Shadow Play, Art, and Life

The northern part of Sichuan lies next to Shaanxi Province. As such, cities like Langzhong are an important hub linking both provinces. It is thought that Weinan shadow puppetry (from Weinan city) had already been introduced from Shaanxi into northern Sichuan by the mid-Qing dynasty (1736–1850), developing alongside indigenous lamplight shadow puppetry.

Northern Sichuan shadow puppetry reached its peak during the late Qing dynasty (1851–1911) and Republic period (1912–1949), with the emergence of numerous renowned artists.

It was one of the most important and popular forms of entertainment in the region's remote mountain villages.

Wang shadow puppetry is unique in that it combines the features of both Weinan shadow puppetry and northern Sichuan’s lamplight shadow puppetry.

Lamplight shadow puppetry is an indigenous form of shadow puppetry in northern Sichuan. Its distinguishing features are that the puppets have round noses, protruding lips, small foreheads, and faces that resemble mice. Their heads are generally not connected to their headgear.

Acclaimed shadow puppet master Wang Wenkun began learning to carve and make puppets from wood and leather, as well as performing shadow plays with the guidance of his grandfather, at the tender age of 10. At 15, he studied under Hu Juxian and learned Duangong opera and Nuo opera while studying Chinese geomancy (popularly known as feng shui). When he was 17, he began to learn Shaanxi's Weinan shadow puppetry with the shadow puppetry artist Li Yunting from Nanbu County. In 1941, then age 19, Wang acquired a shadow puppetry collection from Feng Chaoqing, and became the owner of a shadow puppet troupe.

Wang combined the artistic features of both Weinan shadow puppetry and northern Sichuan's lamplight shadow puppetry, creating a distinctive Wang style. Wang shadow puppets are more vivid in style and character, and there is a very large repertoire of plays, making this kind of shadow puppetry much more expressive and evocative.

Langzhong Wang shadow puppetry is also the only widely recognized style of Chinese shadow puppet art to bear a family name.

Despite garnering a great deal of praise and recognition in Austria, Wang remained level-headed. After he returned to China, he continued to pour his heart and soul into his folk art, working on both shadow puppetry and paper-cutting creations.

Furthermore, the idea of passing on his knowledge of both northern Sichuan and Wang shadow puppetry was always on his mind. Even at age 70, the venerable master never stopped working, making it his lifelong mission to guide younger generations and uphold the true spirit of shadow puppetry.

After Wang Wenkun’s death, his descendants Wang Biao and Wang Fang decided to pick up the baton. They were determined to make their mark on shadow puppetry, while continuing the tradition.

Wang Shicheng is said to have started northern Sichuan Wang shadow puppetry in 1666, in the early years of Emperor Kangxi's reign during the Qing dynasty. Over 343 years, northern Sichuan Wang shadow puppetry absorbed the techniques of various other styles in Sichuan, and even Shaanxi, such as carving, cutting, painting, and shaping. It really encapsulates the essence of folk customs in northern Sichuan.

Having assimilated the strengths of the past and present over eight generations of heritage and development in the Wang family, this shadow puppet style has become unique among countless others in China, with its inclusiveness and willingness to reinvent tradition.