After the founding of New China, Ruan's reform and performance art developed rapidly. In the 1950s, a series of reforms were carried out on Ruan, so that Ruan had four parts of treble, alto, tenor and bass, and became an instrument of its own. These reformed Ruan are all four-stringed, using metal strings, easy to tune, the range is extended to more than three octaves, and the volume is increased. The semitones are complete and can be adjusted arbitrarily. In terms of playing skills, in addition to traditional fingering, he also absorbed other Chinese and foreign plucked instruments, which greatly enriched Ruan's expressive power.

Zhongruan, a double-layer resonance box made in 1977, added a thinner resonance plate to the enlarged piano box to separate the cavity into two parts, the front and the back. This kind of sound is round and rich, and the volume is significantly increased.

Zhongruan, an electric amplifier made in 1979, not only maintained the traditional tone of Ruan, but also enriched the charm of pronunciation.

The new Daruan developed in recent years has increased the camber of the resonance box and the front and back panels, and lengthened the piano bar. The thickness of the front and back panels is gradually reduced from the center to the periphery, and the panel is pasted with "V"-shaped bracing. The "U"-shaped groove is dug in the surrounding area, and the sound hole is changed into a symmetrical bird shape.

The fretless Da Ruan, developed in the 1980s, has a sound post in the treble area of the piano case. Because the height of the mountain pass and the strings are lowered, the strings are closer to the fingerboard, which is easy to play. It maintains the original volume of Da Ruan, and the timbre is softer. It can learn from the techniques of wiping, sliding, kneading, hitting, and chant of sanxian, pipa and zheng. It is suitable for playing smooth and song-like melody. With moving artistic effect.