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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.
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.
Xuanjuan, also known as “hanging‑scroll storytelling,” is a form of Buddhist preaching whose narratives consistently urge listeners to cultivate virtue and perform good deeds. In folk traditions such as birthday celebrations, infant hair‑cutting ceremonies, Buddhist chanting, and the ritual of “dangtou” (purification from blood‑stained defilement), Xuanjuan performances are often invited. Typically, two performers take turns reciting, accompanied by the wooden fish and bronze chime; following the script of the “Baojuan,” they alternate between spoken narration and sung verses. In rarer cases, multiple performers assume distinct roles, delivering dialogue and singing in a style akin to the “tangming” tradition.
Before the 1950s, Luozhi Xuanjuan performances were held at temple fairs, during ritual ceremonies such as “dangtou” (purification of blood and filth), star‑reading rituals, and offerings to star officials. By the late 1980s, these performances had gradually expanded to folk events like weddings, birthday celebrations, baby‑hair‑cutting ceremonies, and rites marking a girl’s thirteenth year or a boy’s sixth year. During this period, the silk‑string Xuanjuan underwent notable changes and developments: female performers—known as “kun jiao”—joined the tradition, breaking away from the longstanding practice of having only two male reciters. Multi‑member troupes emerged, with one lead reciter accompanied by one or two female performers, and traditional folk music was introduced as accompaniment.
In June 2011, Luzhi Xuanjuan was successfully inscribed on the fifth batch of Suzhou’s List of Representative Intangible Cultural Heritage. In October 2012, Xuanjuan performer Jiang Genquan was recognized as a representative inheritor of the third batch of Suzhou’s intangible cultural heritage projects.
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