{"id":12414,"date":"2019-11-21T14:12:52","date_gmt":"2019-11-21T14:12:52","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/yangzhou-pinghua-yang-zhou-ping-hua\/"},"modified":"2019-11-21T14:12:52","modified_gmt":"2019-11-21T14:12:52","slug":"yangzhou-pinghua-yang-zhou-ping-hua","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/my\/yangzhou-pinghua-yang-zhou-ping-hua\/","title":{"rendered":"Yangzhou Pinghua \u626c\u5dde\u8bc4\u8bdd"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
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Category: Recitative, story-telling
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Region: Jiangsu Province
\u7f16\u53f7\uff1a\u2164—2
Ref. No.: V-2
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Nominating unit[s]: Yangzhou City, Jiangsu Province
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As a vocal art form of recitative performed in the Yangzhou dialect, Yangzhou Pinghua is popular in North Jiangsu Province, Nanjing, Shanghai and other places. It came into being at the beginning of the Qing Dynasty, and before long it became so flourishing that “Sui and Tang Dynasties (or Sui Tang) were told in the form of Pinghua and artisans highly skilled in this art could be found everywher. There were most popular ten pieces of works including Romance of Three Kingdoms (or San Guo) and Water Margin (or Shui Hu). In the meantime, there were over 20 highly skilled storytellers. During the reign of Qianlong Emperor in the Qing Dynasty, some storytellers modified and replenished traditio<\/em>nal works in accordance with their life experiences, and some composed new works. For example, Ye Shuanglin, a Yangzhou Pinghua artist who previously failed the imperial examination for many times, incorporated his experiences and outraged feeling in The Legend of Yuefei (or Yue Zhuan). When telling the story of Zong Liushou Giving up Seal (Liushou: a title of a senior official), he was punctuating his talks with sobs, making audiences deeply impressed. Pu Lin wrote Qing Feng Zha ba<\/em>sed on his own experiences, wherin batches of figures at bottom society represented by Pi Wulazi (Pi Fengwu) were created, having had a far-reaching influence. Zou Bixian created a new story The Legend of Feituo (or Fei Tuo Zhuan), mocking and satirizing influential persons in the ruling class, expressing the heartfelt wishes of the oppressed, and enriching the co<\/em>ntents of Yangzhou Pinghua.
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Artistically, Yangzhou Pinghua features vivid des<\/em>cription, carefully-co<\/em>nstructed structure, inclusio pattern and good order despite of intricate plot. Meanwhile, the performance has abundant details, the figure is quite distinctive and the wording is quite humorous and lively. The artists also paid attention to popularize the scenery of Yangzhou during the Pinghua creation and performance. In this sense, Yangzhou Pinghua was permeated with rich local color. Meanwhile, it was good at learning and adsorbing advantages of other art forms during the performance and paid attention to the application of oral stunts. wher, Romance of Three Kingdoms and Water Margin were two pieces of long works which were well received and had formed their own school. Li Guohui and Lan Yuchun (“Li School” and “Lan School”), who lived during the reign of Xianfeng Emperor and To<\/em>ngzhi Emperor in the Qing Dynasty were most famous artists telling the Romance of Three Kingdoms and had great influence. And, eight successors of Li Guohui was called “Eight Talents” (or Bajun) at that time, wherin, Kang Guohua was good at performing Ko<\/em>ngming and was known as “Live Kongming”. The style of telling Romance of Three Kingdoms created by him was called “Kang School”. Deng Guangdou was an artist famous for telling Water Margin and known as “Telling the Water Margin during jumping” due to his splendid ex<\/em>pressions and actions. Later, Wang Shaotang, while inheriting the storytelling art of predecessors on the Water Margin, had developed four “Shihuishu” on Song Jiang, Wu Song, Shi Xiu and Lu Junyi. He was called “Wang School Water Margin” due to the school of its own.
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The traditio<\/em>nal works of Yangzhou Pinghua encompass 3 categories: firstly, history stories, including East Han Dynasty (or Dong Han), West Han Dynasty (or Xi Han), Romance of Three Kingdoms, Sui and Tang Dynasties, Water Margin, The Legend of Yuefei, etc.; secondly, cases and chivalrous stories: Green Tree Peony (or Lv Mu Dan), Ba Qiao Zhu, Jiu Lian Deng, and Qing Feng Zha; and thirdly, myths, including The Legend of Deification (or Feng Shen Bang), Journey to the West (or Xi You Ji), The story of monk Chai Kung (or Ji Gong Zhuan), etc. After the founding of the People’s Republic of China, the long works Water Margin of Wang Shaotang, i.e., the four “Shihuishu” on Song Jiang, Wu Song, Shi Xiu and Lu Junyi, was prepared and published, so did Selections of Yangzhou Pinghua and Selections of Yangzhou Shuoshu. Meanwhile, Steel Meets Fire (or Lie Huo Jin Gang), Tracks in the Snowy Forest (or Lin Hai Xue Yuan), and Red Rock (or Hong Yan) were compiled and performed as per novels. Moreover, Xia Yun wrote the works of Marching towards North Jiangsu (or Ting Jin Su Bei), and Li Zhen had created The Record of Banning Opium in Guangling and some long, medium and short-length works. During this time, major figures highly skilled in this art include Wang Xiaotang, Wang Litang, Yu Youchun, Li Xintang, Hui Zhaolong, etc.
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Currently, Yangzhou Pinghua is co<\/em>nfronted with unprecedented difficulties such as declining troupes, aging audience, obsolete performing venues, and shortage of worthy successors. In this sense, its survival and development are facing severe challenges and it’s necessary to take efficient actions to protect the art.
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Inheritor(s):
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Wang Litang, Li Xintang, Hui Zhaolong, and Xing Yanchun
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