The similarities and differences between Houma Xiaoyi’s shadow puppets

Shadow puppetry, also known as "lantern shadow", is a type of puppet play and one of the oldest operas widely spread among Chinese people. It originated in the Han Dynasty and became popular in the Northern Song Dynasty. It achieved unprecedented development in the Ming and Qing Dynasties. It has a history of more than two thousand years.

The "shadow figures" performed in the Houma shadow puppet show were first carved from plain paper, and later made from donkey skin or cowhide. After being polished and smoothed, they were carved according to the design of the characters and scenery in the play Clustering, coloring, ironing, binding, production, under the operation of the performer

during the performance, it is reflected on the screen by the transmission of light, and at the same time with the accompaniment of various musical instruments and singing, it becomes " A mouthful of pain repays an eternity, a million soldiers dancing with both hands" is an interesting dramatic performance form, which has been deeply loved by people for thousands of years.

More importantly, the Houma City shadow puppets are different from other shadow puppets. First, the characters’ faces are hollowed out, which can better reflect the characters’ emotions; second, there are a group of people who love the art of shadow puppets. , went through hardships and passed on the fire from generation to generation, so as not to disappear

Especially in the 1970s and 1980s, he created "Cuckoo Mountain", "Red Lantern", "Little Athletes", "Collecting Mushrooms", "Looking at Melons", "Havoc in Heaven", "Three Strikes of Bone Demons", "The Crane and the Turtle", "The Blue Son Selling His Mother", etc. Now "The Big Change" is often performed , "Collecting the Five Poisons", "Zhu Bajie Carrying His Wife", "Selling Groceries", "Little Rooster and the Old Fox", etc., a large number of repertoires have been preserved.

Houma Shadow Puppetry integrates the beauty of lyrics, music, dance, martial arts, costumes, and brain music, giving people both auditory and visual enjoyment; in addition, the use of The arts and crafts produced by the film are pleasing to the eye.

Shadow puppet repertoire has a wide range of themes, including myths, fables, comedies, etc. It is both educational and entertaining and is the best spiritual food for the people.

Xiaoyi Shadow Puppetry is Xiaoyi Shadow Puppetry.

It is an ancient traditional art of the Han nationality and one of the important branches of Chinese shadow puppetry. It is named after its popularity in Xiaoyi City, Shanxi Province. According to historical records, Xiaoyi shadow puppets already had class rules and carved clusters in the Song and Jin dynasties, indicating that Xiaoyi shadow puppets had matured in the Song and Jin dynasties. According to expert research, Xiaoyi shadow puppetry originated in the Warring States Period and is one of the earliest birthplaces of shadow puppetry in Zhongguo.

Historical research

The formation era of shadow puppetry has not yet been confirmed, but according to Meng Yuanlao's "Tokyo Menghua Lu" of the Southern Song Dynasty

it was as late as the Song Dynasty Already mature and popular, there are 9 film artists in Bianliang Washe in Tokyo, including Dong Shiwu, Zhao Qi, and Cao Baoyi. There is a "Shadow Play Picture" among the Jin Dynasty murals in the Manjusri Hall of Yanshan Temple in Fanzhi, Shanxi Province, which vividly represents the actual shadow puppet performances in Shanxi at that time. After developing in the four historical periods of the Song, Jin, Yuan and Ming dynasties, shadow puppetry, which was popular all over the country, flourished in the Qing Dynasty.

According to expert research, Xiaoyi shadow puppetry originated in the Warring States Period and is one of the earliest birthplaces of shadow puppetry in my country. Nowadays, most experts and scholars believe that shadow puppetry began in the Han Dynasty, mainly based on the records in "Book of Han: Biography of Wife's Wife": According to legend, Emperor Wu of the Han Dynasty Liu Che

Xiaoyi Shadow Puppetry

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The beloved concubine Mrs. Li died prematurely. Emperor Wu of the Han Dynasty missed her so much that he often stayed up all night. At this time, there was a young man from Qi who knew the thoughts of Emperor Wu of the Han Dynasty. He spent three days and nights carving a life-size image of Mrs. Li out of leather, painted it with color, imitated Mrs. Li's movements during her lifetime, and hung a white square curtain indoors. Light candles and let Emperor Wu of the Han Dynasty sit outside the square curtain to watch. The young man controls the shadow puppet against the curtain. The shadow is like a real person...

Since the Han Dynasty, shadow puppetry has slowly developed. Music, folk songs, singing, drama, sculpture, paper-cutting and other artistic elements are deeply integrated into it. Due to the different customs in different parts of China, shadow puppets have their own styles.

Drama genres

Due to the vast area of ??shadow puppetry spread in our country, different genres have been formed during the long-term evolution process in different regions. Common ones include Sichuan shadow puppetry, Hubei shadow puppetry, Hunan shadow puppetry, and Beijing shadow puppetry. Shadow puppets, Tangshan shadow puppets, Shandong shadow puppets, Shanxi shadow puppets, Qinghai shadow puppets, Ningxia shadow puppets, Shaanxi shadow puppets, as well as northern Sichuan shadow puppets, Chenlong shadow puppets and other local shadow puppets with different styles. The musical singing styles and rhythms of shadow puppets from various places have absorbed the essence of their respective local operas, folk arts, folk songs, and music systems, thus forming many colorful schools. There are Mianyang shadow puppets, Tangshan shadow puppets, Jinan shadow puppets, Xiaoyi shadow puppets, Fuzhou shadow puppets, Haining shadow puppets, Jianghan plain shadow puppets, Lufeng shadow puppets

shadow plays, Huaxian shadow puppets, Huayin Laoqiang and Agong dialects. , Xianban Tune, Huanxian Daoqing Shadow Puppetry, Lingyuan Shadow Puppetry, etc.

Among the various shadow puppet schools in Qin, Shanxi and Henan, there are Xianban tune, Agong tune, Wanwan tune, Lao tune, Qin tune, North and South Daoqing, Ankang Yue tune, Shanglu Dao There are more than ten kinds of tunes, such as Qing and blowing tunes, and there are many tunes. When singing, the singing methods of harmonizing, supporting and humming are also commonly used. The drawl is melodious and melodious, which is very beautiful.

Although the singing styles of various shadow puppets in Hebei, Beijing, Northeast China, and Shandong are derived from the music of Laoting in Luanzhou, eastern Hebei Province, their respective singing styles are based on Peking Opera, Luozi, Dagu, Bangzi, and Folk. Moisturized by the tunes, different genres were formed. There are many smooth flat tones, gorgeous floral tones, and sad and sad tones.

Among them, the choke singing method in Tangluan area is very unique.

In other places such as Hunan, Hubei, Jiangsu, Zhejiang, and Fujian, the music and singing of shadow puppets also have local characteristics.

8 Editors of shadow puppet shows from various parts of my country

Huaxian shadow puppet show

Hua

Wanwan tune shadow puppet show in County (formerly known as Shi tune), formed In the early Qing Dynasty. Because it is mainly spread in the Erhua and Dali areas of Weinan in the east prefecture of Guanxi, it is also called Donglu Wanwanqiang. This play has a complete range of singing styles, accompaniment instruments are very unique

and are delicate, elegant, graceful and touching, and the expressions are rich and colorful. The shadow puppets have beautiful shapes, distinct personalities, carefully selected materials and fine production. During the Qianlong and Jiaqing years of the Qing Dynasty, the dramatist Li Fanggui and other literati and scholars wrote many traditional plays for Wanwan Shadow Puppetry such as "Top Ten", which are still circulating today and have been transplanted and adapted by other dramas. He went on stage and performed for a long time, making a huge contribution to Shaanxi opera art. Shadow puppet troupes and societies are mostly composed of five or six people. They are easy to move and do not choose any venue. They can be active in private villages, towns and houses all year round, laying a solid foundation in the vast countryside.

Nowadays, due to various reasons, it is facing a crisis of loss and survival. Saving and protecting Wanwanqiang shadow puppetry, an excellent traditional culture that is loved by the masses, has become an urgent and important task at present.

Tangshan Shadow Play

Tangshan Shadow Play, also known as Luanzhou Shadow, Leting Shadow and Donkey Shadow Play, is one of the most influential types of shadow play in China. It is generally believed that Luanzhou Shadow Theater was founded in the late Ming Dynasty and became popular in the late Qing Dynasty and the early Republic of China. It has a history of more than 400 years.

There are two main operators in Tangshan Shadow Play, namely the "upper line" and the "lower line". There are three poles that control the movements of the shadow figure, namely the "main pole" and the "hand pole". Tangshan shadow puppet performances usually have five divisions of labor: holding, pasting, beating, pulling and singing, which is said to be "busy and idle".

The scripts of Tangshan shadow puppet plays are also called "shadow scrolls", and there are at least 500 existing ones. Among them, there are more than 130 "with scripts" and many single dramas. The repertoire includes "Wu Feng Hui", "Two Plum Blossoms", "Qingyun Sword"

etc. The literary structure of the traditional shadow puppet script is that the characters have a "poetry" in their appearance and a "pair" in their ending. Its rhythms are commonly used

"Seven-character sentence", "Cross Brocade", "Three to catch seven", "Five-character Fu", "Hard San", "Big Golden Edge", "Little Golden Edge", etc. These libretto structures all use dual upper and lower sentences as their basic structural units. Each libretto is generally composed of several pairs of upper and lower sentences with the same pronunciation. Tangshan shadow puppets are based on the Leting dialect, are famous for their singing skills, and have a unique style with a banqiang style. The basic board styles include big board, two-character board, three-part board. There are various tones such as Yin Tune, Huanyang Tune and San Gan Qi which are named after special sentence patterns.

The carving of shadow puppets requires several steps: scraping the skin, rubbing and carving, coloring and oiling, and assembling nails to install the poles. The cutting edge and coloring are the areas that best reflect the level of the carving artist. Character shapes are divided into raw, small, big, sideburned, ugly, etc.

The repertoire of Tangshan shadow puppets is an important material for in-depth analysis of local social customs and religious psychology. Tangshan shadow puppet artists of all generations have never stopped improving and innovating materials and techniques for singing performances, stage props and techniques. These experiences are valuable assets for present and future generations. The inheritance of Tangshan shadow puppets continues the oral and heart-to-heart teaching method, which provides important reference value for the methods and methods of cultural inheritance. Tangshan Skin Film

The singing, music, performance and modeling of Tangshan Skin Film have a unique local style. It has been praised by peers and audiences at home and abroad, and has high appreciation and research value.

Nowadays, there are less than 10 people who can create shadow play scripts. The shadow puppet artists are too old and cannot find apprentices to pass on their skills. There are also fewer and fewer people who appreciate the art of shadow puppets. Tangshan shadow puppets are facing the dilemma of being lost.

Jinan Shadow Puppetry

Application area or unit: Handan City, Hebei Province

Jinan shadow puppetry is mainly distributed in many counties and districts in Handan, Hebei Province.

Shadow puppetry in southern Hebei has a long history. It is said that it was formed when the Beijing palace shadow puppets migrated to southern Hebei. It is mainly distributed in southern Hebei and has affected central Hebei, northern Hebei and other regions. The Hebei shadow puppetry is an important direct descendant of the Central Plains shadow puppetry in the Song Dynasty, and it has an important connection with the Henan shadow puppetry.

Jinan shadow puppets have simple shapes, a combination of carving and painting, and a concise modeling system, which embodies the early style of shadow puppetry in my country. The repertoire of Jinan shadow puppets is rich, and there is no text in the singing. It is completely oral and heart-to-heart. The dialogues are humorous and very colloquial. The performances are easy to understand and have distinctive local characteristics. The props of Jinan shadow puppets mainly include shadow puppet shapes, performance curtains and windows, and accompaniment instruments. The band is equipped with banhu, erhu, m

di, sanxian, suona, sheng and other instruments, and now it is also equipped with an electronic keyboard. The martial arts field is equipped with board drums, war drums, large drums, large gongs, small gongs, large cymbals, small cymbals, horse horns, clappers, etc. The Jinan Shadow Puppet Troupe still maintains traditional customs and basically embodies the original shadow puppet performance form.

Jinan shadow puppetry has a glorious history, but today it is in a very embarrassing living situation. Most shadow puppetry artists are too old to sing, especially middle-aged artists

There are very few young artists, and there are fewer and fewer movie boxes. Some troupes only have props left, but the artists are gone. According to statistics in six counties in southern Hebei, the number of shadow puppet troupes that can still perform has dropped from more than 100 in the early days of liberation to more than 10, and the number of shadow puppet artists has dropped from nearly a thousand to 100. There are more than 200 people to perform, and the number of performances has been reduced from more than 200 in the past to more than 30. The number of performances is getting fewer and fewer, and the scope of performances is getting smaller and smaller. Traditional shadow puppet performance skills are difficult to pass on, and their singing, oral repertoire, and carving methods are almost lost.

Fuzhou Shadow Puppetry

Application area or unit: Wafangdian City, Liaoning Province

Fuzhou Shadow Puppetry was performed during the Wanli Period of the Ming Dynasty (1573-1620). It came from soldiers from Shaanxi who came to the northeast to guard the border. The time when Fuzhou shadow puppetry was truly active and popular

was during the Jiaqing period of the Qing Dynasty (1796-1821). At that time, the "White Lotus Sect" was popular in Hebei, and some shadow puppet artists also participated in the "White Lotus Sect", which was recognized by the Qing government. He was falsely accused of being a "hanging lantern bandit" and banned shadow puppet performances. Hebei

Luanzhou shadow puppet artists were forced to flow into the Northeast and into southern Liaoning in large numbers. Fuzhou Shadow Puppetry was born and developed under this background, with a history of more than 300 years.

Since 1932, Fuzhou Shadow Puppetry was forced to stop performing. After the victory of the Anti-Japanese War, Fuzhou Shadow Puppetry resumed. After the liberation of the country, shadow puppetry in Wafangdian area was very active. At its peak, there were 43 shadow puppet troupes in the county, and there were more than 20 shadow puppet artists who had great influence among the masses.

Fuzhou Shadow Puppetry has a long history and important historical and cultural value. It plays a role in publicity and education in disseminating cultural knowledge, retaining and passing on valuable folk historical legends, customs, anecdotes, etc. Judging from the content reflected in the Fuzhou shadow puppet show, it covers social life, praises the truth, goodness and beauty, and denounces the false, evil and ugly, and is deeply loved by the local people.

Haining Shadow Play

Application area or unit: Haining City, Zhejiang Province

Located in Haining City, Zhejiang Province on the north bank of the Qiantang River, there is still a Southern Song Dynasty-style shadow puppet show. Classical drama - Haining Shadow Puppetry.

Haining Shadow Puppetry was introduced from the Southern Song Dynasty. It was integrated with the local "Haitang Salt Worker Song" and "Haining Minor", and absorbed classical tunes such as "Yiyang Tune" and changed the northern tune to southern tune

Tune, forming an ancient style of music based on the two major tunes of "Yiyang Tune" and "Haiyan Tune"; the tunes are high-pitched, passionate, graceful and elegant, accompanied by flute, suona, erhu and other Jiangnan silk and bamboo, the rhythm is bright, melodious and rich The charm of water town.

At the same time, the lyrics and dialogue were changed into Haining dialect, and it became a common program for folk weddings, birthday celebrations, prayers to gods and other occasions. Furthermore, Haining is rich in silk, and there is a folk custom of praying to the silkworm god. The shadow puppet show also performs the "Silkworm Flower Show", which is called the "Silkworm Flower Troupe".

The figures of Haining shadow puppets are made of sheepskin or cowhide and are made through processes such as drawing, cutting, drawing, coloring, sewing and labeling. The main characteristics are: "less carving and heavy painting" ", Single Line Flat Paint", with a round face, one eye in profile, less exaggeration, a near-real image, and full of "human touch"; the whole painting is mainly one-handed and one-footed (sideways), which has quite the national and folk characteristics.

Haining Shadow Puppetry has a history of nearly a thousand years. By the 1930s and 1940s, there were still more than 20 theater troupes in Haining with more than 300 repertoires and 120 actors

Multiple people. With the changes of the times, the living environment of shadow puppet art has been seriously affected. In the 1950s, the cultural department of Zhejiang Province organized a troupe to perform in Beijing. According to a survey, Haining was the only old shadow puppet artist with superb skills left in the province. But today, the few remaining old artists are all over seventy years old, and there are few successors. They have become one of the key traditional folk art projects to be rescued.

Jianghan Plain Shadow Puppetry

Jianghan Plain Shadow Puppetry is popular in Mianyang (now Xiantao City), Qianjiang, Tianmen, Jianli, Honghu, Shishou and Jiangling in central and southern Hubei Province , Public Security Bureau, Jingshan and other counties (cities), shadow puppet shows with the same artistic characteristics. Jianghan shadow puppets are especially famous for Mianyang shadow puppetry, which integrates traditional painting, sculpture, fine arts, movies, and TV animations. It has a rich cultural flavor of the Han nationality and is a wonder in the world of Chinese art.

The Jianghan Plain, bordered by the Yangtze River to the north and the Han River to the south, is one of the birthplaces of Jingchu culture. Shadow puppetry has found a breeding ground and prosperity here. Although its origin cannot be verified, as early as the late Ming and early Qing dynasties, the area had the habit of singing shadow puppets when holding ceremonies to thank gods and during festivals. Over time, a unique style and carving characteristics were formed.

The core areas of shadow puppetry in the Jianghan Plain are concentrated in the Tian, ??Qian, and Mian areas. Its remarkable artistic features are mainly reflected in the sculpture (plastic) art, singing art, and spoken word art.

The shadow puppets used in the shadow puppet show in Jianghan Plain have a shadow length of 70 cm to 80 cm. They belong to the "Men Shen Pu" type of large shadow puppets. Most of them use "Pi Ge", "Tang Ge",

Four styles: "Guo Ge" and "Yang Ge".

"Pige" was created by brothers Pi Sijin and Pi Siyin of Xiantao Embroidery Di. The shadows are made delicately, with the same front and back, in a paper-cut style; "Tang Ge" is Tang, the shadow puppet carving master of Qianjiang Wangchang

Created by Yutang, its shadow puppets are famous for their exquisite patterns of flowers and plants; "Guo Ge" was created by the father of Guo Dabiao (birth, death, name unknown) at Sanjiangkou, Qianjiang River, and is especially famous for its lifelike figures; "Yang Ge" is the original Created by Yang Shuanglin, a member of the Mianyang Shadow Puppet Team

, the shadow figure is slender, with larger holes and better light transmittance than other shadow puppet styles.

The singing tunes of shadow puppet shows in Jianghan Plain are mainly singing tunes and fishing drum tunes. The "Chicken Crying Tune" in singing and shadow puppetry originated from the "Song of Besieged on All Sides" of Chu State in the Eastern Zhou Dynasty. It is a "living fossil" in traditional Chinese music. The fish drum tune comes from the begging songs of artists in the old days. It has a variety of tunes and a strong local flavor.

There are more than 300 repertoires performed by shadow puppets in Jianghan Plain. These "scripts" actually only have the provisions of the play. During the performance, it is entirely up to the artists to develop the plot and portray the characters according to historical stories. Singing, acting, reciting and playing are integrated into one. Its oral literary art form is another main feature of the shadow puppetry in the Jianghan Plain. .

The shadow puppets of Jianghan Plain are exquisitely made, vivid in shape, graceful in singing, and full of simple Chu cultural style. They have been deeply loved by people of all ages.

With the maturity of modern civilization and the passing away of the older generation of artists, the shadow puppetry of Jianghan Plain has begun to disappear, and its artistic essence urgently needs to be passed down by future generations.

Mianyang Shadow Puppetry

Mianyang Shadow Puppetry, commonly known as "shadow puppetry", has a history of more than 300 years. It is unique with its exquisite and vivid images, beautiful and lyrical singing, witty lines, and elegant and melodious accompaniment. It is deeply loved by the common people and is a gorgeous and unique flower among the many folk arts in the Jianghan Plain. Mianyang (today's Xiantao City, Hubei Province) is a famous hometown of shadow puppet art, which is well-known at home and abroad. There is a popular folk song about "looking at the cowhide, boiling the eyelids, going home in the middle of the night to beat the drum skin, and the wife pinching her eyebrows to pinch her spleen", which shows the uniqueness of shadow puppetry. Great temptation.

The shape of Xiantao shadow puppets imitates the facial makeup of drama characters, and is carved using Mianyang carving and paper-cutting techniques. In terms of shape, the shadow puppets are 70 to 80 centimeters long. They are large shadow puppets of the "Mengoshenpu" category, with a more realistic shape. They are rich in content (mostly derived from historical stories, biographies, etc.), including Chu and Han Dynasties. There are more than 300 plays, such as the War of Resistance, Three Kingdoms, Sui and Tang Dynasties, Water Margin, and Journey to the West, with ups and downs and suspense. They are sung in the tune of fishing drums, with humorous language and rich local flavor. They are widely spread in Xiantao cities and towns. rural areas, and even the Jianghan Plain.

The singing style of Mianyang shadow puppet show is mainly fishermen drum style and singing style, with percussion accompaniment, and is sung in the form of one singer and everyone singing in harmony. Fishing drum shadow puppets use the Mianyang fishing drum tune as the main tune, which is high-pitched, bold, lively and cheerful. Mianyang fishing drum singing tunes are divided into five categories: Ping tune, Bei tune, Yuwei tune, Pipa tune and Zahua tune, with more than 50 types. Due to different popular regions, it is divided into upper road, middle road and lower road. Shangluzi tune draws on folk tunes such as grass-cutting songs, drumming songs, and chicken crow tunes. Zhongluzi tune incorporates Han opera, Chu opera and other singing styles. Xialuzi tune has melodious tunes and is the original source of Mianyang Yugu tune.

The dialogues of Mianyang shadow play include Sanbai and Yunbai. They are in authentic Mianyang dialect, mixed with folk sayings, proverbs, idioms, dialects, etc., and are humorous and full of local flavor and folk customs. The flavor makes the audience feel very intimate. The lyrics generally have three sentence patterns: "five five seven five" sentences, seven-character sentences and cross sentences. There are also three or four-character stacked sentences. There are two types of lyrics: one rhyme for a long section and one rhyme for each section. The rhymes used are divided into "Guang, Xiao, Ban, Xiu, Ge, Ma, Yang, Yu,

Kin, Guai, Wei, Ke, Si, Zhong, Fu". The "Fifteen Rhymes" of Mianyang Fishing Drum Shadow Puppet's lyrics are the same as the "Thirteen Rhymes" of poetry. Artists who sing fishing drum shadow puppets must be proficient in phonology, especially when they compose and sing "Haoshui Ci".

They must make sure the words are spoken in a coherent manner and the rhymes are consistent.

Early fishing drum shadow puppet shows had no orchestral accompaniment, only fishing drum tubes and cloud boards playing paneye, drums, cymbals, big gongs, small gongs, horse gongs, interludes and singing. At first, the shadow puppet troupe consisted of three to four people, two of whom played shadow puppetry and sang, one played the fishing drum and cloud board, and the other "played the hand-clamping" (gong, drum, etc.). Later, the introduction of national instrumental accompaniment (dulcimer, erhu, sihu, flute, suona, etc.) and the addition of female artists singing female lyrics, the number of shadow puppet theater troupes increased to five to eight people, further enhancing the artistic effect of shadow puppet singing; Mianyang shadow puppet theater on the stage Continuous innovations in art, lighting and scenery, special effects, singing and music, and shadow puppet operations make shadow puppet shows highly artistic.

Mianyang shadow puppetry has been passed down from generation to generation. After the founding of New China, the number of singers increased. In 1951, Xiantao also established the first shadow puppetry art troupe in Hubei Province and was invited to join the ancestors

National Condolence Group, four shadow puppet artists went to North Korea to express condolences to the Chinese People’s Volunteers and encourage the soldiers to bravely kill the enemy and protect their homeland. Mianyang shadow puppets with exquisite carvings and high-pitched singing have brought a lot of laughter and glory to Xiantao people. In 1953, "Wu Song Fights the Tiger" created and performed by shadow puppet artist Gong Benhuai won first prize in the province and the Central and South Bureau.

In March 1955, he went to the provincial capital to perform, and the Mianyang shadow play "Wu Song Fights the Tiger" won the first prize; in 1957, the shadow play "Building a Car" was recorded by Hubei Radio Station and presented to China Record Company. Nationally distributed. In 1988, after watching a shadow puppet show in Mianyang, the West German national shadow puppet delegation asked for two shadow puppets to take back to the country and displayed in the country's museum; in May 1981, the Central Committee Leading comrades from the Ministry of Culture and the National Puppet and Shadow Puppet Association went to Mianyang and watched the shadow puppet show "Flaming Mountain" and greatly appreciated the singing of the show. The provincial TV station also went to film a documentary introducing Mianyang shadow puppetry. In 2007, Xiantao City was named the “Hometown of Hubei Shadow Puppet Art” by the provincial government.

Currently, there are 15 shadow puppet art troupes in Xiantao City, with nearly 300 shadow puppet artists. They are active on the streets and in the countryside all year round. In the past, "five li three stages sang flower drums, and every village performed shadow puppets." The grand scene has reappeared in the land of Xiantao.

Lufeng Shadow Puppetry

Application

Application area or unit: Shanwei City, Guangdong Province Lufeng Shadow Puppetry is the only remnant of Chaozhou shadow puppetry, one of the three major shadow puppet systems in my country. Lufeng Shadow Puppet Troupe is the only professional shadow puppet troupe in Guangdong Province. Lufeng shadow puppetry has always existed and developed among the people. It has the genes of the ancient Hokkien language and was nurtured by Hailufeng folk customs. It has rich singing and music, strong local characteristics, exquisite paintings and sculptures, and vivid and lifelike performances. Considerable elegance.

Lufeng City is located on the shores of Jieshi Bay in the southeastern part of Guangdong Province, with the South China Sea to the south, adjacent to Hong Kong and Macao, and between the two special economic zones of Shenzhen and Shantou. It has very convenient water and land transportation. Lu Fengpi Shadow

This small town has a long history. It was formed in the Song Dynasty, popular in the Ming and Qing Dynasties, and popularized in the Republic of China. During the war period on the eve of the founding of the People's Republic of China, most other dramas suspended their performances, but shadow puppet troupes were still active in surrounding villages and towns. This shows that shadow puppetry has a deep mass base and strong vitality. After the founding of the People's Republic of China, it has been revived and developed. In terms of painting, music, production, performance, effects and stage lighting, it has attracted the attention of the world. Wherever it goes, it is deeply welcomed by the audience. Teenagers and children love it more. The performance area continues to expand, not only to cities and counties in northern Guangdong and Guangzhou, but also to several cities and counties in Fujian. After 1975

he went to Beijing many times to participate in and perform in plays such as "Fighting Evil Beasts", "Chicken and Snake", "The Tortoise and the Hare", "Flying", and "Chicken Fight" , "Crying Tower" and other critically acclaimed films. Lufeng shadow play is a traditional folk art with high historical, educational and artistic value.