From the perspective of performance,this paper probes into sheng-related information across contemporary and ancient eras,theory and practice,fieldwork and historical materials,as well as ethnic and regional dimensions,to explore the historical evolution,cultural significance,and practical value of Chinese Pengsheng(handheld sheng)techniques,fingerings,angles,and related sheng structures.Taking performance ontology,craftsmanship,and cultural ecology as the “three core elements”of Pengsheng culture,the author conducts research based on various sheng types through documents,cultural relics,performance practices,and academic theories,adopting trans-temporal,cross-ethnic,and interdisciplinary approaches.Key proposals include:the contemporary horseshoe-shaped pitch layout sheng and related finger techniques can trace their prototypes to the Spring and Autumn period,belonging to the category of Susheng;the sheng from the Tomb of Marquis Yi of Zeng is theoretically capable of producing dual tones from a single bamboo pipe;the existing Hulusheng(gourd sheng)holds certain“living fossil”significance.Through critical textual research on overlooked issues and phenomena such as“the south of Jing and Liang,where ancient systems still prevail,”“the absence of the Pao(gourd)in the Eight Sounds,"“the producing process of piercing the gourd to the bottom,”dual tones from a single bamboo pipe,Yasheng,and Susheng,the study explores the connections and commonalities of Pengsheng across different periods,regions,and ethnic groups beneath the surface of performance techniques,thus proposing that Chinese sheng culture embodies a pattern of pluralistic unity.