The Song Dynasty (960-1279) witnessed a thriving urban economy and the appearance of an influential social stratum consisting of townspeople. Large-scale variety shows like those organized by courts during the Han and Tang periods were rarely seen in the Song Dynasty instead, Waziyuepeng (amusement centers) where acrobats, dancers, martial arts practitioners and balled singers performed together could be found in flourishing cities like Bianliang (today's Kaifeng, Henan Province), the capital of Northern Song, and in Lin'an (today's Hangzhou, Zhejiang Province), the capital of Southern Song. The fact that artists from different professions performed together enabled them to learn from each other and helped shape the unique art form of Chinese opera. A mural dating back to the Song Dynasty found in Dunhuang, Gansu Province, shows an acrobat balancing a long pole on his head while a young boy performed aerial stunts to musical accompaniment.

Pole Balancing with Young Boy Doing Stunts, a Song Dynasty mural in Dunhuang County, Gansu Province
The Yuan Dynasty (1279-1368) was a large unified empire established by the Mongols, one of China's ethnic minorities. The Dynasty ruled China for less than 100 years, but nonetheless had a great influence on cultural exchanges between China's ethnic groups. Zaju, a wonderful form of art and literature in Chinese history, thrived and matured during the Yuan Dynasty. Experts note the name was derived from the combination of acrobatics and poetic drama set to music. The genre can be seen in Yuan and Ming (1368-1644) paintings found in the Baoning Temple in Youyu County, Shanxi Province. The paintings depict Buddhist rituals held to ensure the happiness of people who died on land and in the water. Painting No. 57 entitled Artists and People of Various Religious Sects and Academic Schools in the Past and painting No. 58 entitled The Souls of Sorcerers Prostitutes, Variety Performers and Court Musicians Who Died Violent Deaths show Yuan and Ming acrobats, magicians and actors performing together Painting No.57 can be divided into two sections. The upper section portrays scholars, peasants and workers, as well as practitioners of medicine, prophecy, astrology and physiognomy. The lower section, on the other hand, shows acrobats and thespians. It is interesting to note that the painting prominently features playwrights and composers.

Acrobatic Artists, a Yuan-Ming period painting depicting Buddhist rituals held to seek happiness for people who died on land and at sea
The lower section of painting No. 57 shows 11 performers, including jugglers, dwarf magicians and lion dance performers, as well as actors playing Zhengmo and Jing roles (leading male roles and painted-faces roles) in Zaju during the Yuan and Ming dynasties. The first performer from the left is a chubby male dwarf wearing only red shorts and carrying a bottle on his shoulder The dwarf was probably an acrobat highly skilled in disappearing into containers smaller than his body. Another man resembling a lion dance performer during the Yuan period wears a blue piece of clothing over his shoulder to disguise himself as a lion with bulging eyes and closed mouth. The collar of the clothing and the mane of the lion are visible.

Ming Emperor Xianzong Makes Merry
Acrobatics, dance and other traditional performing arts were rarely presented in the royal palace during the Ming and Qing (1644-1911) dynasties, the last two feudal dynasties. Acrobatics in particular was regarded as unrefined and the sole example of its presentation in the royal palace can be found in the painting entitled Ming Emperor Xianzong (1465-1488) Makes Merry. The work shows acrobats performing in the royal palace. Acrobatic performers during the
Pole Stunts and Climbing a Mountain of Swords, a Qing Dynasty genre painting
Qing Dynasty were forced to roam far from their homes. However, local operas gained great popularity in China during the period. Anhui opera was introduced to Beijing in 1790 and gradually gave birth to a new genre known as Peking opera. Thereafter, great efforts were made to incorporate acrobatics in Peking Opera. As a result, Wuxi (plays consisting mainly of battle scenes with emphasis on acrobatics) came into being and was used as a means to attract theatergoers.

Somersaulting, an important technique in acrobatics, was widely employed in Peking Opera during the Qing Dynasty one popular saying towards the end of the Qing period read: "Somersaulting to Peking Opera is like handstands to acrobatics." Anhui Opera was noted for its acrobatics prior to arriving in Beijing. Anhui Opera troupes never forgot to include Wuxi plays in their programs. Accounts by those who watched the performances note that Anhui Opera troupes incorporated many acrobatic stunts in their art.

Qing Dynasty acrobatic artists led miserable lives and were forced to roam from place to place in order to earn a living. However, their ardent love of the art passed on by their forebears enabled them to carry on and develop art traditions in spite of hardships. Juggling objects with the feet and the traditional form of conjuring known as ancient splendor were greatly improved during the Qing Dynasty, with the techniques of juggling jars, swords and balls reaching a much higher level. Many Qing genre paintings depict performances, with representative examples including Pole Stunts, Climbing a Mountain of Swords and Feats on Horseback.

Feats on Horseback, a Qing Dynasty genre painting
Aside from acrobats who traveled from village to village, others highly skilled in their arts were often hired by wealth patrons to perform at parties held in their homes on festive occasions or at temple fairs when they offered incense to Buddha. Two reproductions of paintings in the Dianshizhai Pictorial published towards the end of the Qing Dynasty depict an acrobatic performance on the street and flagpole juggling and stilt walking at a temple fair.