, then developed its own features. Peking Opera uses songs and dances to tell stories, also it contains dialogues and martial arts. It is such an artistic expression which combines literature, dance, music, martial arts, acrobatics, and etc.

According to the gender and age, identity and profession, and personality traits of characters, roles of Peking Opera include “sheng”, “dan”, “jing”, “mo”, “chou”, and etc. “Sheng” refers to the positive male role except for “hualian (jing, painted face)” and “chou (clown)”. “Dan” means female positive role. “Jing” is commonly called “hualian”, which usually refers to these male roles who have specialties either in appearance or in personal character. “Chou (clown)” stands for the comedy roles, who usually wipe a small piece of white power over the nose bridge, also known as “little painted face”.

The facial make-up of Peking Opera often uses colors to express the personalities of characters. For example, red face expresses commendatory meanings, and stands for loyalty and courageous. The meaning of black face is neutral, and it represents wisdom. While blue face and green face are also neutral which stand for rebellious heroes. Gold and silver face represent mystery, such as gods and demons. This tradition is still maintained by many Chinese local operas today.

Peking Opera performance adopts four means of artistic expression, which is singing, reading, doing, and playing. Opera performers receive strict training from these four aspects since a young age. Only if they had solid basic skills, can they fully express the charm of Peking Opera. Mei Lanfang is one of the most outstanding performing artists of Peking Opera art. His performances in the play “Farewell to my concubine” and “The drunken beauty” have received widespread praises, and his performances are considered as classics.