Shadow puppetry, which originated during the Western Han Dynasty (BC202-AC8), has a history of thousand years. It is a traditional folk theater where stories are told by projecting silhouettes of characters made from animal hides or cardboard onto a screen, using light. The puppeteers manipulate the figures from behind the screen while narrating the story through local tunes, accompanied by percussion and string instruments. This simple yet charming art form has long been beloved by audiences.
When it comes to Beijing shadow puppetry, almost all older Beijingers are familiar with it. There was a troupe called Deshun Ban next to the temple on Xisi North Street, led by a man named Lu, also known as the Lu family troupe. It’s said that the Lu family originally hailed from Shenyang in Northeast China and moved to Beijing in 1644, settling in Lujiazhuang, Changping. Lu Guangcai was the first one to perform shadow puppetry in his family, who had a deep passion for shadow puppetry from a young age, apprenticed to learn the craft, left farming, and joined a troupe in the city. His son, Lu Decheng, followed in his footsteps and founded the “Xiangshun Shadow Puppetry Troupe” at the west entrance of Tangzi Hutong, Xidan North Street. Lu Decheng’s son, Lu Fuyuan, learned the craft in his youth. As an adult, he established his own troupe, Fushun Shadow Puppetry Troupe, at the west entrance of Banshang Hutong, Xisi South.
Lu Fuyuan’s second son, Lu Zongyou, was the fourth-generation inheritor of the Lu’s shadow puppetry. With strong passion, he was determined to reform the traditional shadow puppet melodies passed down by his ancestors. After failing to convince his father, he founded his own troupe, Deshun Shadow Puppetry Troupe, at the west entrance of Maojiawan, Xisi North Street. He abandoned the use of large gongs and cymbals for accompaniment, replacing them with Peking Opera percussion instruments. He also integrated elements of Beijing Opera to innovate the shadow puppet melodies. His bold reforms set the Lu’s shadow puppetry apart from other troupes in Beijing, laying the foundation for the Beijing Western School of Shadow Puppetry.
The fifth generation of the Lu’s shadow puppetry was represented by Lu Zongyou’s five sons. The eldest son, Lu Jingkui, played Chou and was known as “Lively Zhu Bajie”. He was also an excellent sanxian (a traditional three-stringed instrument) player. The second son, Lu Jingtong, specialized in the role of the Dawusheng, with a powerful voice, and also mastered puppetry manipulation. The third son, Lu Jingda, excelled in controlling the puppet figures and had unique innovations in designing and carving them. He incorporated elements from Beijing Opera facial makeup to create shadow puppets, forming the distinctive style of Beijing Western School shadow puppetry. The fourth son, Lu Jingping, played the lead strings and also performed various roles, including Hualian, Laosheng, and martial roles, mastering all the necessary skills.
Lu Hai, over 70 years old, is the second son of Lu Jingping and the sixth-generation inheritor of the Lu’s shadow puppetry tradition. He is also a member of the Beijing Toy Association. Starting at the age of six, Lu Hai began learning the craft from his elders. By 14, he joined the Beijing Shadow Puppet Troupe and officially started his apprenticeship, beginning with learning to play the small and large gongs. Through rigorous practice, he quickly mastered the techniques of percussion. Before long, he became a drummer and took on a lead role in the performances. Lu Hai explained that shadow puppetry performers need to be versatile; they must learn not only how to manipulate the puppet figures and perform different roles but also how to play various instruments such as the sanxian, yangqin, tanggu, and small gongs. Additionally, they must learn how to make shadow puppets, a goal Lu Hai has been striving towards.
Over his 60-plus years in shadow puppetry, Lu Hai has mastered every aspect of the art. He is particularly accomplished in designing and carving shadow puppets. His designs are elegant and grand, and his carved puppets exhibit a perfect balance of complexity and simplicity. His meticulous carving techniques highlight intricate details with clarity and transparency, and the smooth, natural lines showcase his refined skills. Lu Hai’s use of vibrant colors adds a noble and vivid quality to the puppets, blending tradition with innovation while preserving the aesthetic of shadow puppetry.
The Lu’s shadow puppet-making techniques have distinct characteristics, especially in the areas of drawing and carving. The emphasis is on fine, delicate craftsmanship, with puppet figures that are natural and expressive. These creations not only conform to the principles of projection but also embody aesthetic qualities, making them treasures of the shadow puppetry.
Lu Hai described the Lu’s shadow puppetry performances as embodying the principles of steadiness, precision, forcefulness, and gentleness, along with words, flavor, breath, and strength. These elements represent the internal and external skills of Lu’s shadow puppetry and are key to its unique artistic appeal.
In an interview, Lu Hai explained that creating a seemingly simple shadow puppet involves complex procedures. First, high-quality animal hides is selected, which is then subjected to 24 steps, with over 3,000 cuts made by hand. The main steps include selecting materials, typically using hides from six-year-old cows or donkeys, soaking, scraping, and polishing the hides to a semi-transparent state, then drawing and carving various figures, props, landscapes, and animals on the hides. After coloring and drying, the hides are pressed flat and either ironed or baked, allowing the colors to bond with the hide at a suitable temperature. Finally, the puppet figure is stitched together, usually consisting of seven parts: head, chest, abdomen, arms, elbows, hands, and legs.
Lu Hai demonstrated with a shadow puppet piece, explaining the critical step of carving wheel-shaped joints, known as “bone eyes”, at each movable joint. Once completed, three bamboo sticks are attached to serve as control rods—one for the chest and two for the hands—allowing the puppet to perform a variety of dynamic actions such as running, standing, sitting, lying down, rolling, crawling, and fighting under the puppeteer’s control.
Throughout his long career, Lu Hai has achieved significant artistic success, and the social reputation and appeal of shadow puppetry have grown increasingly strong. Media outlets like Beijing TV, CCTV, the Science and Education Channel, Beijing Evening News, Beijing Youth Daily, and the Public Welfare Times have all covered the Lu’s shadow puppetry. Schools and communities have frequently invited the troupe to perform. However, Lu Hai is deeply worried that there are no successors to continue the Lu’s shadow puppetry tradition. Today, creating shadow puppets can no longer support a family, and even the younger generation of the Lu family is unwilling to continue. Lu Hai is heartbroken, knowing that the 300-year-old tradition of the Lu’s shadow puppetry may end with him.
Currently, Lu Hai’s apprentices come from Zhejiang, Hebei, Beijing, and other regions, with an average height of only 1.25 meters and ages ranging from 19 to over 30. Lu Hai mentioned, “I posted a job ad online, and that’s how these young people got in touch with me.” He praised his “diminutive” apprentices, saying, “Despite their short stature and lack of prior experience, they have quick minds and exceptional understanding. They also have a natural advantage—their voices are naturally childlike, which makes their vocal performances much more authentic compared to others who may adopt a theatrical tone.”
To accommodate his apprentices’ needs for learning and performing, Lu Hai designed a special stage with a lower platform, 20 centimeters below a normal one. The white screen for performances was also lowered, and the rods for controlling the puppets were lengthened. Considering the apprentices’ limited experience, Lu Hai patiently teaches them step by step, and he also slows down the tempo and speech in performances to help them keep pace.
As the sixth-generation inheritor of the Lu’s shadow puppetry, Lu Hai is committed to preserving and promoting this traditional art form, despite having reached his senior years. He is determined to continue passing on the century-old cultural heritage of the Lu’s shadow puppetry, ensuring that more people learn about its history and art, so that this beloved folk art can continue to thrive and be passed down through the generations.