Donglu Wanwanqiang shadow play is a clever combination of Shaanxi Han folk arts and crafts and opera. It is an intangible cultural heritage protection project in Shaanxi Province and is mainly active in Xiaoyi City and surrounding cities and counties in Shaanxi Province. Xiaoyi Wanwanqiang has two types of voice: Piqiang and Wanwanqiang. Both voices come from Xiaoyi shadow play, namely, Paper Window Shadow Play Piqiang and Gauze Window Shadow Play Wanwanqiang. There are two theories about the origin of Piqiang: one is that it was formed in the Northern Song Dynasty, and the other is that it was formed in the Warring States Period. Piqiang is also called "Chuiqiang" because it is mainly accompanied by suona. Some experts believe that Xiaoyi Chuiqiang is one of the ancient voices of Chinese opera. Piqiang singing has two forms: one is a four-sentence structure with a "beginning, development, turn and end" structure, which is often called "flat board (slow board)" by artists, and "flowing water" with gongs and drums; the other is a singing style that can be repeated many times, which is called "Duoban" by artists. The accompaniment is divided into martial arts and literary fields. Wanwanqiang got its name because of the bowl-shaped copper bell that accompanies it. It has a special banqiang structure and cannot be regulated by the conventional banyan. The characteristic of Wanwanqiang singing is the mixed use of true and false voices, and the false voice cavity with empty words is often used. There are two types of false voice singing: one is "two-tone"; the other is "sharp tone", and "sharp tone" is formed by turning up on the basis of "two-tone". Donglu shadow play is the founder of Chinese shadow play. Local shadow play artists say: "Han concubines hold babies in front of the door and play with them, skillfully cutting tung leaves to shine on the window screens. Emperor Wen governs the country and brings peace to the world, and rituals and music are introduced into the homes of the people." This means that shadow play existed in the Han Dynasty. Gao Cheng of the Song Dynasty said in "Shadow Play of the Epoch of Things": "The origin of shadow play comes from Emperor Wu of the Han Dynasty." The leather carved crown ornaments of the Tang Dynasty unearthed in Xi'an are very similar to the current shadow play patterns. Although they are not transparent, it can be seen that the carving technology on leather has reached a mature stage. In the Song Dynasty, shadow play had a proper name, which was recorded in various notes and miscellaneous manuscripts, describing the prosperity of the time. Meng Yuanlao's "Dongjing Menghualu" recorded that shadow play Ding Yi Shouji and others performed shadow play regardless of wind, rain, cold or heat, and people watched shadow play in various sheds every day. "On festival days", there were no music sheds at the entrance of each alley, so many small shadow play sheds were set up. There is a poem about the shadow of the lantern that says "three feet of silk is used as a stage, and it all depends on ten fingers to show humor. Sometimes under the bright moon and lantern window, a smile comes from the hands." In the Yuan Dynasty, shadow play was very popular, not only among the people, but also in the army, and became an entertainment activity. In the Ming Dynasty, Tian Rucheng's "Xihu Tour Notes" quoted Qu You's poem about watching lantern shadows: "A new shadow play theater has been opened in Nanwa, and the bright lights in the hall illuminate the rise and fall. Let's see how they get to Wujiang Ferry, and still talk about heroes as overlords." In the Qing Dynasty, shadow puppetry was almost spread all over the country, but there were differences in the production of shadow puppets and scenery in various places, and the singing styles were also different. Shaanxi Donglu Shadow Puppetry also had multiple singing styles, with Wanwanqiang being the most common and popular. In particular, after the dramatist Li Fanggui in 1748-1810 (during the reign of Emperor Qianlong and Emperor Jiaqing), he wrote the "Ten Books" of legendary dramas for Wanwanqiang Shadow Puppetry, and under his leadership and influence, some failed scholars and candidates also wrote many plays for Wanwanqiang Shadow Puppetry, which greatly promoted and developed Wanwanqiang Shadow Puppetry. From the Qing Dynasty to the outbreak of the Anti-Japanese War, Donglu Shadow Puppetry has been popular. At its peak, there were nearly a hundred troupes, and it gradually declined after the Anti-Japanese War. After the founding of the People's Republic of China, due to the attention of the Party and the government, the shadow puppetry troupes once recovered to more than 50. In 1956, Donglu Shadow Play won the grand prize at the first Shaanxi Shadow Play and Puppet Show Observation and Performance Conference, and also represented Shaanxi Province in the National Shadow Play and Puppet Show Observation and Performance Conference hosted by the Ministry of Culture. Party and state leaders and opera experts 1, 1, Zhang Xiruo, Zhou Yang, Tian Han and others watched the performance and gave good reviews. Afterwards, Donglu Shadow Play was often invited to perform abroad in Germany, France, Britain, Denmark, the Netherlands, Spain, Italy, the United States, the former Soviet Union in Europe, and Singapore, Thailand, Malaysia, Myanmar, South Korea, Japan and other places in Southeast Asia, and was very popular with foreign audiences. Donglu Shadow Play has many types of shadow tones and rich repertoires. Donglu Wanwanqiang Shadow Play, also known as Shiqiang. It was first formed in the same dynasty (now Dali) and gradually developed from Ming to Qing. During the Qianlong period of the Qing Dynasty, various singing boards were basically complete. The singing style of Donglu Wanwanqiang shadow play is delicate and elegant, graceful and lingering, fresh and tender, elegant and popular. The music rhythm is complex, the beat and accent have their own special rules, the melody fluctuates greatly, and there are many seventh and eleventh degree jumps, but it is natural and very individual, and it expresses a rich variety of emotions. The lyrics are elegant and magnificent, the rhymes are harmonious, and the sentences are intriguing. Some lyrics have three, five, or seven sentences, and they are all single sentences. These are the unique singing methods of Donglu Wanwanqiang shadow play. Donglu Wanwanqiang shadow play is not only loved by the general public, but also fascinated by intellectuals. In the long-term process of spreading and singing, Donglu Wanwanqiang shadow play has formed Wanwanqiang due to the differences in singing of different classes and regions. Although it is Wanwanqiang, it has its own style and characteristics in the singing process. The strong Wanwanqiang, Hualian Opera has heavy pronunciation, killing sound like thunder, shaking metal and stone, Shengdan Opera has a light and round opening, tender and tender, and the change of tune is fast and slow, like a clear silk with the wind, ups and downs, three twists and turns, soul-stirring, elegant and elegant, melodious, and heavy use of dragging sound. With its rich tune playing, it shows the artistic characteristics of passionate and euphemistic. The traditional performance of Donglu Wanwanqiang shadow play is that the band and the whole performance belong to one body. The specific division of labor is that the "front voice" is the leading actor of the troupe, responsible for all the rap, and also plays the moon guitar, hall drum, etc. The "upper gear" mainly plays the erxian and also holds cymbals, suona, etc. The "signer" is responsible for all the activities of the people and the arrangement of the scenery, and sometimes also helps with the singing, which is an important role in the shadow play. The "lower rank" is also called the "banhu hand". He plays the banhu and plays the suona and the trumpet. He also helps with the skewer and the singing. The "backstage" is also called the "backstage". One person operates the bowls, bangzi, jiaozi, daluo and maluo. Another important feature of the Donglu Wanwanqiang shadow play is the shadow puppets used in the performance. The carving of shadow puppets is extremely complicated. Its traditional process and tools are as follows: first, choose the leather; second, make the leather, use a scraper and a wooden push board; third, go through the draft, use a steel needle pen; fourth, carve, use various carving knives; fifth, apply color, use various coloring utensils, dishes, bowls and pens; sixth, sweat and soothe, use bricks to cover the cloth; seventh, tie the knot, use cowhide twisting thread and steel needle pen to carve the bone eyes, use cowhide thread to pass through the bone eyes, and tie the various parts of the shadow puppet together to complete it. Use iron wire to attach three bamboo sticks as the operating rod, which is the "skewer". The outstanding repertoires of Donglu Wanwanqiang Shadow Play, such as "Liushuping", "Sanshang Taofeng", "Flirtatious Father and Son", "Flirtatious Sisters", "Flirtatious Mother-in-law and Daughter-in-law", "Suanzaopo", etc., have played an important role in consolidating the national spirit, strengthening national unity, and inspiring national fighting spirit. Therefore, it has also become a Shaanxi Province Intangible Cultural Heritage Protection Project.