Maximum visitor capacity of the scenic area: 85,901 visitors; instantaneous carrying capacity: 18,800 visitors.

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Luzhi

Historical figures

Yang Huizhi

Yang Huizhi was the sculptor of the Arhat statues at Baosheng Temple and a renowned master of sculpture during the Tang Dynasty.

Wang Tao

Wang Tao (1828–1897) was a renowned modern political commentator, journalist, and literary figure. Originally named Wang Libin, he adopted the courtesy name Zijiu in his youth, later changing it to Lanqing. After entering the county school, he took the name Wang Han, with the courtesy name Laijin; subsequently, he renamed himself Wang Tao, with the courtesy name Zhongqian, also using the pseudonyms Zipian and Ziquan. He styled himself Tiannan Dunshou and Taoyuan Laomin, among others, and was a native of Fuli in Yuanhe, Qing dynasty. At the age of eighteen, he entered the county school with top honors; after failing the provincial examination at nineteen, he opened a private tutoring school in Jinxi Town to teach students.

Lu Guimeng

Lu Guimeng (c. 830–881), courtesy name Luwang, was a renowned literary figure and agronomist of the Tang dynasty. Born into a distinguished family, he served as an official in the administrations of Huzhou and Suzhou. Frustrated by his career’s lack of advancement, he retired to Fuli in Songjiang (present-day Luzhi Town), where he led a life devoted to both farming and scholarly pursuits. In Luzhi, he not only left behind a substantial body of poetry and prose but also immersed himself in agricultural practice, authoring “Laisi Jing,” the first specialized treatise on farming implements in Chinese history, which exerted a profound influence on subsequent generations of agricultural scholarship.

Ye Shengtao

Ye Shengtao (1894–1988), born Ye Shaoyun, was a native of Suzhou, Jiangsu Province. He was a renowned modern Chinese educator, writer, literary publisher, and social activist. For nearly five years (1917–1922), he taught at the Fifth Higher Primary School of Wuxian County, located in the ancient town of Luzhi in Suzhou—now the Ye Shengtao Memorial Hall. He regarded this period as “the true beginning of both his educational and creative careers,” and affectionately referred to Luzhi as his “second hometown.”

Folklore

Folk culture

04-02

Luzhi Xuanjuan

Xuanjuan evolved under the influence of the Tang dynasty’s “suhang” practiced by Buddhist lay believers, the Song dynasty’s “shuo jing,” and later traditions such as guzidiao, zhugongdiao, xiwén, and zaju. By the Zhengde period of the Ming dynasty (1506–1521), the term “xuanjuan” came into use, and printed editions began to circulate. During the Daoguang and Xianfeng reigns of the Qing dynasty (1821–1861), xuanjuan spread to Luzhi. In Luzhi, xuanjuan is divided into two main forms: muyu xuanjuan and sixian xuanjuan.

04-02

Luzhi Lianxiang

Lianxiang, also known as Lianhua Luo or Bawang Bian, is a traditional dance beloved by many ethnic groups. The origins of Luzhi Lianxiang can be traced back to the Song Dynasty. As times changed and the Taiping Rebellion facilitated cultural exchanges between northern and southern regions, by the Xianfeng period of the Qing Dynasty (1851–1861), its present basic form had largely taken shape. Lianxiang is crafted from slender bamboo poles just over one meter in length; each end is carved with two hollow sections and fitted with copper coins, while several strands of colorful velvet thread are tied near the joints to enhance its visual appeal. Some performers even paint the bamboo poles in vibrant hues.

04-02

Women’s Attire of the Luzhi Water Town

According to archaeological findings from artifacts unearthed at Chenghu Lake, as early as five to six thousand years ago, the ancestors of the Luzhi region had already mastered rice‑cultivation techniques. Over the long term, local women, in the course of engaging in paddy farming, gradually created and developed distinctive women’s costumes characteristic of the Wudong water‑towns, including headwraps, large‑collar patchwork shirts, and split‑crotch skirts and trousers. These garments are primarily concentrated in the Wudong water‑town area—centered on Luzhi and extending over 360 square kilometers to encompass the surrounding towns of Chefang, Xietang, Shengpu, and others. Among them, the women’s attire of Luzhi’s rural communities is considered the most beautiful and serves as a quintessential representation.

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