https://exhibits.library.utoronto.ca/files/original/f5c85d2eba0dc2acb63862920259ad12.png 21ffb06c5e78fc62542439e262f72171 https://exhibits.library.utoronto.ca/files/original/4d6ae6294cd97af92667421d959efac4.png 1f608dd9d618fadc75757a536e855d2d https://exhibits.library.utoronto.ca/files/original/726a39babaa58e104aed70ceaa5c9841.png bf151c02beba98989b3034c657f0d716 https://exhibits.library.utoronto.ca/files/original/2ebf8f1c2651642a217c7a2e8991ecd5.png fda723739acb3189b14b849ed46c9cd9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Physical object - doll Physical Dimensions The actual physical size of the original image 32 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Puppet Doll Description An account of the resource The Chinese puppet theater is one of the oldest arts in the world. In 300 BC, wood and mud figures were used with movable limbs for magical and funeral purposes. It is believed that these first figures gave rise to the emergence of the first puppets. According to former texts, the first puppets in China were offered within the temples to " entertain the gods." These functions lasted all day and included the settlers and even street vendors. With the passage of the centuries, the functions of the puppet theater were taken as part of the festivities, weddings, and funerals. However, it was not until the sixth century A.D. that the puppet show flourished after being influenced by India. The commercial contact between China and India caused new materials, techniques, and works to arise within the show. The evolution of puppeteer art led to new types of puppets, such as thread and shadow, created within the Chinese province of Fujian. During the seventeenth century, the guiding or Budaixi puppets emerged. These puppets had the shape of a fabric cover, and to which they fixed their heads, hands, and feet, in an approximate size of 30 cm. To handle this type of puppet, the puppeteer placed his hand inside the bag and, with his fingers, gave movement to the head and extremities. These puppets were made of camphor wood and delicately carved by specialized sculptors, who created interesting and expressive faces. With the emergence of new types of puppets, he included different artistic resources such as music, declamation, mimicry, dance, martial arts, plastic arts, rites, and beliefs. The puppeteer was recognized as a character of extensive knowledge and divinatory abilities. For centuries, ancient puppet theater works were represented in China as part of a significant cultural, artistic, and fun manifestation. However, with the establishment of the People's Republic of China in 1949, new Titiriteras companies with modern repertoires combined with traditional companies began to emerge. However, after the Chinese Cultural Revolution between 1966 and 1976, conventional companies that represented previous works were forced to suspend their functions and destroy their puppets. The functions of Titereres were then used as forms of political and ideological orientation. It was not until 1980, after a cultural rebirth in China, that the puppet theater was allowed to recover its ancient stories as part of its important cultural heritage. Spanish: El teatro chino de títeres es una de las artes más antiguas del mundo. Para el año 300 A.C se utilizaban figuras de madera y barro con extremedidades movibles con fines mágicos y funerarios. Se cree que estas primeras figuras dieron lugar al surgimiento de los primeros títeres. Por textos excritos se conoce que las primeras funciones de títeres en China se ofrecieron dentro de los templos con la finalidad de "entretener a los dioses"; funciones que duraban todo el día y en la que participaban los pobladores y hasta vendedores ambulantes. Con el paso de los siglos, las funciones del teatro de títeres fueron llevadas como parte de las festividades, las bodas y los funerales. Sin embargo, fue hasta el siglo VII D.C que el espectáculo de títeres floreció tras ser influenciado por la India. El contacto comercial entre China e India, hizo que surgieran dentro del espectáculo de títeres nuevos materiales, técnicas y obras. La evolución del arte titiritero llevó al surgimiento de nuevos tipos de títeres como los de hilo y sombra quienes fueron creados dentro d ela provincia china de Fujian. Durante el siglo XVII, surgieron los títeres de guante o Budaixi. Estos títeres tenían la forma de una funda de tela, y a la que fijaron la cabeza, las manos y los pies, en un tamaño aproximado de 30 cm. Para el manejo de éste tipo de títeres, el titiritero colocaba la mano dentro de la bolsa y con los dedos daba movimiento a la cabeza y a las extremidades. Estos títeres fueron hechos de madera de alcanfor y tallada delicadamente por escultores especializados, quienes creaban rostros interesantes y expresivos. Al surgimiento de nuevos tipos de títeres, dió paso a incluir diferentes recursos artísticos como la música, la declamación, la mímica, la danza, las artes marciales, las artes plásticas, los ritos y las creencias. Al titiritero se le reconocía como un personaje de amplios conocimientos y con capacidades adivinatorias. Durante siglos, obras antiguas de teatro de títeres se representaron en China como parte de una importante manifestación cultural, artística y de diversión. Sin embargo, con el establecimiento de la República Popular China en 1949, comenzaron a surgir nuevas compañías titiriteras con repertorios modernos que se combinaban con las compañías tradicionales. Pero tras la Revolución Cultural China que se dió entre los años de 1966 a 1976, a las compañías tradicionales que representaban obras previas al comunismo fueron obligadas a suspender sus funciones y a destruir sus títeres. Las funciones de titeres fueron utilizadas entonces como formas de orientación política e ideológica. Fue hasta el año de 1980, tras un renacimiento cultural en China que se permitió recuperar las antiguas historias del teatro de títeres como parte de su importante herencia cultural. Creator An entity primarily responsible for making the resource Maria de Lourdes Orozco Cuautle Source A related resource from which the described resource is derived U of T Scarborough Library Digital Collections Rights Information about rights held in and over the resource Maria de Lourdes Orozco Cuautle Format The file format, physical medium, or dimensions of the resource PNG Language A language of the resource English and Spanish Type The nature or genre of the resource Doll Identifier An unambiguous reference to the resource within a given context ASCH268