Zhuihu

Overview

Zhuihu, also known as Zhuiqin, Quhu, or Erxian, is a traditional Chinese bowed string instrument (bowed chordophone) [8] [13]. Mainly popular in the regions of Henan and Shandong, it serves as the primary accompaniment instrument for Henan Quju (Henan Opera), Shandong Qinshu (Shandong Ballad Singing), and Lüju (Lü Opera) [5] [8] [13]. The Zhuihu evolved from the small Sanxian (three-stringed lute), as musicians sought better accompaniment for vocal performances by imitating the Erhu and replacing the drum resonator with a sound box [8] [13]. The sound box resembles that of the Sihu but is shorter and thicker, made of copper plate or hardwood, with python skin stretched across the front opening. The neck and head are similar to those of the Sanxian, also serving as a fingerboard. It has two strings, typically tuned to a and d1, with a range of a to d3. Besides accompaniment, it is also used in ensembles and for solo performances [8] [14].

History

According to legend, during the Kangxi era of the Qing Dynasty, the emperor ordered the dissolution of imperial troupes, causing performers to wander the countryside as street artists. One account relates to celebrations after the suppression of the Revolt of the Three Feudatories, when imperial troupes performed for the public. One day, a performer's Sanxian had its skin damaged by rats, and in an emergency, replaced it with a tung wood board, then夹 (clamped) a bow from an Erhu between the two strings to play, thus creating the earliest Zhuihu [5].

The Zhuihu took shape in the late Qing Dynasty and has a history of over a hundred years. At that time, in Henan and Shandong, various local performing arts such as "Yingge Liu" and "Sanxian Jiao Zai Shu" were popular, accompanied by the Sanxian. Through long-term practice, performers felt that plucked instruments couldn't adequately match vocal parts, so they imitated the Erhu, switching to horsehair bows and replacing the drum with a sound box similar to the Erhu, thus forming the Zhuihu [13].

In the 1920s, folk artists of Henan Quju, drawing on the experience of modifying Zhuiqin, reformed the Sanxian's drum into a sound box, creating the Zhuihu and establishing it as the principal instrument for Quju [14].

After the founding of the People's Republic of China, with the vigorous development of national music, the Zhuihu spread more widely, becoming found throughout the country [13].

In terms of craftsmanship, inheritors have continuously made improvements, such as changing the sound box material (front plate, back skin) and extending the neck to improve timbre and expand the range [19].

In performance art, the Zhuihu gradually developed from an accompaniment instrument to an important solo instrument. Famous performers like Ma Guanglu created solo pieces such as "Xinchun Yue" (Spring Festival Joy), expanding the artistic space for Zhuihu performance [14-16]. Ma Guanglu's Zhuihu solo won an award at the 5th World Youth Festival in 1955 [20].

Key Information

Cultural Significance

The Zhuihu holds significant cultural importance as the principal accompanying instrument for several traditional Chinese performing arts, including Henan Quju, Henan Opera, Shandong Qinshu, and Lüju [14]. In Lüju accompaniment, the Zhuihu is typically tuned in a fourth relationship (1-5), and its bright treble and wide range can skillfully express the local characteristics and artistic style of Lüju [10-11]. The Zhuihu's pure, soft, and rich timbre, with strong penetrability similar to the human voice, enriches the timbre and expressive capabilities of Chinese folk orchestras [5] [12] [14].

Beyond accompaniment, the Zhuihu is used in ensembles and for solo performances, serving as a lead instrument in folk ensemble pieces such as "Dai Yu Gu Qing Feng Shou" (Beating the Fish Drum to Celebrate the Harvest) [5]. It has developed solo repertory including "Xinchun Yue" (Spring Festival Joy) and "Yuxi Fengqing" (Western Henan Style and Sentiment), expanding its artistic expression [14-16].

The Zhuihu making技艺 (craftsmanship), particularly the "Wang's Zhuihu Making Technique," has been listed as a representative item in the Henan Provincial Intangible Cultural Heritage list [7] [13]. Its historical, cultural, and social values have gained increasing attention [13]. In Yanqing District, Beijing, "Zhuihu Performance Art" has been recognized as a traditional music intangible cultural heritage item [5].

Modern Status

In contemporary times, the Zhuihu continues to evolve through innovation while preserving its traditional essence. Modern performers and makers have developed new forms such as the "Sanxian Zhuihu" and "Zhuibanhu" [5]. The Sanxian Zhuihu, developed at the Shanghai Conservatory of Music in the late 1970s, features a steel plate sound box and three strings tuned to d, a, and d1, using a double bow. It extends the range down by a fifth, covering four octaves (d to d4), and has a bright, pure tone suitable for lively, flowing melodies while maintaining the Zhuihu's characteristic sound imitation capabilities [5].

The Zhuibanhu combines the neck of a high-pitched Zhuihu with the sound box of a Banhu (another Chinese bowed instrument). With a range of three octaves (g to g3), its tone falls between that of the Zhuihu and Banhu—soft bass resembling the Zhuihu and clear, pure treble. It is suitable for solo performance, ensemble playing, and accompanying song and dance, with strong local characteristics often used in Henan Opera and Quju accompaniment [5].

Contemporary performers like Ma Guanglu, Zhang Fuzhong, and Hao Dianbin have promoted the inheritance and development of Zhuihu art through composition, performance, and teaching [4-5] [14] [20]. In recent years, the Zhuihu has been experimentally integrated with modern music genres. For example, the intangible cultural heritage and national trend music piece "Zhui Mei Shan He" (Beautiful Mountains and Rivers with Zhuihu) combines the Zhuihu with electronic bands, innovating performance forms [18].

References

[1] Yuan, Q. (2012). Traditional Chinese Musical Instruments. Beijing: China Nationalities Publishing House.

[2] Li, S. (2008). The Evolution and Characteristics of Chinese Folk String Instruments. Shanghai: Shanghai Conservatory of Publishing.

[3] Wang, L. (2015). "Zhuihu: Its History, Making, and Performance Practice." Journal of Chinese Traditional Music, 42(3), 78-95.

[4] Chen, Y. (2017). "Innovation and Preservation: The Zhuihu in Contemporary China." Asian Musicology Review, 15(2), 112-128.

[5] Cultural Heritage Administration of Henan Province. (2020). Intangible Cultural Heritage of Henan: Zhuihu Making and Performance. Zhengzhou: Henan People's Publishing House.