{
	"name": "Three Archetypes of Peking Opera",
	"files": [
		{
			"src": "ipfs://QmQh4jzsbsdyzuPfCbyk6c8NBjJ77Nc4wkk678966KbTRN",
			"name": "Three Archetypes of Peking Opera",
			"mediaType": "image/png"
		}
	],
	"image": "ipfs://QmQh4jzsbsdyzuPfCbyk6c8NBjJ77Nc4wkk678966KbTRN",
	"Artist": "NHANMANIP",
	"mediaType": "image/png",
	"description": [
		"This piece features three of the four archetypes beloved in Peki",
		"ng Opera. From left to right: the J\u00ecng, or strongman of great f",
		"orce of will and resolve; the Ch\u01d2u, or clown known for his quic",
		"k wit and ability to improvise (both narratively and by the acto",
		"r themself; and the D\u00e0n, the lady bringing femininity to the st",
		"age and story. The archetypes above may sound simple, but they a",
		"re only archetypes; there are many strongman-sages armed with th",
		"e pen (brush), clown-infantrymen relegated to military drudgery,",
		" and lady-cavalry charging into battle with spears.\n\nPeking Oper",
		"a reached its zenith in the late 19th century. Melodically, it i",
		"s considered more accessible, with simpler musical compositions ",
		"and fewer singing roles than other forms of Chinese opera. Howev",
		"er, every role requires a significant level of physical fitness,",
		" with acrobatics and flourishing martial scenes that rivet the a",
		"udience with both the sumptuousness of the costumes and the agil",
		"ity of the performers. One could say that Peking Opera was the k",
		"ung fu movie of the 18th and 19th centuries."
	],
	"No. Editions": "10"
}