Since the Ming and Qing Dynasties, the southern school of pipa has developed greatly, especially in Shanghai. In the old days, due to the influence of Confucian culture, people believed that playing pipa was an elegant art, so many parents liked to let their children learn pipa. In the practice of pipa playing, they formed their own style and school. The founder of the Pudong School of Pipa was Ju Shilin, a native of Nanhui during the Qianlong period of the Qing Dynasty. He was known as the "Ju Pipa" in Shanghai. His disciple Wang Dongtian was praised by his connoisseurs as the "first hand in Jiangnan". The third-generation successor Chen Zijing (1837-1891 from Hengmian) was summoned by the Qing Dynasty to teach pipa to Prince Chun, and was granted a third-rank official belt and was named "the best pipa in the world". Chen Zijing's representative successor Shen Haochu (1889-1953 from Huang Luren) collected the essence of the ancestors' pipa, learned from many others, and was unique. He compiled the "Yangzhengxuan Pipa Score". During the Republic of China, Shen Haochu's junior Hu Guiming (from Xinchang) was invited by the Osaka Pipa Association in Japan to play the Pudong School of Pipa. In 1956, Shen Haochu's senior student Lin Shicheng (from Hengmian) was hired as a professor at the Central Conservatory of Music. He taught a large number of students including Liu Dehai and Ye Xuran, and taught Pipa in major professional colleges. Lin Shicheng and his students also performed in more than 20 countries. Pudong School of Pipa, represented by Mr. Lin Shicheng, is the main school of Pipa art in contemporary China. It not only preserves and develops some distinctive techniques, but also has a professional influence on Pipa production, improvement, arrangement, and compilation of Pudong School of Pipa's music and works. The distribution area of Pudong School of Pipa's descendants is mainly in Nanhui, Shanghai; but their activity area extends to Shanghai, Jiangnan, and even to Beijing. Nanhui is the cradle of Pudong School of Pipa in China. Nanhui, which is located on the coast, has become the cradle of the Pudong School of Pipa in China since Ju Shilin, a native of Huinan Town, created the marine Nanhui national style during the Qianlong and Jiaqing years of the Qing Dynasty. Generation after generation of leading figures have built the pyramid of the Pudong School of Pipa. The six generations of descendants after Ju Shilin were praised by connoisseurs as "Ju Pipa", "the best in Jiangnan", "the best Pipa in the world", "the Pipa master", and "the Pipa master" (according to the "Guangxu Nanhui County Chronicles", "Continued Chronicles", and "Nanhui Bamboo Branch Poems" of the Qing Dynasty); a large number of Pipa fans have consolidated the foundation of the Pudong School of Pipa; the popularization of Qingyin national music has brought about a large number of Pipa descendants; the prosperity of local operas has brought about a large number of Pipa newcomers; the active Taoist music has derived a generation of Pipa masters; the rise of mass literature and art has created a group of Pipa star chasers; the rise of art education has cultivated a group of Pipa new seedlings. The traditional repertoire of Pudong Pipa is: Wen Tu, including "Sunset Xiaogu", "Wulin Yiyun", "Moon High", "Chen Sui", Da Tu: "Puan Mantra", "Yangchun Baixue", "Lamp and Moon Glowing"; Wu Tu: "General's Order", "Ten Miles", "Bawang Xijia", "Pingsha Luoyan" and so on. The newly created repertoire includes more than 30 pieces such as "Youth Dance" and "Student Exercise". The main artistic characteristics of Pudong Pipa are: playing Wu Tu is majestic and playing Wen Tu is calm and delicate. Especially when playing Wuqu, the big pipa is often used, and the emphasis is on full bow opening and strong force, thus preserving and developing some playing methods with Shanghai characteristics; the fingering characteristics are "rolling four strings (with changes in the number of strings at the same time), stringing (four, or three, or two), large picking (four strings at the same time), sweeping, dragging, various pinching and sweeping, various chanting methods, music variation playing methods and gong and drum playing methods"; according to what Mr. Lin Shicheng said before his death, playing the Pudong School of Pipa must first have "a mind like the sea" to pursue grandeur, and for the art and skills of various schools, there must be a pursuit of embracing all rivers and learning from all, and strive to make it a "Chinese School" of Pipa art. Pipa is the quintessence of Chinese traditional music art, and the Pudong School of Pipa is the essence of the national flower, and it is one of the mainstreams of the Greater China Pipa. The repertoire it plays has become a classic of folk music, stirring the hearts of hundreds of millions of Chinese people. As a Nanhui native, promoting our own national spirit and creating the brand of Nanhui's marine culture has far-reaching significance for the development of Shanghai-style art; the Pudong Pipa group, which was born in the Qianlong and Jiaqing periods of the Qing Dynasty, has been recognized by the society for its representative figures, representative repertoires, playing styles, and skill schools, which symbolizes the diversity of the history and culture of the Chinese nation; the Pudong Pipa, which is rooted in Nanhui, should do a good job in protecting, inheriting and developing it, so that it can be passed down from generation to generation, and has the unique value of witnessing the cultural heritage of the living Chinese nation. At present, there are only a few descendants of the birthplace of the Pudong Pipa in Nanhui. To create new Pudong Pipa performers in Nanhui, relying solely on the power of the people is weak. Pipa is a national musical instrument in my country.