Zhang Huaisheng
01 · Lineage & Regional School
Zhang Huaisheng, Male, Han, from Luoyang, Henan, is a sixth-batch national representative bearer of Heluo Dagu Drum Balladry (Ⅴ-12). The tradition is documented in Luoyang, Henan. Within the regional tradition and school record of Heluo Dagu Drum Balladry in Luoyang, Henan: Heluo dagu originated in the late Qing and the early Republican period, developing on the basis of Luoyang qinshu. In the early 19th century Heluo dagu was formed by combining Luoyang qinshu with 'dan dagu' (single big drum) and absorbing certain tunes from Henan zhuizi. It was named Heluo dagu in the early 1950s.
02 · Mastery & Signature Works
The bearer record for Zhang Huaisheng is anchored in the documented technical standards of Heluo Dagu Drum Balladry in Luoyang, Henan. Within the documented technical tradition of Heluo Dagu Drum Balladry in Luoyang, Henan: Luoyang qinshu was formerly called 'qinyin', and its early accompanying instrument was the seven-stringed guqin, the traditional Chinese zither. 'Qinyin' was passed down among officials, business magnates and literati; its words and music were refined, and after it flowed into the world of the common people it was renamed 'qinshu', and its qin was likewise changed to the yangqin (hammered dulcimer). In its early days Luoyang qinshu was mostly performed seated with closed eyes; its vocal style was roundabout and delicate, with few words to many notes in the melody, and its rhythm slow and drawn out, and the repertoire it sang consisted mostly of medium- and short-length stories of the separation and reunion, sorrow and joy of gifted scholars and beautiful ladies. In its early days it was called by the people 'dagushu' (big drum book), 'gupengxian' (drum meeting strings) and 'gangban shu' (steel-plate book). Its vocal style belongs to the 'banqiangti' (metrical-temperament) system, with a rich variety of ban formulas, which makes it convenient for narrating all sorts of repertoire. Among traditional programmes, long works such as gong'an shu (judicial-case narratives), wuxia shu (chivalric tales) and paodai shu (robed-official tales) are the most numerous. Zhang Tianbei, a second-generation inheritor known as the 'Champion of Storytelling', was known in almost every household in Luoyang; Cheng Wenhe, a third-generation inheritor, enjoyed a fine reputation in western Henan and represented Henan at the first national quyi convention, where his rendition of 'Zhao Yun Intercepts the River' won the admiration of state leaders; fourth-generation inheritors such as Duan Jieping, as well as Wang Xiaoyue, former head of the Henan Provincial Quyi Troupe, each established a style of their own and became renowned far and wide. However, as the times developed and changed, Luoyang quyi fell into a trough; many cities and counties cancelled their quyi troupes, and most quyi performers changed occupations or drifted among the folk, surviving or perishing on their own. Representative repertoire, works and technical entries recorded for the project include: "Luoyang qinshu": The qinshu ancestor of the genre, once sung to the seven-string zither, later to the yangqin, in a slow and delicate seated style. "Zhang Tianbei": The second-generation transmitter known as the champion storyteller, a household name in Luoyang. "Cheng Wenhe and Zhao Yun": The third-generation transmitter Cheng Wenhe, who represented Henan at the first national congress of quyi performers with Zhao Yun Intercepts the River. "Earlier names": The earlier names by which the genre was known before it was formally named in the early 1950s.
Luoyang qinshu
The qinshu ancestor of the genre, once sung to the seven-string zither, later to the yangqin, in a slow and delicate seated style.
Zhang Tianbei
The second-generation transmitter known as the champion storyteller, a household name in Luoyang.
Cheng Wenhe and Zhao Yun
The third-generation transmitter Cheng Wenhe, who represented Henan at the first national congress of quyi performers with Zhao Yun Intercepts the River.
Earlier names
The earlier names by which the genre was known before it was formally named in the early 1950s.
03 · Transmission & Safeguarding Status
In 2025, Zhang Huaisheng was announced in the sixth batch of national representative bearers for Heluo Dagu Drum Balladry, with Luoyang, Henan as the declared area. Within the documented safeguarding record of Heluo Dagu Drum Balladry in Luoyang, Henan: The project was inscribed in the national inventory in 2006 (batch 1), with Luoyang, Henan as its declared area, and Luoyang Cultural Center (Luoyang Intangible Cultural Heritage Safeguarding 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
Heluo dagu originated in the late Qing and the early Republican period, developing on the basis of Luoyang qinshu. In the early 19th century Heluo dagu was formed by combining Luoyang qinshu with 'dan dagu' (single big drum) and absorbing certain tunes from Henan zhuizi.
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 |
|---|---|---|---|
| Lu Sibei | Luoyang, Henan | 02-0721 | Same declared area |
| Zhang Huaisheng | Luoyang, 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。