清乾隆55年,三庆、四喜、春台、和春四大徽班进京。通过和汉调,昆曲、秦腔的交织和融合,同时吸收剧目、充实曲调,拓展表演方法,最终形成京剧。京剧服饰同样成型于清中晚期,但是因为清朝是满族王朝,满族服饰不符合京剧剧目的历史背景,所以京剧服饰基本是以明代服饰为设计原型和基础,加之美化修饰。然后配合舞台演出的实际需要,消除了季节的区分,淡化了朝代的差别,兼容了地域的特色,并适合京剧舞台动作的发展和演变。一、徽班入京时期京剧戏服的式样和演变徽班顾名思义,就是徽人的戏班。徽剧本来也就是一个地方戏,最初也只有徽州腔、青阳腔两种腔调,慢慢吸收了弋阳腔、昆山腔、梆子等唱腔,加以融合,渐渐形成了自己独特的艺术风 Qing Qianlong 55 years, three celebrations, four hi, spring Taiwan, and spring four emblem classes into Beijing. Through the interweaving and blending with Han dynasty, Kunqu opera and Qin dynasty, it absorbs the repertoire at the same time, enriches the tunes, expands the performances and finally forms the Peking opera. However, because the Qing Dynasty was a Manchu dynasty, Manchu costumes did not fit the historical background of Beijing opera. Therefore, the costumes of Beijing opera were basically based on the costumes of the Ming Dynasty and the beautification and modification. And then with the actual needs of stage performances, eliminating the distinction between the seasons, dilute the differences of the dynasties, compatible with the geographical features, and suitable for the development and evolution of the stage movement in Peking Opera. First, the emblem of the class during the Beijing Opera costumes and emblem emblem class name as the name suggests, is the emblem of the troupe. Hui drama was originally a local opera, initially only Huizhou cavity, Qingyang cavity two accent, slowly absorbed Yiyang cavity, Kunshan cavity, prickly heat and other aria, to be integrated, and gradually formed its own unique artistic style