In the Chinese Classical Opera, the creation of character has its influential importance; it structures the main interest of most Chinese Operas and also plays a significant role of leading its audiences to understand the play. In the Chinese Opera, there are lots of typical characters and each of them may significantly symbolize a typical characteristic or spirit. The face make-up and costume design therefore play essential part of helping creating those symbolized characteristics. The especial designs of various make-ups on the face (face-paints) present more than a stage effect; they give meanings to each character and function as a symbolic interpretation. In this essay, I choose the designs of face –paint as my subject of discussion. My intention is to arrange a significant history of the face-paint designs in the Chinese Classical Operas. I attempt to analysis the various designs on characters’ painted faces, referring to some other local operas, and to see if there is any logical principle or model to trace the development of face-paint designs in the Chinese classical Opera. In order to make a difference from other essays about the Chinese Opera face designs, I place my interest in seeing the face-paint design as an individual art rather than seeing its functions in a theatrical structure. Therefore, I start my article with detail illustrations of various patterns of face designs and introduce my readers to carefully observe how the pattern changes and what they signify. I intentionally divide the face into details, the head front, brows, nose, eyes, cheeks, mouth, head top, to see how those pattern designs around each part of face differ from but interestingly correspond to each other; they delicately suggest some motifs. This is, what I call it, the secret of symbolic beauty. Besides comparing with many references of various local operas, I also consult other references like some aboriginal face paints and mask designs in order to provide a complete reading of Chinese Classical Opera face designs. I not only try to indicate another possibility of reading Chinese Opera but also hope to establish a logical principle to understand the secret symbolic beauty of face designs.