Yuan Xianying
01 · Lineage & Regional School
Yuan Xianying, Female, Han, from Neihuang, Henan, is a sixth-batch national representative bearer of Luoqiang (Ⅳ-148). The tradition is documented in Neihuang, Henan. Within the regional tradition and school record of Luoqiang in Neihuang, Henan: Luoqiang, originally named “Luoziqiang” and colloquially known as “Laoziqiang”, developed out of Lianhualuo, a folk ballad art of the Anyang, Neihuang and Nanle area, and took shape in the middle of the Qing dynasty. Because it originated mainly in the Anyang area of Henan it is also known as “Anyangqiang”, and it is popular in northern Henan, southern Hebei, eastern Shanxi and eastern Shandong. Its vocal system has three schools: Anyang, Linxian, Cheng'an and Linzhang form the central school, called “Luoziqiang”; Wu'an and Shexian form the west school, called “Wuan Luozi”; Neihuang, Weixian, Qingfeng, Nanle, Huaxian and Puyang form the east school, called “Luoqiang”. Luoqiang developed out of Lianhualuo, a folk ballad art of the Anyang, Neihuang and Nanle area, and took shape in the middle of the Qing dynasty. Because it originated mainly in the Anyang area of Henan Province, it is also known as “Anyangqiang”.
02 · Mastery & Signature Works
The bearer record for Yuan Xianying is anchored in the documented technical standards of Luoqiang in Neihuang, Henan. Within the documented technical tradition of Luoqiang in Neihuang, Henan: Luoqiang, originally named “Luoziqiang” and colloquially known as “Laoziqiang” (written in two variant forms), was formed on the basis of the folk ballad art Lianhualuo. It is popular in northern Henan, southern Hebei, eastern Shanxi and eastern Shandong, and combines both the qupai (tune-pattern) system and the banqiang (metrical) system. The melodies of Luoqiang developed out of local Anyang folk songs and ditties; the tunes are light and lively, and the principal accompanying instruments are the pihu, the bamboo flute and the like. Its vocal patterns include pingban, erban, sanban, liushui, xieban, nianban and others. Its vocal system has three schools: Anyang, Linxian, Cheng'an and Linzhang form the central school, called “Luoziqiang”; Wu'an and Shexian form the west school, called “Wuan Luozi”; Neihuang, Weixian, Qingfeng, Nanluo, Huaxian and Puyang form the east school, called “Luoqiang”. Each of the three branches of Luoqiang has its own character. In the west school, Wuan Luozi has vocal styles of many layers, with dramatic rises and falls and a high, resonant melodic line; the central school, Luoziqiang, is comparatively even in pronunciation, yet its vocal style is rugged, it is careful about stealing characters and slipping the beat, and it is skilled in florid vocalization; the east school, Luoqiang, is steady and archaic, its diction is clear, and it is good at tragedy. Luoqiang today preserves 6 categories and 23 varieties of unique vocal music, 58 qupai and percussion pieces, 12 special body techniques and skills, 3 characteristic instruments, and 210 repertoire works transmitted orally. Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”. Representative repertoire, works and technical entries recorded for the project include: "The Meeting at Lanqiao Bridge": Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”. "An'an Delivering Rice": Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”. "Second Sister's Dream": Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”. "Wang Dingbao Borrows on Pawn": Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”.
The Meeting at Lanqiao Bridge
Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”.
An'an Delivering Rice
Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”.
Second Sister's Dream
Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”.
Wang Dingbao Borrows on Pawn
Luoqiang has a large traditional repertoire and is good at depicting farm household life and folk legends. Most of its plays are small domestic dramas, with plain and easily understood text and a performance full of the flavour of real life, such as “Lanqiao Hui”, “An'an Song Mi”, “Xiao Erjie Zhuan Meng” and “Wang Dingbao Jiedang”.
03 · Transmission & Safeguarding Status
In 2025, Yuan Xianying was announced in the sixth batch of national representative bearers for Luoqiang, with Neihuang, Henan as the declared area. Within the documented safeguarding record of Luoqiang in Neihuang, Henan: The project was inscribed in the national inventory in 2011 (batch 3), with Neihuang, Henan as its declared area, and Neihuang County Cultural Center as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
Luoqiang developed out of Lianhualuo, a folk ballad art of the Anyang, Neihuang and Nanle area, and took shape in the middle of the Qing dynasty. Because it originated mainly in the Anyang area of Henan Province, it is also known as “Anyangqiang”.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Yuan Zhangkao | Neihuang, Henan | 04-1693 | Same declared area |
| Yuan Xianying | Neihuang, Henan | — | This page |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。