During the Qianlong Era of the Qing Dynasty, the drama of Hua and Ya, Kunqu was gradually replaced by the opera genre of eulogizing poetry in the Banqiang-Style, which was characterized by the Pihuang tunes. In response to such changes in the opera ecology and in an attempt to retake the market, Kunqu artists changed to a soft and gentle singing voice with sophisticated body movements in order to win the favor of the literati, thus beginning the heyday of actor-centered "selected scenes" in the Qianjia Era. It was in this process of refinement that the art of Kunqu gradually developed into a representative "family opera" for each profession. Through diligent practices, the Kunqu artists developed a superb ability to sing, recite, act, and play, resulting in the "Five Poisons Opera", which was the best way to show the skills of each Kunqu profession. But even so, by the end of the Qing Dynasty and the beginning of the Republic of China, the declining trend of Kunqu was irreversible. In 1921, the Kunqu Training Institute was established with the concerted efforts of the people with social consciousness. The Institute hired veteran artists from the Quanfu class, who inherited the "Qianjia traditions" of Kunqu. The advanced teaching philosophy and teaching model nurtured 44 artists who could save the art of Kunqu. They were known as the "Chuanzi Generation". These artists inherited the essence of the "Qianjia traditions" of selected scenes in Kunqu. However, during this period, the artists of the "Chuanzi generation" were forced to turn to other opera genres such as Jingju and Sutan to make a living, and they were also influenced by Western theatrical thoughts and other factors. As a result, they went through different stages of transformation, deviating from traditions and finally returning to traditions. They gradually formed a "new tradition" of Kunqu performance that was based on the "Qianjia traditions" and adapted to the aesthetic needs of contemporary audiences. The art of Kunqu is not only a microcosm of traditional Chinese culture, but a gem of global civilization. Preserving the cultural heritage of Kunqu requires not only appropriate policies from all levels of government, but also the joint efforts of professional Kunqu performers, Kunqu researchers and scholars, and members of the Kunqu Society. Only in this way can the art of performing Kunqu with selected scenes as its carrier by the "Chuanzi generation" be passed down from generation to generation and win world renown.