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Peking Opera

Ⅳ-28Traditional OperaShandongBatch 1 (2006)Newly Added ItemFeatured

01 · Historical Records

Peking opera is divided into the "Beijing school" (jingpai) and the "Shanghai school" (haipai). Many outstanding performers appeared in different periods, such as Cheng Changgeng, Yu Sansheng, Zhang Erkui, Mei Qiaoling, Tan Xinpei, Sun Juxian, Wang Guifen, Liu Hongsheng, Tian Guifeng, Yu Ziyun, Chen Delin and Wang Yaoqing in the late Qing dynasty, and Yu Shuyan, Yan Jupeng, Gao Yingkui, Ma Lianliang, Yang Baosen, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, Shang Xiaoyun, Zhou Xinfang and Jin Shaoshan during the Republic of China period.

02 · Core Techniques & Process

Beginning in the fifty-fifth year of the Qianlong reign of the Qing dynasty (1790), the four great Anhui troupes that had originally performed in the south — Sanqing, Sixi, Chuntai and Hechun — entered Beijing one after another. They collaborated with Han tune performers from Hubei, while at the same time taking over part of the repertoire, the tunes and the performance methods of Kunqu and Qinqiang, and they also absorbed a number of local folk tunes. Through continual exchange and fusion, Peking opera was finally formed. In literature, performance, music, stage art and every other respect, Peking opera has its own set of standardised artistic expression conventions. The vocal style of Peking opera belongs to the ban-shi (metrical mode) system, with erhuang and xipi as its principal melodic registers. Siping diao, fansiping diao and Han diao are all subordinate to erhuang, while nanbangzi and wadia diao are subordinate to xipi. The melody of erhuang is smooth and even, its rhythm relaxed and broad, and its singing rich, full and weighty; xipi has a melody of larger rise and fall, a tighter rhythm, and a vocal style that is bright and flowing. Peking opera accompaniment is divided into two great categories, the wen chang (the "string" section) and the wu chang (the "percussion" section). The wen chang uses huqin (jinghu), jing erhu, yueqin, xianzi, dizi and suona, with the huqin as the principal lead instrument; the wu chang is led by drum and clapper, with small gong and large gong following. Within each role type there are finer subdivisions; the dan roles, for instance, are divided into qingyi (the virtuous woman), huadan (the young coquette), daomadan (the female warrior), wudan (the martial woman) and laodan (the elderly woman). The basis of these subdivisions lies not only in the natural attributes of a character but, more importantly, in the character's personality traits and in the attitude of praise or censure the creator holds toward the character. Each role type has its own set of performance conventions, and the four skills of singing, speaking, acting and combat each have their own distinctive character. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country. After the founding of the People's Republic of China, Peking opera adapted, transferred and newly created a number of historical plays and modern-themed works, among the more important of which are Jiang Xianghe (The General and the Minister Make Peace), Mu Guiying Takes Command, The Yang Family Women Warriors, The Dismissal of Hai Rui, Cao Cao and Yang Xiu, Shajiabang, The Red Lantern, Taking Tiger Mountain by Strategy, Dainuo and Rickshaw Boy. Peking opera is disseminated across the country, exerts a far-reaching influence, and is known as the "national opera" (guju). It travels to all parts of the world and has become an important means of introducing and disseminating traditional Chinese culture. The Peking opera performance system named after Mei Lanfang is regarded as a representative of the Eastern system of dramatic performance; together with the Stanislavski and Brecht systems it is hailed as one of the world's three great performance systems. Peking opera is an important form of expression of China's national traditional culture, and many of its artistic elements serve as symbolic signs of traditional Chinese culture.

Yuzhou Feng (Cosmic Edge)

Yuzhou Feng is a classical historical-costume play descended from the Ming chuanqi tradition, handed down as a complete act and long among the fixed works of the Peking opera repertory. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Yutangchun (Spring in the Jade Hall)

Yutangchun is a classical court-and-love play built around the wrongful accusation and final vindication of a young woman, long one of the standard works of the Peking opera repertory. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Changbanpo (The Changban Slope)

Changbanpo is a martial historical play centred on the battle fought at the Changban slope and on the exploits of General Zhao Yun, a staple vehicle of the martial role tradition. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Qunyinghui (Meeting of Heroes)

Qunyinghui is a Three Kingdoms historical play depicting a gathering of the commanders of the opposing camps, a set piece long favoured by old-male and painted-face performers. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Dayusha (The Fisherman's Revenge)

Dayusha is a rebellion play in which a fisherman, driven to desperation by the local bully, strikes back against his oppressors and joins the uprising. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Kongchengji (The Empty Fort Strategy)

Kongchengji is a Three Kingdoms strategy play built on Zhuge Liang's ruse of opening an undefended city gate to hold off a vastly superior army, renowned for the sustained tension of the confrontation at the gate. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Guifei Zuijiu (The Drunken Concubine)

Guifei Zuijiu is a palace play centred on Yang Guifei, one of the most celebrated vehicles of the dan role tradition, whose drinking dance and kneeling summons of the emperor are among its best-known passages. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Sanchakou (At the Forked Crossroads)

Sanchakou is a short martial play set at night on a deserted road at a three-way crossing, staged almost entirely by the light of a single oil lamp and celebrated for its mime, its imitation of animals and its hand-to-hand combat. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Yezhulin (The Wild Boar Forest)

Yezhulin is a historical play centred on the unjust persecution of Lin Chong and on his rescue in the wild boar forest, noted for its swordplay and its cold, spare staging. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Erjingong (Second Entry into the Palace)

Erjingong is a palace play centred on a dispute over the imperial seal, famous for the extended antiphonal singing carried on between the old-male and the female roles. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Shiyuzhuo (Picking Up the Jade Bracelet)

Shiyuzhuo is a lively play of young love in which a young man and a girl are brought together through a lost and recovered jade bracelet, admired for its buoyant, playful singing and quick, graceful movement. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Tiaohuache (Lifting the Decorated Cart)

Tiaohuache is a martial historical play in which a warrior lifts a flower-decorated enemy chariot in full armour, a set piece of the martial male role tradition. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Sijinshi (The Four Scholars)

Sijinshi is a Ming-dynasty historical play following the careers and the rivalries of four scholars who sit the imperial examinations in the same year. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Sousu Jiugu (Searching for and Saving the Orphan)

Sousu Jiugu is a classical play centred on Cheng Ying's search through the state of Jin for the orphaned heir of the Jin ruling house and on his confrontation with the villain Tu'an Gu, one of the most demanding old-male vehicles in the repertory. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Bawang Bieji (Farewell My Concubine)

Bawang Bieji is a classical Chu-Han play centred on the parting of Xiang Yu and his consort Yu Ji at the Wu River, the best-known vehicle of the dan role tradition. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

Silang Tanmu (The Fourth Son Visits His Mother)

Silang Tanmu is a Yang-family historical play in which the fourth son travels into the enemy camp to visit his mother, a celebrated vehicle that sets old-male, female and martial singing against one another. Peking opera takes historical stories as its principal performance content. It has roughly more than thirteen hundred traditional repertoire works, of which three to four hundred or more are performed regularly; among them Yuzhou Feng (Cosmic Edge), Yutangchun (Spring in the Jade Hall), Changbanpo (The Changban Slope), Qunyinghui (Meeting of Heroes), Dayusha (The Fisherman's Revenge), Kongchengji (The Empty Fort Strategy), Guifei Zuijiu (The Drunken Concubine), Sanchakou (At the Forked Crossroads), Yezhulin (The Wild Boar Forest), Erjingong (Second Entry into the Palace), Shiyuzhuo (Picking Up the Jade Bracelet), Tiaohuache (Lifting the Decorated Cart), Sijinshi (The Four Scholars), Sousu Jiugu (Searching for and Saving the Orphan), Bawang Bieji (Farewell My Concubine) and Silang Tanmu (The Fourth Son Visits His Mother) are household names, familiar to audiences throughout the country.

03 · Regional Records & Related Items

Peking opera, also called pingju or jingxi, is the operatic genre with the greatest influence in China; it is distributed with Beijing as its centre and extends throughout the country. The role types of Peking opera are divided into sheng, dan, jing, chou, za, wu and liu, the last three of which no longer have dedicated lines of performers established for them.

Other submitting regions for the same item: Peking Opera · Peking Opera · Peking Opera · Peking Opera · Peking Opera · Peking Opera · Peking Opera · Peking Opera.

04 · Cultural Value & Contemporary Safeguarding

However, in recent years, as society has changed, the aesthetic distance between the art of Peking opera and contemporary people has gradually widened, audiences have dropped sharply, and the repertoire being performed has shrunk; how to achieve the protection and revitalisation of Peking opera has become an urgent problem awaiting solution. Ju Xiaosu (as recorded in the official archive of the associated inheritor): A woman of the Han ethnicity, born in November 1949, native of Shouguang City, Shandong Province. A national first-class performer. She began practising foundation exercises and learning opera at the age of six, entered the Weifang Theatre School at eleven, and in 1977 studied the art under Shang Changlin, the son of Shang Xiaoyun, afterwards formally becoming his disciple and devoting herself to the art of the Shang school, and was hailed as "the finest flower of the Shang school". Her voice is high, resonant and rounded, vigorous and upright; her vocal delivery is expansive and flowing, with measured rises, falls and pauses; her appearance is handsome and charming, and her movements are crisp and clean; she is accomplished in both literary and martial roles, with a wide range of singing, speaking, acting and combat; her performance is dignified and generous, vigorous yet gentle, bright and uninhibited, and she is especially skilled in swift travelling dance and in water-sleeve technique. Her representative works include Chufeng Lingkong (The Young Phoenix Soaring into the Sky), San Da Tao San Chun (Three Attacks on Tao San Chun), Bi Shang Liang Shan (Driven Up onto Mount Liang) and Baimenlou (The White Gate Tower). A representative inheritor of Peking opera in the fifth batch of national-level intangible cultural heritage projects. She has been awarded, among other honours, the thirteenth China Drama Plum Blossom Award and the Outstanding Artistic Contribution Award of the fourth Shandong Province "Taishan Literary and Art Award".

05 · Associated Representative Bearers

Representative bearers recorded under this item, organized by national nomination batch:

06 · Authoritative Sources & Bibliography

  1. Peking Opera (Shandong) · China ICH Official Project Archive
  2. Juxiaosu · National Representative Bearer Archive

Sources

China Intangible Cultural Heritage Network (ihchina.cn)

Read the official ihchina.cn record ↗

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