Ma Guanghua
01 · Lineage & Regional School
Ma Guanghua, Female, Han, from Quyituan, Chongqing, is a sixth-batch national representative bearer of Sichuan Qingyin (Ⅴ-77). The tradition is documented in Quyituan, Chongqing. Within the regional tradition and school record of Sichuan Qingyin in Quyituan, Chongqing: Sichuan qingyin took shape in the late Ming and early Qing dynasties. In the 1930s and the 1950s, Chongqing became a place where Sichuan qingyin flourished and spread.
02 · Mastery & Signature Works
The bearer record for Ma Guanghua is anchored in the documented technical standards of Sichuan Qingyin in Quyituan, Chongqing. Within the documented technical tradition of Sichuan Qingyin in Quyituan, Chongqing: Sichuan qingyin is one of the quyi music genres of Chongqing and Sichuan. The two places share a common tune-based music system, but each also has its own history of transmission and development and its own vocal characteristics. A large number of folk performers gathered at the wharves and docks of Chongqing, and the exchange and competition among them made local folk art there exceptionally flourishing. Those who made a living from singing and from accompanying formed troupes and societies, and each generation had its successors. The tune types of Sichuan qingyin in Chongqing fall into three main categories — small tunes, large tunes and xiaoling-style tune patterns — with more than two hundred melody-forms and tune patterns in all. The large tunes comprise eight, called "bei", "yue", "pi", "huang", "gou", "ma", "ji" and "dang"; among the categories, the tune patterns of the large-tune type are the most numerous. The different tune categories and their tune patterns differ in musical structure, tonal function and the expressiveness of their singing style, and each has its own character. The tune patterns of the eight large tunes are of varied and elaborate structure in long suites, and are often joined one after another to form a linked suite, suited to large-scale plots that combine speech and song and have strong narrative power. The tune patterns of the small-tune type have short phrases and a simple single-piece form, can stand alone as complete works, and are strongly lyrical in the flavour of the words sung; the xiaoling-style tune patterns are comparatively concise in both phrase and form, are generally not used alone, and are often inserted into linked-suite forms to serve a colouristic function. The large number of "qingyin" pieces and programmes adapted and newly created after the founding of the People's Republic of China showed, in function and in style, a tendency that was at once traditional and innovative; the large-tune type of Sichuan qingyin in Chongqing was adept at expressing large subjects on a grand scale, and so forged the distinctive Bayu local manner of its own. Representative repertoire, works and technical entries recorded for the project include: "The eight great modes": The eight great modes of Chongqing qingyin, whose tune types differ in structure, tonality and expressive character. "Short, great and minor tune types": The threefold division of Chongqing qingyin tunes: short lyric pieces, large narrative suites and small inserted tune types. "Visiting the Daughter in the Country; The Flowered Bridal Chamber; The Two-Sided Fan": Stage works by Li Jingming, whose singing stresses feeling and flavour and who commands both the major and minor modes. "The Red Army Seizes Luding Bridge; Three Daughters-in-Law": Compositions by Li Jingming, innovating on traditional tunes for contemporary audiences.
The eight great modes
The eight great modes of Chongqing qingyin, whose tune types differ in structure, tonality and expressive character.
Short, great and minor tune types
The threefold division of Chongqing qingyin tunes: short lyric pieces, large narrative suites and small inserted tune types.
Visiting the Daughter in the Country; The Flowered Bridal Chamber; The Two-Sided Fan
Stage works by Li Jingming, whose singing stresses feeling and flavour and who commands both the major and minor modes.
The Red Army Seizes Luding Bridge; Three Daughters-in-Law
Compositions by Li Jingming, innovating on traditional tunes for contemporary audiences.
03 · Transmission & Safeguarding Status
In 2025, Ma Guanghua was announced in the sixth batch of national representative bearers for Sichuan Qingyin, with Quyituan, Chongqing as the declared area. Within the documented safeguarding record of Sichuan Qingyin in Quyituan, Chongqing: The project was inscribed in the national inventory in 2011 (batch 3), with Quyituan, Chongqing as its declared area, and Chongqing Qu Yi Troupe Co., Ltd. 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
Sichuan qingyin took shape in the late Ming and early Qing dynasties. In the 1930s and the 1950s, Chongqing became a place where Sichuan qingyin flourished and spread.
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 |
|---|---|---|---|
| Cheng Yongling | Chengduyishujuyuan, Sichuan | 03-1190 | Other regional school |
| Xiao Shunyu | Chengduyishujuyuan, Sichuan | 03-1191 | Other regional school |
| Li Jingming | Quyituan, Chongqing | 04-1726 | Same declared area |
| Ma Guanghua | Quyituan, Chongqing | — | 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。