Guanzhong Daoqing is one of the Han shadow play types in Shaanxi Province. It is authentic in Chang'an, also known as "Chang'an Daoqing" or "Labo Opera". It is popular in Chang'an, Lantian, Huxian, Xianyang, Xingping and other places. It is divided into Donglu Diao and Xilu Diao. The former is popular on both sides of the Yellow River, and the latter is popular in northern Shaanxi and Inner Mongolia. In different regions, branch dramas such as "Northern Daoqing", "Shangluo Daoqing", "Ankang Daoqing" and "Xiliang Diao" have been formed. It is said that Daoqing is the "Taoism sentiment" chanted by monks when they ask for alms. There has long been a saying among the people in Guanzhong that "one scripture, two lyrics and three Daoqing". It can be seen that it evolved from the chanting lyrics of Guanzhong Taoism. Guanzhong Daoqing is deeply loved by the people and is an intangible cultural heritage protection project in Shaanxi Province. Before liberation, Guanzhong Daoqing was very popular during festivals and weddings. People often sat on the ground with more than ten people, playing fishing drums, simple boards, and stringed instruments, often singing until late at night. Sometimes there would be multiple competitions, and the emotions were hot and they sang all night. During the Qianlong period of the Qing Dynasty, Daoqing troupes appeared in Xi'an and Guanzhong, such as the Xi'an Baqiao Daoqing Troupe, Yinzhen Daoqing Troupe, Ziwu Daoqing Troupe, Sanqiao Daoqing Troupe, and Baoji Yangping Town Jiangma Daoqing Troupe. In the Shaanxi-Gansu-Ningxia Border Region, Guanzhong Daoqing became a very popular art form to promote anti-Japanese resistance, promote revolution, and inspire the masses. According to the transcription and preservation of Guanzhong Daoqing's repertoire, there are about 200 copies (folds) of the play, with complete stories, most of which have strong people-oriented characteristics and distinct characters. Among its traditional repertoires, the themes of Taoist stories include "Mulian Saves His Mother", "The Story of Great Filial Piety", "Selling Taoist Robes", "Crying at Five Hours", etc.; the themes of historical stories, myths and folk stories include "Wu Shi Yuan", "Ancient City Meeting", "The Fairy Pair", "Jingde Beats the Court", "Reed Flower Record", etc. The lyrics and tunes of Guanzhong Daoqing are known as "nine tunes and eighteen tunes", but only eight tunes and eleven tunes are currently circulated. The eight tunes are [Qingjiang Yin] [Golden Thread Diao Hulu] [Roots Duan Si Bu Bu Lian] [Step by Step] [Da Lian Xiang] [Gao Qiang] [Push Ju Ju] [Zha Luo Pao]; the eleven tunes are [Da Hong Pao] [Bitter Lovesickness] [1 Jumping Threshold] [Ai Lian Zi] [Jian Hua] [Drag Sound] [Laughing Board] [Collapsed Sentences] [Qi Tou Zi] [Angry Board] [Luo Tou Zi]. The singing boards of Guanzhong Daoqing include slow board, two-six board, flying board, string board, and rolling white. Except rolling white, each board style is divided into Yangpo (happy sound) and Yinpo (bitter sound). The tunes include [Zha Luo Pao] [Playing with Children] [Shan Po Yang], etc. Guanzhong Daoqing has a prominent feature in its singing style, which is the chorus. There is a chorus for every four sentences, and it is divided into two categories: long and short. There are 16 kinds of musical instruments. The civil stage has banhu, erhu, and flute; the martial stage has ban, drum, fishing drum, simple board, Sancai board, big gong, teeth, and pengzhong. Fishing drum, simple board, and Sancai board are unique instruments. After the founding of New China, some accompaniment instruments of Qinqiang were absorbed. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)