The legend of Chinese monk Jianzhen (Ganjin in Japanese) has been well known in China and Japan for hundreds of years.

During the Tang Dynasty (618-907), Jianzhen was invited by Japan to spread Buddhism there. In 10 years he made five attempts to sail across the strait, but each effort failed and he even lost his eyesight.

After finally arriving in Japan on his sixth sailing in December 753, Jianzhen founded the famous Toshodai-ji Temple in Nara, conducted the first official ceremony to transmit the precepts at the temple, and spread Buddhism as well as Chinese culture and arts in Japan.

About 40 years ago, Japan's Zenshinza theatre troupe premiered the drama "Roof Tiles of Tenpyo,'' which is adopted from the Japanese legend of Jianzhen.

With a script written by Inooe Yasusi and musical score by renowned composer Dan Ikuma (1924-2001), the play was a great success in Japan.

Last year, to celebrate the 30th anniversary of the normalization of diplomatic relations between China and Japan, Zenshinza re-staged the play, directed by its vice-president Toshima Eimei, and it was enthusiastically received by Japanese viewers.

Now, to mark the 1250th anniversary of Jianzhen's arrival in Japan, the production is touring China, with performances at Beijing's Poly Theatre today and tomorrow, in Yangzhou on October 19 and in Shanghai October 23 to 26.

Yangzhou, in East China's Jiangsu Province, is Jianzhen's home town. In this sense, Arasi Keishi, who is president of the Zenshinza and also performs Jianzhen in the play, said at the press conference in Beijing: "Jianzhen finally returns home.''

Zenshinza, which means "theatre of progress'' in Japanese, was founded in May 1931 by some progressive Kabuki artists and modern drama performers.

Kabuki is a traditional form of Japanese theatre. It was founded early in the 17th century by Okuni, a shrine maiden who brought her unique and lively dance style to the dry river beds of the ancient capital of Kyoto, and over the next 300 years developed into a sophisticated, highly stylized form of theatre.

Critically succeeding the tradition of Kabuki, the theatre aims to create the modern drama which strikes to the hearts of contemporary viewers.

This tour marks the third time the Japanese troupe has visited China. In 1960 and 1966, Zenshinza performed some Kabuki repertoires in Beijing.

Arasi Keishi, the leading actor of the second generation with the theatre, recalled that he was only 19 years old and performed some small supporting roles in the first visit.

"It was an unforgettable show. I remember the audience included the late premier Zhou Enlai, vice- premier Chen Yi, writer Mao Dun, and dramatists Ouyang Yuqian, Tian Han and Guo Moruo,'' he said.

Now Keishi has become head of the company and performs leading roles.

"I have expected for a long time to perform Ganjin in his hometown,'' Keishi said. "He brought Buddhism and Chinese culture to Japan, and now I hope I can return his selfless and unyielding spirit to touch today's people in his home country.''

The play has also found an echo in Chinese dramatic circles, reminding audiences of Li Fazeng, who performed Jianzhen's Japanese disciple in a drama based on the story produced by the former China Central Experimental Drama Theatre in the end of 1970s.

Li said it was very progressive and controversial to stage such a story after the two countries normalized the diplomatic relationship.

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