In the early days, Beijing shadow puppetry was divided into two schools, the Eastern and Western schools. The Eastern school died out very early, and the existing Western school of shadow puppetry was formed during the Zhengde period of the Ming Dynasty. In 1842, Lu Decheng, a Manchu, inherited the Western school of Beijing shadow puppetry art and established the Beijing Xiangshun shadow puppetry troupe. Since then, the Western school of shadow puppetry has been passed down in the Lu family. Lu Fuyuan, the son of Lu Decheng, established the Fushun shadow puppetry troupe, and Lu Yaofeng, the son of Lu Fuyuan, established the Deshun shadow puppetry troupe. It has been passed down to Lu Yaofeng's son Lu Jingda for four generations, and it has lasted for more than a hundred years. Beijing shadow puppetry has a long formation period and unique expression techniques. Its performance, vocal tunes, and modeling have artistic characteristics different from those of shadow puppets in other regions. Its vocal tunes absorb the vocal tunes and tunes of northern Kunqu Opera, Peking Opera, and Quyi, and it has its own style. The performance is delicate and exaggerated. There are some unique artistic processing techniques, such as the details of the shadow figures looking in the mirror, shedding tears, and dressing up are very real. With the retirement and death of the older generation of artists, Beijing shadow puppetry has no successors. The main inheritor of Beijing Shadow Play, Beijing Shadow Play Troupe, has not had its own troupe for a long time since 1979, and lacks a fixed performance venue. It has been operating in debt for a long time, and the income of performers and staff is low, making it extremely difficult to survive. Under this situation, Beijing Shadow Play has gradually fallen into an endangered situation, lacking people to inherit it, and has gradually faded out of the audience's field of vision. It is urgent for relevant departments to formulate measures to protect it.