E Jiashou - Shadow Play Artist in Lufeng County, Chuxiong 

Overview
E Jiasou (额家寿), born in 1952 in Wenwu Village, Chuanzhong Street Township, Lufeng County (today’s Dinosaur Mountain Town, Lufeng City), Chuxiong Prefecture, Yunnan, is a second-batch provincial-level representative inheritor of intangible cultural heritage. As a highly skilled shadow puppeteer from a family line of performers, he is widely respected in the Lufeng, Yimen, and Shuangbai areas. His performances of classics such as Flooding the Jinshan Temple (水漫金山), Xue Rengui’s Eastern Expedition (薛仁贵征东), Xue Gang Rebels Against Tang (薛刚反唐), and The Story of Yue Fei (说岳传) are especially well-known.

E Jiasou also preserves his father’s shadow puppetry props (kaozi), which include:

• 108 puppet headpieces

• 36 sets of character costumes

• Over 10 types of animal figures

• A range of stage props

These collections are both his personal artistic legacy and valuable resources for the study of Lufeng shadow puppetry.

Personal Background

• Name: E Jiasou (额家寿)

• Ethnicity: Han (with Mongolian ancestry)

• Birth Year: 1952

• Hometown: Wenwu Village, Lufeng, Chuxiong, Yunnan

• Status: Second-batch Yunnan provincial-level representative inheritor of intangible cultural heritage

• Specialty: Shadow puppetry performance and prop-making

Notably, in Chuanzhong Street, only Wenwu Village carries the surname “E.” According to local elders, the family’s ancestors were Mongols, giving E Jiasou’s art a unique cultural depth.

In May 2009, Chuanzhong Street Township was abolished and reorganized as Dinosaur Mountain Town; therefore, E Jiasou is now administratively identified as a resident of Wenwu Village, Dinosaur Mountain Town, Lufeng City.

Apprenticeship and Growth

E Jiasou’s artistry was nurtured through family inheritance:

• Early Exposure: Taught by his father, who passed down both prop-making skills and stage performance techniques.

• Performance Environment: Up until the mid-1980s, Wenwu Village shadow puppetry thrived. Shadow plays were essential for weddings, housewarmings, and celebrations, where E Jiasou was frequently invited to perform.

• Skill Development: These frequent live performances gave him abundant stage experience, sharpening his artistry and earning him a strong regional reputation.

Artistic Features and Style

Compared with Tengchong Shadow Puppetry (known as “Yunnan Giant Puppetry,” where figures reach 80 cm), Lufeng’s puppets under E Jiasou are closer to traditional sizes, maintaining a strong sense of authenticity and folk spirit.

Representative Performances

• Flooding the Jinshan Temple (水漫金山)

• Xue Rengui’s Eastern Expedition (薛仁贵征东)

• Xue Gang Rebels Against Tang (薛刚反唐)

• The Story of Yue Fei (说岳传 / 说岳全传)

• Journey to the West (西游记)

• The Generals of the Yang Family (杨家将)

• The Tang Emperor’s Journey to the Underworld (唐王游地府)

These plays combine gripping narratives, powerful visuals, and local vocal traditions, leaving a lasting impression on audiences.

Transmission and Challenges

1. Current Status

   • E Jiasou mainly relied on family-based transmission.

   • Today, shadow play has declined due to modern entertainment, leading to a weakened audience base.

   • With his advanced age, he no longer performs regularly, and his artistry risks being lost.

2. Key Challenges

   • Entertainment Competition: Television, film, and digital media have largely replaced traditional folk arts.

   • Economic Factors: Long training periods, limited financial return, and low incentives for younger learners.

   • Cultural Shifts: Fewer traditional ceremonies reduce performance opportunities.

   • Lack of Successors: No documented apprentices or formal inheritors.

3. Contributions

   • Preservation: His inherited props provide rare, tangible resources for academic study.

   • Cultural Memory: His career illustrates the rise, flourishing, and decline of Lufeng shadow puppetry.

   • Artistic Transmission: Through decades of performances, he spread Lufeng’s folk culture to wider audiences.

Cultural Background of Lufeng Shadow Puppetry

• Historical Roots: Chinese shadow puppetry dates back to the Han Dynasty, flourished in Tang and Song, and spread abroad during the Yuan Dynasty. It entered Yunnan during the Ming Dynasty (Yongle and Wanli reigns) alongside military garrisons, gradually adapting into distinctive regional forms.

• Lufeng Tradition: Lufeng shadow puppetry has a history of about 250 years, transmitted through at least four generations. From the late Qing through the 1980s, it experienced its golden age.

• Cultural Role:

  • Ritual function at weddings, funerals, and festivals.

  • Folk art form showcasing local aesthetics and creativity.

  • Medium for cultural continuity and regional identity.

• Modern Protection Efforts:

  • Establishment of intangible cultural heritage exhibition halls and protection centers in Lufeng.

  • Systematic recording, cataloging, and institutional support.

  • Training and assessments of local inheritors under the Intangible Cultural Heritage Law.

Conclusion

As one of Yunnan’s foremost shadow puppetry masters, E Jiasou represents both the richness and fragility of local intangible heritage. His performances, deeply rooted in family tradition and local culture, vividly embody Lufeng’s folk artistry. Yet, with the decline of traditional demand and the absence of successors, his craft faces an existential crisis.

E Jiasou’s life work is not only an artistic treasure but also a cultural testimony—illustrating the importance of preserving endangered traditions in a rapidly changing society.