The Tang Xianzu Memorial Hall in Fuzhou is a comprehensive cultural venue built to commemorate Tang Xianzu, one of the world’s hundred great cultural figures and a master of Ming‑dynasty drama in China. It is also one of Jiangxi Province’s ten major memorial halls dedicated to historical luminaries.

Celebrating the Lunar New Year with You | An Appreciation of the Sequential Art Series “One Hundred Scenes of Ancient Customs” (Part 7)

The Year of the Rabbit, Gui Mao, has arrived! All the staff at the Tang Xianzu Memorial Hall in Fuzhou wish you a happy New Year. May the coming year bring you abundant wealth, boundless good fortune, and great prosperity.

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Expert Interview from the Tang Xianzu Academic Symposium (III) | Wu Fengchu: Bringing “Tang Studies” Culture to the World

“I have attended the Tang Xianzu Academic Symposium no fewer than ten times, but I believe the most influential has been the series held in Fuzhou since 2016—each session has left me profoundly moved,” said Wu Fengchu, director of the Fuzhou Tang Xianzu International Research Center, in an interview with a reporter on the morning of November 11, shortly after concluding his participation in the symposium.

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Expert Interview from the Tang Xianzu Academic Symposium (No. 11) | Luo Jialu: Fully Unleashing the Cultural Development Potential of Tang Xianzu

“We should take Tang Xianzu’s cultural legacy as the driving force, deepen our research with a long-term vision, and thereby stimulate the development of the entire cultural industry in Fuzhou,” said Luo Jialu, a researcher at the Municipal Federation of Social Sciences, in an exclusive interview with reporters on November 11, following the conclusion of the 2022 China (Fuzhou) Tang Xianzu Academic Symposium.

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Latest COVID-19 Prevention and Control Notice from the Tang Xianzu Memorial Hall in Fuzhou City

Dear visitors: To effectively implement Fuzhou City’s epidemic prevention and control measures and ensure a safe, stable, and orderly tourism environment, we hereby announce the latest COVID‑19 prevention and control requirements for the Tang Xianzu Memorial Hall in Fuzhou as follows: 1. Upon entering the scenic area, please wear a mask, proactively scan the “Venue Code,” cooperate with staff for temperature screening, and present your Health Code, Travel Itinerary Code, and a negative nucleic acid test result valid within 72 hours (visitors with a history of travel or residence outside the city within the past 7 days must provide a negative nucleic acid test result valid within 48 hours). Please maintain a safe distance of one meter and line up in an orderly manner to enter the park. 2. Visitors who do not have a negative nucleic acid test result within the specified time frame, or who hold a “red” or “yellow” health code, will be denied entry.

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Expert Interview from the Tang Xianzu Academic Symposium (II) | Zhou Yude: Let Tang Xianzu’s Culture Shine Even More Brilliantly

On the morning of November 11, following his keynote address at the Tang Xianzu Academic Symposium, Zhou Yude, 85, president of the Tang Xianzu Research Branch of the Chinese Society for Opera and former president of the China Academy of Traditional Chinese Opera, shared his views on the organization of this academic conference in our city. He noted that Fuzhou has consistently demonstrated great care and meticulous preparation in hosting each Tang Xianzu symposium.

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Opera Trivia | The “Flower vs. Elegance” Controversy in Opera History

During the Qianlong era of the Qing dynasty, Beijing became a vibrant center for opera, drawing together a diverse array of vocal styles and theatrical traditions from both the north and the south. This period witnessed a rivalry between the “Huabu” (popular) and “Yabu” (elegant) schools of vocal music and drama, an episode historically known as the “Huayi Contention.” At its core, this contest represented the challenge and assault mounted by the Huabu vocal styles against the dominant position long held by the Yabu Kunqu opera. With their distinctive qualities—“plain and straightforward lyrics” that were easy to understand and “vigorous, rousing melodies” that enlivened the ear—the Huabu forms won widespread popular favor, gradually supplanting Kunqu’s erstwhile supremacy on the stage. (Of course, even among the Huabu styles themselves there existed competition and shifting fortunes.)

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