The earliest form of this instrument known appeared in the Qin Dynasty. It had a long neck surface and circular sound box, and was held upright. Around the time the Qin was succeeded by the Han Dynasty, this instrument underwent a number of modifications and it evolved into the ruan, qinqin, three-string, yueqin, etc. All these forms of the pipa had the common characteristics of a straight neck and circular sound box. The crooked neck was in fashion from the time of the Wei Dynasty to that of the Tang Dynasty. Similar instruments, such as the guizi pipa, five-string and hulei were all-semi-pear-shaped, and were all referred to as "huqin". This period was a peak one in the history of the art of the pipa, producing a host of master players and rapid improvements in technique.
From the Tang and Song dynasties, the pipa underwent unceasing development, until it attained the form it has today: a semi-pear-shaped sound box, paulownia-wood top board, the neck curved backwards, "xiang" and "pin" frets on the body and neck, four strings and four- or five-octave intervals. Two major changes which took place in the course of the pipa's evolution were the practice of holding the instrument upright instead of horizontally while playing it, and the use of five fingers to pluck the strings, instead of using a plectrum. In the 20th century, through the unremitting efforts of a large number of performing artists and composers, a plethora of techniques and compositions has emerged, with the result that the pipa is now one of China's most important national instruments for solo, accompaniment and ensemble recital. Leading modern pipa artists are Li Tingsong, Wei Zhongyue, Liu Dehai and Lin Shicheng.
