In the heart of the exhibition hall of the National Centre for the Performing Arts in Beijing, two intricately embroidered costumes stand side by side, capturing the legacy of Peking Opera masters Mei Lanfang (1894-1961) and his son Mei Baojiu (1934-2016).

These stunning garments, both worn in performances of the iconic Peking Opera production The Drunken Concubine, symbolize the seamless transmission of artistic genius between these two legends.

The robe, worn by Mei Lanfang, features delicate phoenix motifs and radiates the elegance and grace of his pioneering portrayal of Yang Yuhuan, a concubine of Emperor Xuanzong of the Tang Dynasty (618-907).

The costume worn by Mei Baojiu carries the weight of tradition, infused with his own subtle innovations with embroidered flying birds and flowers.

The two costumes, though separated by decades, embody the artistic continuity and evolution of the performing style created by Mei Lanfang.

The exhibition Grace and Garment, featuring costumes donned by the two legendary artists and curated by the Jingju Theater Company of Beijing, offers viewers a captivating journey into the rich history and artistry embodied by these eminent figures, as depicted through their stage attire.

Peking Opera, or jingju, is a 200-year-old art form that combines singing, dancing, acrobatics and martial arts.

Mei Lanfang, one of the most influential figures in Peking Opera history, revolutionized the portrayal of nandan roles onstage. These roles refer to males playing female characters — a practice forged in feudal times when women were forbidden to take to the stage.

His groundbreaking performances set new standards for acting, singing and costume design in Peking Opera.

Following in his father's footsteps, Mei Baojiu, the youngest child of Mei Lanfang, preserved and refined the artistic traditions of the performing style his father founded.

His performances of classic pieces continued to captivate audiences, but he brought his own touch to the roles, subtly evolving the design and interpretation of the characters' iconic costumes.

The exhibition highlights how Mei Baojiu maintained his father's legacy while also infusing his work with contemporary sensibilities, ensuring that the art form stayed relevant to modern audiences.

The exhibition, running until Nov 10, centers around nine representative Peking Opera pieces from the two artists, including Farewell My Concubine and The Legend of Yang Yuhuan.

On display are more than 30 exquisite costumes and headpieces that were once worn and used by both artists, many of which are being showcased to the public for the first time, according to Qin Yan, director of the Jingju Theater Company of Beijing, one of the country's top Peking Opera companies, which was founded in 1979.

Mei Lanfang was among the artists who made great contributions to the foundation of the company.

There are also old photos of the father and son when they performed together onstage.

For example, in The Interrupted Dream, an excerpt adapted from the Kunqu Opera The Peony Pavilion, Mei Lanfang performed the leading role, the beautiful young woman Du Liniang, while Mei Baojiu played the role of Du's maid in 1956.

Mei Lanfang innovatively penned and refined new scripts, revitalized traditional Peking Opera performances and drew inspiration from various classical Chinese opera genres.

Influenced by the 600-year-old Kunqu Opera, Mei Lanfang absorbed key elements from this art form. In 1960, he collaborated with the Beijing Film Studio to produce a cinematic adaptation of The Interrupted Dream.

Qin notes that the exhibition is part of the ongoing celebration of the 130th anniversary of the birth of Mei Lanfang and the 90th anniversary of Mei Baojiu's birth. Since March, the company has staged over 60 shows in more than 10 Chinese cities.

The company began preparing this exhibition in May 2023 and selected the exhibits from more than 80 costumes.

The opening ceremony of the exhibition took place at the NCPA on Oct 22, the date of Mei Lanfang's birth.

"Central to the exhibition are not just the costumes but the stories they tell about the lives, careers and artistic innovations of Mei Lanfang and Mei Baojiu," says Qin.

"Beyond the visual splendor of the costumes, the exhibition provides rich context for visitors to understand the importance of costume design in Peking Opera."

She also adds that stage costumes are more than ornamental; they are vital to storytelling, character development and mood setting.

The exhibition presents a range of accessories, stage props and historical records, offering a comprehensive view of how costumes were integral to the artistic choices made by both masters. The carefully preserved garments reflect the exquisite craftsmanship of Chinese theater and the personal artistry of the two Mei masters, who used these costumes to breathe life into their performances.

The costumes showcase exceptional traditional craftsmanship and elaborate designs, often hand-embroidered with intricate patterns, symbols and colors that correspond to specific characters and roles. Researchers study these pieces to gain insights into the materials, techniques and cultural symbolism used in traditional Chinese opera costumes, Qin says.

Hu Wenge, a leading Peking Opera actor and disciple of Mei Baojiu, says: "These costumes are not just garments. They are living pieces of history, carrying the weight of generations of artistry. As their successors, it is our duty to honor their legacy and ensure that their spirit continues to shine onstage for future generations."

On the night of Oct 22, Hu performed Mu Guiying Takes Command, which was Mei Lanfang's final landmark work capping four decades of tremendous artistry. It premiered in Beijing in 1959 as a gift to celebrate the 10th anniversary of the founding of the People's Republic of China.