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| erxian | |
|---|---|
| Name | erxian |
| Classification | Bowed string instrument |
| Developed | Southern China (traditional) |
| Related | erhu, gaohu, zhonghu, banhu |
erxian is a traditional Chinese bowed string instrument associated with southern Chinese musical traditions and regional opera ensembles. It is known for a distinct timbre and playing posture, appearing in repertories alongside instruments such as the pipa, dizi, yangqin, guzheng, and sheng. Historically connected to regional schools and conservatories such as the Shanghai Conservatory of Music, the erxian occupies a niche in ensembles that also feature the suona, sheng, erhu, and banhu.
The name derives from vernacular usage in southern provinces and is attested in literary records from cultural centers like Guangzhou, Fuzhou, and Nanjing. Early references appear in collections preserved by institutions such as the National Library of China and archives associated with the Imperial Maritime Customs Service. Scholars at universities including Peking University, Tsinghua University, Sun Yat-sen University, and East China Normal University have examined its nomenclature alongside studies of the Tang dynasty and Song dynasty sources. Comparative linguists reference materials from the Chinese Academy of Social Sciences and regional gazetteers curated by municipal libraries in Shenzhen, Hangzhou, and Chengdu.
Developmental narratives trace the instrument through trade routes linking Canton (Guangzhou), Fujian, and Hakka diasporic communities, with performance contexts in opera forms such as Cantonese opera, Kunqu, Peking opera, and Chaozhou xianshi. Missionary collectors from British Museum, Smithsonian Institution, and Musée Guimet documented similar bowed strings during the 19th and early 20th centuries alongside ethnomusicological work by scholars at SOAS University of London and University of California, Los Angeles. Reform-era musicians associated with the Chinese Communist Party cultural policies and ensembles under the Ministry of Culture (PRC) adapted repertoire for conservatory stages, paralleling efforts at the Shanghai Opera House and provincial troupes in Guangxi and Hainan. Field recordings and notations appear in archives like the International Library of African Music and the Alan Lomax Collection through comparative studies of bowed instruments such as the sarinda and kamancheh.
The erxian’s construction shares materials and techniques with makers who supply instruments for the Shanghai Conservatory of Music and luthiers referenced in catalogs from the Chinese Musical Instruments Corporation. Typical components recall parallels with the erhu family: a sound box often faced with snakeskin similar to materials described in the Tibetan and Sichuan contexts, a neck influenced by designs circulating through ports like Hong Kong and Macau, and tuning pegs comparable to those used in Mongolian morin khuur construction. Makers from workshops in Suzhou, Dongguan, and Yangzhou adapted varnishes and bridge designs influenced by exchanges with artisans linked to institutions such as the China National Traditional Orchestra and the China Conservatory of Music.
Technique draws from virtuoso practices codified in pedagogical manuals from the Shanghai Conservatory of Music, conservatory syllabi at Central Conservatory of Music, and method books circulated in Taipei and Hong Kong. Pizzicato, glissando, and nuanced bowing mirror approaches found in erhu and gaohu performance traditions performed in concert halls such as the National Centre for the Performing Arts (Beijing) and regional theaters like the Guangzhou Opera House. Repertoire includes regional melodies and adaptations of works by composers associated with the 20th Century Chinese music movement and modern arrangers linked to ensembles such as the China National Symphony Orchestra and regional troupes in Jiangsu and Zhejiang. Cross-cultural collaborations have resulted in commissions and recordings with artists connected to Yo-Yo Ma, Tan Dun, Philip Glass, and orchestras like the London Symphony Orchestra and New York Philharmonic.
The instrument functions within folk, theatrical, and academic contexts, appearing in performances at festivals such as the Spring Festival, Mid-Autumn Festival, and provincial arts festivals sponsored by municipal bureaus like the Shanghai Municipal Administration of Culture and Tourism and cultural delegations from Hunan and Guangdong. Its cultural significance has been noted in exhibitions by museums such as the Shanghai Museum, Palace Museum, and international showcases like the World Expo and programs organized by the Confucius Institute. Educational outreach and revival projects have been supported by foundations and institutions including the China Foundation for Cultural Heritage Conservation and university departments at Fudan University and Zhejiang University.
Prominent performers and ensemble leaders who have featured the instrument appear in liner notes and festival programs associated with figures and organizations like Liu Tianhua-influenced schools, performers connected to the Shanghai Pingtan tradition, and contemporary artists who have collaborated with the CCTV Spring Festival Gala. Important recordings and broadcasts have been distributed by labels and broadcasters such as China Record Corporation, Naxos (label), Deutsche Grammophon, BBC Radio 3, and state media including China Central Television. Archives at institutions such as the China National Library and collections curated by the British Library hold field recordings and scores attributed to regional masters from Fujian, Guangdong, Jiangxi, and Sichuan.
Category:Chinese musical instruments