The Liaoxi Corridor is like a colorful ribbon that transcends time and space, connecting the Han culture of the Central Plains with the ethnic culture of the northern part of Liaoxi. The unique region and complex corridor culture have nurtured Liaoxi's own puppet art style. Cai Datian (Cai Wanrong) is the founder of Liaoxi puppet design and production. The large-scale mythological story hanging silk puppet show "Chang'e Flying to the Moon" designed and produced by him is well-made and can be called a unique one, causing great repercussions inside and outside the province. The images of "Su San Qi Jie" and "Ge Ma" carved by Cai Datian are lifelike and lifelike. "Wang Niangtan" (also known as "Wu Nie Long" and "Heifeng Cave"), designed by Zhang Ding, a native of Heishan in Liaoxi (formerly the president of the Central Academy of Arts and Crafts) and carved by Cai Datian himself, has been highly praised by Zhang Ding. "Zhu Bajie Carrying His Wife" and "Little Cowherd" designed by Zhang Guangyu, a former "Qingyi" artist, and carved by Cai Datian are popular. Unfortunately, these precious masterpieces were all burned during the "Cultural Revolution". Guan Jianqing, the main inheritor of Liaoxi puppet art performance, was born in 1926. He is a folk puppet artist. His representative work is "Pingdingshan" (i.e. "Three Beats of the White Bone Demon"). Liaoxi puppets have been passed down for six generations and have been passed down to this day. In January 1953, a group of 23 members of the Liaoxi Puppet Troupe were ordered by the Central Ministry of Culture to go to Beijing, and since then, today's China Puppet Art Troupe was established. The Liaoxi puppeteers, unwilling to be lonely, faced difficulties and hardships in the following periods. Their works have cultivated the sentiments of generations of children and are a rare type of drama in the three northeastern provinces. At the same time, they have also filled the gap in puppet art in Liaoning Province. At present, Liaoxi puppet art is facing a crisis again. The older generation of artists are already over 70 or 80 years old, and the inheritance is on the verge of being interrupted.