梅兰芳出身于京剧世家。他8岁学戏，11岁登台。在50多年的舞台生涯中，对京剧旦角的唱腔、念白、舞蹈、音乐、服装、化妆等各方面都有创新和发展，形成了独特的"梅派"艺术风格。梅兰芳和杨小楼、余叔岩并称"三大贤"，又与尚小云、程砚秋、荀慧生一起被誉为"四大名旦"。民间对其有"中国文化名片"之称。
Mei Lanfang was born to a family of Peking Opera singers. He began studying Peking Opera at the age of 3. Then, three years later, he began to perform on stage. During the more than half a century's performance, he innovated and developed various aspects of female character type in Peking Opera such as melody, speaking manner, dancing, music, costumes and face-paintings, forming his unique art style of "Mei Style." Mei Lanfang, Yang Xiaolou and Yu Shuyan were honored the "three great performers;" meanwhile, he was one of the "four great female characters in Peking Opera" while the other three were Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng. He was honored as "the name card of the Chinese culture" among the folk.
在中国京剧艺术发展史上，梅兰芳是承前启后、继往开来的一位表演艺术家。他的贡献不仅在于他将京剧艺术推向了一个新的高峰，而且在于他把中国戏曲舞台艺术推向国外，增进了各国人民对中国戏曲的了解。他在促进我国与国际间文化交流方面做出了卓越的贡献。梅兰芳于1919、1924、1956年先后三次赴日本演出；1929年底到1930年初赴美国演出；1935年赴苏联演出。他的艺术成就受到国外艺术大师卓别林、斯坦尼斯拉夫斯基、聂米洛维奇一丹钦科、梅耶荷德、布莱希特等人的一致推崇。以梅兰芳为代表的中国戏曲艺术表演体系，被公认为世界三大表演体系之一。
Mei Lanfang was born to a family of Peking Opera singers. He began studying Peking Opera at the age of 3. Then, three years later, he began to perform on stage. During the more than half a century's performance, he innovated and developed various aspects of female character type in Peking Opera such as melody, speaking manner, dancing, music, costumes and face-paintings, forming his unique art style of "Mei Style." Mei Lanfang, Yang Xiaolou and Yu Shuyan were honored the "three great performers;" meanwhile, he was one of the "four great female characters in Peking Opera" while the other three were Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng. He was honored as "the name card of the Chinese culture" among the folk.
梅兰芳多次不为赢利地出国演戏，其目的就是要向海外宣扬中国的文化艺术。在他坚持不懈的努力下，国际文艺界逐步认识到中国戏曲的绚丽多彩，博大精深，从而对中国戏曲刮目相看。
Mei Lanfang had non-profit performance abroad many times, aiming to promoting Chinese culture arts overseas. Thanks to his persistent efforts, the international art circle gradually recognized colorful Chinese operas with extensive and profound meanings and treated Chinese operas with increased respect.
Mei Lanfang was born to a family of Peking Opera singers. He began studying Peking Opera at the age of 3. Then, three years later, he began to perform on stage. During the more than half a century's performance, he innovated and developed various aspects of female character type in Peking Opera such as melody, speaking manner, dancing, music, costumes and face-paintings, forming his unique art style of "Mei Style." Mei Lanfang, Yang Xiaolou and Yu Shuyan were honored the "three great performers;" meanwhile, he was one of the "four great female characters in Peking Opera" while the other three were Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng. He was honored as "the name card of the Chinese culture" among the folk.
在中国京剧艺术发展史上，梅兰芳是承前启后、继往开来的一位表演艺术家。他的贡献不仅在于他将京剧艺术推向了一个新的高峰，而且在于他把中国戏曲舞台艺术推向国外，增进了各国人民对中国戏曲的了解。他在促进我国与国际间文化交流方面做出了卓越的贡献。梅兰芳于1919、1924、1956年先后三次赴日本演出；1929年底到1930年初赴美国演出；1935年赴苏联演出。他的艺术成就受到国外艺术大师卓别林、斯坦尼斯拉夫斯基、聂米洛维奇一丹钦科、梅耶荷德、布莱希特等人的一致推崇。以梅兰芳为代表的中国戏曲艺术表演体系，被公认为世界三大表演体系之一。
Mei Lanfang was born to a family of Peking Opera singers. He began studying Peking Opera at the age of 3. Then, three years later, he began to perform on stage. During the more than half a century's performance, he innovated and developed various aspects of female character type in Peking Opera such as melody, speaking manner, dancing, music, costumes and face-paintings, forming his unique art style of "Mei Style." Mei Lanfang, Yang Xiaolou and Yu Shuyan were honored the "three great performers;" meanwhile, he was one of the "four great female characters in Peking Opera" while the other three were Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng. He was honored as "the name card of the Chinese culture" among the folk.
梅兰芳多次不为赢利地出国演戏，其目的就是要向海外宣扬中国的文化艺术。在他坚持不懈的努力下，国际文艺界逐步认识到中国戏曲的绚丽多彩，博大精深，从而对中国戏曲刮目相看。
Mei Lanfang had non-profit performance abroad many times, aiming to promoting Chinese culture arts overseas. Thanks to his persistent efforts, the international art circle gradually recognized colorful Chinese operas with extensive and profound meanings and treated Chinese operas with increased respect.
