Sichuan Shadow Figure & Shadow Play

Dai Deyuan

（Ⅰ）

When did shadow play appear in Sichuan? It can’t be confirmed according to the limited data discovered at present. Though Introduction to Novels of Historical Materials of Qing Dynasty (1636-1911), Chapter II of Records of Unofficial History of Qing Dynasty, once said that there was a statement of “children loving to watch shadow play of The History of the Three Kingdoms” (220-280)made by the literary giant Su Dongpo, a native of Sichuan from Northern Song Dynasty (960-1127)，but it didn’t point out that the shadow play was performed in Sichuan. However，via investigation and interview made by researchers of shadow play arts， “it’s said by old artists that shadow play was introduced to Sichuan by Shaanxi merchants originally about 200 years ago”①. Such statement seems to be reliable.

About the introduction channel of shadow play to Sichuan. Early in 1941, a person subscribed as “Xiao Bai” once put forward such judgment in one of his articles as “shadow play in middle Shu might be introduced from the north”②.His judgment was reflected in Recreational Acrobatics in Chengdu, one section of Chengdu Overview in the years of Xuantong (1909-1911), at the end of Qing Dynasty, “shadow play in Shaanxi is Shaanxi opera which is popular even among children.” On the same page painted a real picture of artists dressed up as Shaanxi people performing shadow play with the accompaniment of gongs and drums. But Sichuan already had shadow play of local style at that time which could be performed together with “Shaanxi shadow play”. Play historian Mr. Dong Meikan also thinks in Talking about “Shadow Play” that “shadow play in the south is most popular in Sichuan, which has deep relation with shadow play in the north and may be introduced from Shaanxi shadow play. It’s said that in the middle of Qing Dynasty, many people from Shaanxi lived in Sichuan and entertained themselves by singing Shaanxi Opera and performing shadow play. Later local people also imitated these activities with shadow play troupes established gradually. And in the event of offering a sacrifice or redeeming a vow to the God, there were shadow plays. And shadow figure makers showed their special prowess in arts then.”

As to the time when shadow play appeared in Sichuan for the first time, though predecessors didn’t put forward certain views or proofs，we know that Li Diaoyuan(1734—1802), a retired scholar from Luojiang, Sichuan, who often “tapped hardwood clappers to teach young singers”,had lines in the poem  Shadow Play that “two hands control the motion of shadow figure, percussion instrument suddenly stops and then makes a sound. Both parties compete to conquer the city in a war, the triumphant party sitting idle and eating.” Though author of this poem reflected the world by play, venting his discontentment, it showed that there was “shadow play” controlled by two hands at that time from the perspective of literal meanings of the poem which was themed by a great war. Following abovementioned statement, some contents in Chengdu Zhuzhi Ci by the old man Ding Jinyan in the 10th Year of Jiaqing (1805) in Chengdu Xintaipingzhai publication can also be considered as the trace of Sichuan shadow play in early stage. The Ci showd that “shadow play shall be performed at night and it’s extravagant to make the light as bright as daytime. Yiyang tune and percussion instrument are used in the shadow play which will stop before daybreaks.” It also showed that in the period of Qianjia (1736-1820), Sichuan shadow play had a complete form of traditional opera with accompaniment of high pitch (Yiyang tune). It’s thus clear that the judgment of Sichuan shadow play appearing “about 200 years ago” is reliable.

The long-term developing progress of Sichuan shadow play demonstrates that its mature art form is finally represented by two regions—western Sichuan and northern Sichuan. Thus 2 art systems form in respect to Sichuan shadow play arts—Chengdu shadow play and northern Sichuan shadow play.

Figures of traditional northern Sichuan shadow paly are mostly within 33.3 cm in height with 11 joints all over the body and the head and hat connected, featuring convenient to carry and flexible to operate. While traditional figures of Chengdu shadow play are about 56.6 cm high with 13 joints in the body and the head and hat separated as independent parts which can be changed over or combined according to the demands of performance. Such figure features elegant in shape and varied in combination.

Performance facilities, shadow figures, operation & singing and other situations of Chengdu shadow play can be found in relatively comprehensive records of Shadow Play, Vol. IV of Record of Chengdu Stories which is the note recording information about Chengdu at the end of Qing Dynasty and in the early 20^th century by Zhou Xun, a native of Majiang, Guizhou:

In terms of site facilities, it’s recorded that “each province has shadow play, but Chengdu is equipped with the most exquisite facilities. In performance, artists would stab stakes on the stage with both width and length less than 3.3m, taking the white grass cloth weaved together by several textiles as the screen which is also called “Liang Zi”. In the daytime, the screen will be in the face of bright direction, while at night, there shall be light inside the screen to make it transparent and clear. Thus the performance is more suitable for night rather than daytime, and then shadow play gets its name.”

As to the shadow figure and structure of shadow play, the record showed that “the performance devices are all made of transparent cattle leather, hats, costumes and tools are carved as those used in theater. Each hat serves as a section, face as section and clothes & shoes as a section, which can be applied to two figures. The hat is 6.6 cm long and clothes & shoes are about 40 cm long, 47 cm long in total. The arm falls into 3 sections and foot as a section. These sections are all tied by strand to make them flexible and free. Fine iron wire is added on the back and short bamboo sticks measured by a long ruler cross the iron wires on the back and hand to make the figure show various shapes through operating the sticks by artists ...Decorative patterns on costumes and hats as well as faces of male roles, female roles, painted face roles and clown are all chiseled and immersed with various colors which, viewed under light, are distinct and clear, with no difference from drama.” The record also says that “tables, chairs and colored lanterns on the stage are all made of leather.”

In respect to operation & singing, the article says that “other singing arts, gong, drum and other instruments all comply with drama without any exception. But artists controlling shadow figure and singing are separated to echo with each other, just as “two-man comic show”. Sometimes an artist can both control the puppet and sing. The role of singing is easy, but the figure controller is the most difficult，for his each motion must make the shadow figure performing as a true person.” The so-called singing arts，gong and drum “complying with drama” refers that the singing tone and accompaniment of gong and drum in Chengdu shadow play completely adopt the form Sichuan opera, namely, all singers able to sing in a shadow play can perform Sichuan Opera, and vice verse. Just in terms of singing tone and gong & drum, singing in a shadow play is just as singing in Sichuan Opera. Thus Chengdu shadow play in old times always had an indivisible uniform relation with Shangba (one of the schools of Sichuan Opera divided according to regions, including northwestern Sichuan area centering on Chengdu) Sichuan Opera in respect to arts.

Early in 20^th century, Mr. Huang Yanpei once wrote in Jueju on Traveling in Sichuan in Sichuan Road poem group, “paper-cut in Luanzhou makes people unforgettable, while the fabrication of shadow figure in western Sichuan is more exquisite. Various shadow plays are performed gracefully under the screen, which are particularly popular among people.” The author’s note shows: cattle leather is carved as the shape of a person to perform various plays under the shadow of light, it’s named ‘shadow play’.” This Jueju by Mr. Huang and its note recorded his impression on prevalence state of shadow figure and shadow play in Sichuan at that year. Thus we know that Sichuan shadow paly at that time not only won great praises from persons outside Sichuan, but also had become an important part of the cultural life of Sichuan masses, being “extremely popular” and “more exquisite in fabrication” with shadow figure as a kind of folk artware and shadow play as a form of folk drama.

Just as what Mr. Dong Meikan once said that “in the event of offering a sacrifice or redeeming a vow to the God, there were shadow plays”, the prevalence of Sichuan shadow play indeed had close relation with local customs at that time. Since Qing Dynasty, there had been “Land Societies” formed by neighbors along each street，which，in the name of making sacrifice to the gnome, actually aimed at getting in touch with neighbors via the street organizations to facilitate their mutual aid and cooperation. At that time, before and after each Tomb Sweeping Day, each Land Society would organize financing activity by the founder to invite a Taoist to open an altar and chant scripture and make penitence for 7 or 9 days, which was called “Da Qing Jiao” In such a period, those rich blocks would get together to invite large troupe to perform Sichuan Opera in a Taoist temple or on the stage of a club. Those with less money would invite a shadow play troupe nearby to set up a stage facing the street or pitch a screen in a courtyard to perform puppet show or shadow play. Just as the record in Qing Jiao, Vol. VI of Record of Chengdu Stories, “exorcism is an ancient ritual to expel pestilence in the three dynasties, which is held by fellow villages annually to exorcise unauspicious things. Qing Jiao held in each street of Chengdu also inherits such meaning. Qing Jiao is supported by funds from Land Society with about 3 or 4 streets as a zone. Though all zones are different from each other in funds, they will also hold Qing Jiao every year. The Land Society will finance by donation of each household along the street when Qing Jiao is drawing near. Those of solid financial foundation can enjoy dramas in street temple, while others can appreciate shadow play performed on the stage set up in the street. The periods of Qing Jiao in all zones are different from each other from the beginning of February to the end of April.”③ In addition, Habit of Performing Dramas on New Year’s Day, in the middle of Periodical 12 of Recreational & Leisure Record published in the yearl915 records another custom, “in terms of traditional customs in Sichuan, there are full-scale dramas and shadow plays at the beginning of a year, including Yinfeng Building, making fun of Dou Yi，Coin Tree, etc., all of which symbolize auspiciousness. This is one of the customs on New Year’s Day.” Besides, Shadow play of Record of Chengdu Stories also records that in the early 20^th century, some families in Chengdu, “in the event of birthday or happy occasions, would entertain guest with this (shadow play) if they have no capability of inviting a troupe to perform dramas or must celebrate the occasion at home.” According to the memory of the old，other sacrificing activities or festivals such as “Wenchang Society”， “Niangniang Society” or during Spring Festival and celebrating child’s birth on the 100^th day, also had shadow plays celebrating the happy occasions. In other regions of Sichuan, shadow plays were also performed in many sacrificing and entertainment activities. As the record in Jiangyou County Annals, in Jiangyou, “on June 6, peasant families are all showing their crops to pray for a good harvest and entertain themselves by shadow plays sometimes”. Daxian County Annals also records that “villagers in countryside also love plays. There are seedling plays for praying for a good harvest and expelling pests and will plays for sacrificing the God after rehabilitation, which are all puppet shows or shadow plays, for such plays cost a little and it’s easy to set up the scene.” Shadow play arts served the folk customs and the frequent folk customs also promoted the popularization and development of such arts. Holding activities, performing plays, sacrificing the God and entertaining the people were combined into a local custom of wider significance, endowing these continuous folk activities with richer art colors and increasing their culture connotations and local features.

On the other hand, since the tune, gong & drum and other instruments in Sichuan shadow play are completely identical with Sichuan Opera, amateur Sichuan Opera activities all over Sichuan have provided numerous occasions and channels for the popularization and transmission of shadow play arts for a long term.

In Sichuan, people call the amateur performing Sichuan opera as “hobbyists”. Since the end of Qing Dynasty, there was a “hobbyists box” almost in each “clique” of all industries in Sichuan town and village and gang “wharf ”. Members of these hobbyists associations, except singing Sichuan Opera or performing shadow play without makeup and acting on “sentry day” (meeting day) of the association，also had the habit of “visiting wharfs” and “meeting friends”. Members of some hobbyists associations without shadow play setup often visited other associations of shadow play, singing Sichuan Opera and performing shadow play to entertain themselves and add interest. Persisting in doing so, lots of hobbyists cultivated and deepened their emotions and interest on shadow puppet arts, becoming fans of two kinds of dramas. Lan Shaoyun, a famous drummer (bandmaster) of Sichuan opera, participated in amateur performance of shadow play in Chengdu “Fushoutu Shadow Play Association” when he was young. He formally acknowledged the drummer Hu Shaoshan in the association as his teacher in the 13^th Year of Guangxu in Qing Dynasty (1887) and then formally stepped into the field of arts. Some roles famous in the arts circle of Sichuan Opera, including Huan Huaxian (female), Jia Peizhi (male, painted face), Cai Rulei (painted face), Tang Xiaowu (young male) and famous accompanist Ju Zicai, also performed the shadow play at first, then entered into the arts circle and became renowned. The long-term shadow play arts activities also create a bath of remarkable talents in Sichuan Opera for professional drama groups objectively.

Due to the transmission of foregoing folk customs and frequent & popular activities of Sichuan Opera hobbyists, shadow play arts permeated into cultural activities in Sichuan in a large-scale and multichannel manner. Even in “products in variety shops in Chengdu” listed by Chengdu Overview at the end of Qing Dynasty, “shadow figure” was listed as children toy in “household daily necessities”. In the mid 20^th century, though shadow puppet arts in Chengdu went downhill day by day, the toy named “paper shadow figure” could also be purchased on the New Year toy booth in the street of Chengdu.

It’s reasonable to think that the popularization of Sichuan shadow play at the end of Qing Dynasty and at the beginning of 20^th century, and frequent activities held by Sichuan Opera hobbyists stimulated the development of shadow play and confirmed the great prosperous state of Sichuan shadow play arts in such period.

（Ⅱ）

In the history of Bashu opera, there have been several hundred Sichuan opera troupes in record, and as to shadow play, “those troupes with excellent tune were not less than drama troupes”④. The book also records that, at the end of Qing Dynasty and early years in the 20^th century, “in respect to shadow play troupes with complete configuration in the province, we would firstly refer to Wang's Massion and female role Hongqin which boasted sound devices. There were 16 such troupes in total in the province”， “shadow play performed at night shall cost 2,500 coins, and for a whole day shall be 4 diao (one diao=l，000 coins).” For another example, “there was a person with surname of Tang in the province, who had worked as an artist controlling puppet for several ten years since young, with high proficiency and perfect skill. The person was elected as the leader in the circle later. Complete common configuration for a shadow play troupe cost just a thousand pieces of gold.” Troupes with such configuration and sound devices could also remind us of “a troupe organized by the person with surname of Song who was rich and extremely fond of shadow play. Each shadow figure made by the person was particularly exquisite in both caving and dyeing. In addition to ordinary devices, the troupe was also equipped with figures of gods & spirits, birds & beasts, etc. During performance, such shadow figures were extremely vivid, as lively as the prototypes, which could be made for 1 or 2 years and cost more than 3,000 or 4,000 pieces of gold.” “The troupe charged about 3,000 coins for the performance of a night with the fees doubled for a daytime and a night”⑤. “The person with surname of Tang in the province” in above part may be “Pock Tang”, an expert in controlling shadow figures, referred in Its Golden Age of Declined Chengdu Shadow Play by Xiao Baizai. It records that“ in last years of Qing Dynasty, Chengdu shadow play was in full flourish. Renowned troupes, to the best of my knowledge, were ‘Ruini Troupe’ and ‘Jiucheng Troupe’. Pock Tang was an expert in controlling puppets; female roles were Gu Lu, Luo Gaobei and Yuan Shou, namely, Huan Huaxian on the stage; the male roles were Mao Liangchen and Liu Runsheng; the painted face role referred to Bao Yiru (note by the author: the person was also called ‘Leopard’, who enjoyed great reputations for performing The Three Kingdoms with the style of Liu Jingting performing Water Margin); Zhou Kesheng and well-known Boss Jia Peizhi were also good in shadow play. It’s thus clear that the value of shadow play at that time was extraordinary.”

The abovementioned “Yuan Shou, namely, Huan Huaxian on the stage” performing shadow play has been introduced in Knowledge on Characters in Sichuan Opera written by Tang Youfeng, a native of Leshan, in February 1937. Its first edition Part of Famous Artists • the Late Artists • Young Females records that “Huan Huaxian referred to Li Shaowen with infant name of Yuan Shou, a native of Shaanxi, growing up in Chengdu...Shaowen firstly performed Wei- drum (sitting & singing, a form of Sichuan opera) and then set up Jiucheng Troupe to perform shadow play. In 1914, Shaowen, together with the famous male character Jia Peizhi and other persons, joined in Jinhua Association (a Sichuan opera hobbyists association founded in Chengdu in 1914) and ‘became a professional in arts circle’ in 1915.” Preface Presented to Huan Huaxian in the Drama, vol. 7 of Recreational & Leisure Record published on October 16, 1914 also refers that “Huan Huaxian was female role of the new Jinhua Association...originally good at shadow play.” As to the issue that Jia Peizhi performed shadow plays,      Painted Face of Existing Artists in the same book also says that “Jia Peizhi ...has become famous in arts circle in 1921 and enjoyed great reputations among shadow play troupes.” At the same time, Tang Youfeng also refers to another well-known singer in the top batch of artists, “Song Runsheng, a native of Wenjiang, with cultural foundation. He once set up a shadow play troupe in Chengdu in his early years, serving as the painted face character. Good at singing with resonant sounds, he enjoyed great reputations for Mount Wutai, Mount Jiuli and other plays and was called “Overlord Song”. When he was old, he stopped performing shadow play and returned to his hometown, but often participated, in Wei- drum.” Whether he is foresaid person with surname of Song who “was rich” can’t be affirmed. In terms of troupes, details about Hongqin Troupe and Ruini Troupe are unknown, while “Wangongguan” may be the house of Wan Zibo referred in the following. As to Jiucheng Troupe, there is some information in Section 1, Chapter III of Record on Sichuan Opera in Jintang County complied by Luo Jinzhi, which goes like that “during the first half of the 20^th century, Jiucheng Troupe of Jintang shadow play, primarily organized by Luo Yi’an, had exclusively performed huqin and Kunqu operas for 7 or 8 years in Chengdu. The famous female role Huan Huaxian and male role Jia Peizhi for Sichuan opera at that time exactly performed shadow plays in Jiucheng Troupe firstly and then “became professionals in arts circle’.” Li Shuchen, an old artist of Sichuan opera, also recalled his personal experiences of setting up Jiucheng Troupe in his oral Information on Troupes & Associations for 50 Years (1893一1949), saying that “Jiucheng Troupe was a shadow play troupe originally Huan Huaxian came from. Shadow play was extremely particular about tune. Luo Gaohua, the teacher of Huan Huaxian, though with pocks in all the face, boasted smooth and perfect tune which was pleasant to the ear and rich in changes. Unfortunately he fooled around war and was hard up & depressed for the whole life. Thus he got the name Luo Gaohua while his true name was rarely known by people. Representative plays of Jiucheng Troupe are Nanhua Hall, Zhuzi Country, Lotus Lantern, Biyou Palace, etc. If die troupe sets up Shidian（figure modeling pictures showing “the netherworld” on an opera stage), many large drama troupes are not a patch on it. Quite a few plays in Sichuan opera are introduced from shadow play. Later, a batch of hobbyists in Chengdu founded Jinhua Association, who were fans of Huan Huaxian for the most part and soon gifted the shadow play box to Huan Huaxian who established Jiucheng Troupe again in 1918.” Since then, Jiucheng Troupe becomes a shadow play troupe of great influences in Chengdu area.

In the early 20^th century, there were quite a few renowned shadow play troupes in western Sichuan:

In Guanxian (now Dujiangyan City), there was the “Qinglong Pidazi Troupe” formed by over 10 Sichuan Opera hobbyists led by Qin Zixuan in the Guangxu Period of Qing Dynasty. The troupe also carried out performances on temple fairs in various places within the county. In 1935, Sichuan Opera hobbyists from Zhongxing Township, including Liu Fengxiang and other persons, organized and founded “Wuxiantang Shadow Play Troupe” for frequent performances. Both the two troupes were energetic but stopped their performance in 1949.

In the early 20^th century, Sichuan Opera hobbyists associations such as “Lingyin Association”，“Shengyou Association”， “Juntianle”，etc. from Chengguan，Xinjin County organized to perform shadow plays. In 1929, Li Ji’an and Zhou Shouyan from Wenjing Township as well as Lu Haishan from Taiping Township headed to found a shadow play troupe. Lu Haishan was extremely skilled in controlling the puppet which was flexible and free under the control of him. Talking & singing and puppet’s movement were coordinated and combined closely, thus the troupe enjoyed great reputations in several adjacent counties.

In the early 20^th century, Zhang Shixian from Chongqing County (now Chongzhou City) set up a shadow play troupe; Yao Pingshan from Huaiyuan Town organized “Yunshao Association” at the same period to perform shadow play in adjacent townships of Huaiyuan Town. Later Li Shaozhang from Chengguan also entertained himself by shadow play, made a shadow play box, employed others to manipulate the shadow puppet, and invited Sichuan Opera hobbyists to sing accompanying the play behind the screen. On every occasion of festivals, he would organize recreational free performance on the stage of Qijie Street in downtown area.

By the end of Qing Dynasty, there had been shadow play performance in Shuangliu County. In the 1910s, there were another 2 shadow play troupes in the country, namely Zoujiachang (now Longchi Township) and Huayang Gnome Temple (now Yongxing Township). In 1930, the gang head in Zhonghe Township, Huayang made a shadow play box for self-entertainment. In 1941, Li Zesheng brought in singing performance of paper shadow play, attracting quite a few fans. And then he prepared devices for shadow play and carried out performances in towns and cities for many times.

Other famous shadow play troupes recorded by the history in Chengdu area are Tianle, Changle, Changqing, Chunle, Junya, Fulin, Quanya, Shengya, Jinsheng, Yusheng, Tongchun, Tongqing, Tongle, Yongni, Jinyu, Wenxin, Mingsheng, Hongchun, Yuquan, Jinlv, Tongyong Nichang，etc. Though here doesn’t list all such troupes, we can still see a segment of a whole.

Though Chengdu shadow play once declined from the 1930s to early stage of the 1940s，then 6 or 7 troupes including Huwo Music Association ensued to set up. Renaissance in Recent Years signed by “Xiao Bai” and published in Drama Elites magazine in June 1947 recorded the situation at that time that “in the past, it’s said that a foreigner is collecting and purchasing shadow figures with huge sum of money, which would be transported to his country for display in museum. At that time, Lou Zhongguang, a well-known figure in financial circle, loved music very much and didn’t want to see the loss of such inherent arts, so he purchased the remains of Wan Zibo regardless of money and invited technicians to renovate these remains, finally changing the name as “Huwo Music Association” for treasuring these devices for shadow play. This was the rare survival with value of development. In addition to collecting or newly making such devices, there are still 5 or 6 shadow play boxes in Chengdu now, but the box in Huwo is the most exquisite. In 1944, the box was exhibited outside the Fuxingmen (now Binjiang Road) for several months, becoming popular among social elites.” Besides, as successors of the famous artists, many shadow play fans also cooperated with other to develop the shadow play. The article continued to say that “as to existing famous characters such as Xu Jian’an (note by the author: nickname: Xu Wanben), male role; You Huazhai, puppet controller, male role & young male role; Yang Wanbin, old male role; Tanhua Pock, painted face role and shadow figure controller; Huang Jinsheng & Zhou Fuchen, female role, there are many intelligent & well-educated persons participating for research. The shadow play has a bright future with hope to be revived within 10 years.”

“About 5 or 6” shadow play troupes in Chengdu at that time referred in the article mean Wenwu Association, Qingyin Pavilion, Jingcheng Club outside the Fuxingmen and Huwo Music Association.

Shadow figures in Huwo Music Association was larger than ordinary ones, and was made by skillful craftsmen. By exquisitely cutting, the shadow figure was gorgeous and delicate, while the figure head was vivid and extravagant. Configuration (interior furniture & furnishings such as table and chair on drama stage and in the picture of shadow play) and stage properties were absolutely complete. In addition, many of the hobbyists in Huwo came from shadow play troupes, competent in controlling shadow figure and singing. Plus the old skillful figure controllers Zhou Ziquan and Wang Futing (performing painted face, as well as beating the hammer), Huwo doesn’t lack artists anyway. The hobbyists often performed shadow plays to avoid summer heat in Jingcheng Garden outside Fuxingmen or in the pavilion in the backyard of Bank of Chongqing, Chunxi Road North at night of summer, generally performing Post-Lei Feng with changeful pictures, Dao Da Mao Ben in high pitch mingling with huqin, especially Nanhua Hall and Against Jizhou performed by Zhou Ziquan who controled the shadow figure serving as Ms. Tian and Su Daji perfectly to make their performance subtle, vivid and lively. The author often went to enjoy the plays with father and brothers when young, and remains fresh in the memory now.

Huwo Music Association was the last amateur troupe of great influences in Chengdu before the foundation of new China, whose artistic activities lasted 10 years with great honors from its establishment in 1939 to the beginning of the 1950s, leaving a magnificent page in the history of shadow play arts in Chengdu.

In terms of northern Sichuan shadow play, Culture Bureau of Nanchong prefecture once made all efforts to organize cultural workers to carry out comprehensive and deep investigation on the ancient arts at the end of the 1980s. It turned out that there existed lots of shadow play troupes in the city and counties subordinate to Nanchong prefecture, including 4 such as Tian Hongcheng in Nanchong City, 22 such as Zhu Baigao and Shadow Play Team in Dongguan Village in Nanchong County, 12 such as He Zhengtong Township and Guangzong in Nanbu County, 6 such as Underfeed, Wry Mouth Li (both were nicknames) and Wang Wenkun in Langzhong County, 3 such as Erdao River in Yilong County, 2 such as Hubai Weizi (nickname) in Yuechi County, 3 such as Zhao Jiuheng in Yanting County, 2 such as Longshan Township in Cangxi County, and 8 respectively in Shaozhe, Wangcang, Bazhong, Kaijiang, Peng’an, Jian’ge, Guangyuan and Tongjiang. Before this, the Party Committee of Northern Sichuan of the CPC and the Administrative Office of Northern Sichuan held Shadow play, Puppetry and Printed Picture Workers Conference in 1951. According to statistics at that time, there were 145 shadow play troupes and associations in the 36 counties (cities) subordinated to northern Sichuan. Unfortunately, the data about the names of such troupes and associations in the statistics has been lost and can’t be provided.

In numerous shadow play troupes in northern Sichuan, there are also many well-known artists. Amongst skilled craftsmen carving the figure are Zhong Huanzhang, Liu Hongshun, Wang Daguo, etc. who are known to us. Human-like figure made by Zhong Huanzhang is beautiful and delicate, forming his own unique style, being popular among the audiences. Since Zhong Huanzhang died Guo Zhengquan, Feng Haiyun, Feng Dequan and other craftsmen followed his way, in which，Guo Zhengquan was called “Shadow Puppet Guo”，a native of Xichong County. He has absorbed the carving method of “Convex Carving” for making shadow puppet in Weinan, Shaanxi, and combined the modeling of northern Sichuan shadow puppet. Compared to Feng Haiyun from Nanchong good at carving ^“local shadow puppet^” and Feng Dequan from Langzhong, each has his own merits and develops a unique style. In respect to shadow puppet controllers, through interview of investigators dispatched by Culture Bureau of Nanchong prefecture on some shadow puppet artists in 11 counties (cities), there are over 500 controllers remembered, including Yang Wusheng, Yang Xiaochu, Li Shiwen, etc. In recent years, He Zhengtong from Mawang Township, Nanbu County and Wang Wenkun from Langzhong County have become worldwide famous artist families of Shadow play.

He Zhengtong was the leading “master”（singer controlling the shadow figure) of He’s Shadow Play Troupe. His grandfather He Fulin was expert in shadow play early in Qing Dynasty, who handed down the skills to his 3 sons，while the youngest son He Nanshan passed the skills to his first son He Zhengtian and the second son He Zhengtong. He Zhengtong learned to perform shadow play since he graduated from junior high school in 1960, and bought a shadow play box from Shadow Puppet Guo (Zhengquan) in Xichong after being demobilized from the army and returning to his hometown in 1973. Then he often made a performance tour in surrounding villages and towns, performing plays such as Double Lotuses inherited from his father. To enrich the play and make exploration & innovation, he used shadow puppet to perform Sichuan operas such as Tan Ji’er, The Case of Chen Shimei, Eight Clothes, and other high-pitched plays，presenting audiences with a new appearance.

Wang Wenkun was the older one in the twins born in 1942 in Wang’s family and had followed his grandfather Wang Renhe to learn clay sculpture, wood carving and shadow puppet carving since young, and learned to sing and beat the gong & drum in the shadow puppet troupe organized by his father Wang Yuanshun since 12 years old. In 1942, Wang Wenkun acknowledged Li Yunting，an artist in Feng Chaoqing Shadow Play Troupe in Dongba Town, Nanbu County, as his teacher, then followed the troupe to carry out performances in Ma’antang, Xichong County, and bought the whole set of shadow puppets of the troupe. Gradually he learned to carve shadow figure, and finally became an all-round talent in the aspect of drawing, carving, operating (controlling shadow figure), singing and beating (gong & drum). In the middle of the 1950s, it was the climax of national agricultural cooperation. Wang Wenkun devoted himself to agriculture and still engaged in papercutting. By the 1980s, his works such as Good Harvests Guaranteed by Water Conservancy, Crowing Picture, etc. participated in provincial or municipal fine arts exhibition or were published on newspapers and magazines. In August 1988, Wang Wenkun, on invitation, brought his family shadow play troupe, 4 persons in total, to participate in the world art festival for several performances in Vienna, the capital of Austria. Magic Mirrior, Yin-Yang Fan, potaoh Mountain, Conquering Golden Dragon and other myth shadow plays feasted Austrians’ eyes. The former president Schlesinger of Austria brought his families to enjoy their performance and took a group photo to mark the occasion with Wang’s family. In the play Yin-Yang Fan, Wang Wenkun controlled the performance of two brothers Huang Fu and Huang Pin contending for money. The two, never compromising, spared no efforts to get the money with weapons in their hands. Huang Pin hacked his elder brother Huang Fu who immediately spurted blood in the head，but the “Liang Zi”（screen) wasn’t bloodied. While Huang Pin was also tired in the fighting with his elder brother, standing on the side with the bloody steel knife in one hand and taking deep breath with the chest up and down. Their movements were as vivid as true persons, shocking all the audiences. Since Wang Wenkun was an all-round talent, the CCTV played a feature programme Shadow Play Master recording Wang Wenkun’s over 60 years artistic life in the prime time.

Shadow play artists of Chengdu , northern Sichuan and other prefectures of Sichuan from Qing Dynasty till now, no matter well-known or unknown, will be always remembered in our mind for their contributions to the introduction, popularization, transmission, innovation and development of Sichuan shadow play arts.

Note:

①Sichuan Shadow play, Guo Changlin, bimonthly to Sichuan, Periodical 3,1963

②Declined Chengdu Shadow Play, West China Evening Paper, Aug. 2, 1941

③Information about such customs can also be found in Land Society and Tomb Sweeping Day, Section 1.2 of Social Style & Features, Chapter VII of Miscellaneous Record Part of Investigation on Historic Sites in Chengdu Lanes

④Recreational Acrobatics in Chengdu from Chengdu Overview by Fu Chongju at the end of Qing Dynasty

⑤Record of Chengdu Stories • Shadow Puppet by Zhou Xun

● Dai Deyuan

Researcher of social science, director of China Opera Society, member of China Society for Popular Literature and Art Research, executive council member of Sichuan Opera Theoretical Research Institute of Sichuan Province, council member of Chengdu Local Record Association and Chengdu Local Record Reviewing and Acceptance Committee, former vice director of Chengdu Sichuan Opera Arts Research Institute and vice president of Chengdu Sichuan Opera Theater and the art advisor of Chengdu Bureau of Culture. Works published include: Historical Materials of Sichuan Opera, a drama collection: Shu Feng Xi Yu, a book for children: Facial Makeup and Face Changing in Sichuan Opera, scripts of Sichuan Opera such as Substituting Service, Borrowing Costume and Yunnan local opera Unfaithfully Yours. Research projects presided over by him and personal works have been granted with many national, provincial and municipal awards.

The article reproduced from  The 21^st UNIMA Congress & World Puppetry Festival Thesis Compilation