Maximum visitor capacity of the scenic area: 85,901 visitors; instantaneous carrying capacity: 18,800 visitors.
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Folk culture
04-02
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
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.