Zhu Xingui is practicing shadow puppet characters. Pan Qi took a few feet of cloth, a lamp, a cowhide person, and a dialect singing style to perform everything on earth and mobilize thousands of troops and horses. This is the world of shadow play. Shadow play, also known as shadow play or lantern play, is a folk drama that uses animal skins or cardboard to create character silhouettes to perform stories. Behind the white curtain, the artist manipulated the shadow puppet while elaborating the story using popular local tunes. In China, shadow puppetry is spread all over the north and south of the Yangtze River, with numerous factions. Among the intangible cultural heritage of the country are Tangshan shadow puppetry, Jinan shadow puppetry, Huayin Laoqiang, etc. Xinjiang shadow puppetry mostly retains the early appearance of China's shadow puppetry, with rough and primitive shapes, concise lines, and a combination of carving and painting, fully embodying the modeling characteristics of the northwest region. The story and singing fully reflect the regional characteristics of Xinjiang's multi-ethnic settlements. The shadow puppet characters with Xinjiang characteristics are lifelike. The interviewee provided a picture for the inheritor to add Xinjiang flavor to the "shadow of China". The inheritor of the autonomous region level intangible cultural heritage, Zhu Xingui, sat and walked, flipped and kicked, and lifted his robe and sleeves... Behind the white curtain, held a wooden pole, and with each movement of his finger, the image of the shadow puppet also flipped and leaped. Zhu Xingui was born in a Liyuan aristocratic family, learning from his father, Zhu Renyi. As a representative inheritor of Xinjiang shadow puppetry, Zhu Xingui has been performing shadow puppetry for over 20 years. "When I was young, I grew up in my father's shadow play team, often sitting on a donkey cart carrying a shadow play box, and following my father's play team to perform in villages and villages. It was at that time that I forged a deep bond with shadow plays," said Zhu Xingui. In addition to being influenced by what one hears and sees, "Sangumao Lu" was a common occurrence for Zhu Xingui during his school years. When I inquired where there were experts in shadow puppetry, I immediately set out to visit and seek entertainment repeatedly. Shaanxi Weinan Cuilian aria, Hubei Yunmeng practice filmmakers. Soon, Zhu Xingui became more and more adept at playing shadow puppetry and became a genuine shadow puppet artist. Zhu Xingui said that the art of shadow play is a combination of screenwriters, directors and actors. It can pick signatures, sing Qin Opera and write scripts. Shadow puppetry can inherit for thousands of years, blossom in different places, and cannot be separated from innovation. In Zhu Xingui's shadow play studio, reporters saw that various and brightly colored shadow plays were hung over the ceiling and on the surrounding walls. There is a very special row. Zhu Xingui takes them off the hanging rope and takes a closer look. This shadow puppet wears a Uyghur flowered hat and wears long braids. The image of a Xinjiang girl is lifelike. He told reporters that using traditional folk art shadow puppetry as the carrier and integrating modern elements and local cultural characteristics of Xinjiang into their creations, they are more popular with the local people. In the series of shadow puppets, there are also yurts, horses, young girls dressed in Adelaide silk clothing, and Uighur uncles with a moustache. In recent years, Zhu Xingui has created many shadow play plays with Xinjiang themes, such as "The Story of Afanti", "Lin Zexu in Changji", and "Feeling Ashley". Shadow puppeteers jump on black horses and play Dongbula... After 00, there are also intangible cultural heritage "Shou" artists who talk about shadow puppetry biographies