Hanyin was established as a county in the pre-Qin period. It was called Xicheng, Anyang, and Hanning in ancient times. It was named Hanyin in the second year of the Tang Dynasty. According to archaeological discoveries, its human history can be traced back to the Neolithic Age. Hanyin shadow play is a typical representative of the immigrant culture in southern Shaanxi. 90% of Hanyin's population is descended from Hunan, Hubei, Guangdong, Jiangxi, and Sichuan. After immigrants from various places lived together, their cultures collided and merged with each other to produce a new immigrant culture, and Hanyin shadow play is like this. According to Hanyin County Chronicles and oral data from old artists, from the second year of Qianlong in the Qing Dynasty (1737) to before the founding of the People's Republic of China, Hanyin shadow play troupes were divided into professional and player troupes. The repertoires they sang were large-scale Han operas. The music, singing, performances, and trades were very different from those in the surrounding Hubei and Sichuan, and were also very different from the Guanzhong shadow play school in this province. Hanyin shadow play is inextricably linked to the rise and fall of Han opera. On the wall of the "Black Dragon Cave Theater", a cultural relic protection unit in Hanyin, there are still traces of the shadow play troupes and Han opera troupes at that time. Hanyin shadow puppetry is included in the "Shaanxi Provincial Drama Records Ankang Region Volume". Jiang Ziying (1850-1934), a famous Han-style Erhuang shadow puppetry and drama artist, has been engaged in Erhuang art all his life and has superb shadow puppetry performance skills. Shadow puppetry has been a performing art since the Western Han Dynasty in the Liyuanfang of the Tang Dynasty. It reached its peak in the Ming and Qing Dynasties. Li Xingru, a representative figure of Hanyin shadow puppetry, followed the class since he was a child. Before the age of 18, he cooperated with many old artists to perform at the door. He practiced his skills and took on an independent class. The performance of Hanyin shadow puppetry does not require high venues. Due to the size of the shadow puppet, too many spectators cannot see clearly, and too few spectators will not be lively. A venue that can accommodate 200 people is the most suitable, regardless of the theater, courtyard, or hall. It can be appreciated from three main levels: First, listen to the story and appreciate the plot. Second, watch the door-blocking skills and appreciate the actors' singing. Third, watch the shadow puppet carving skills. Hanyin shadow play has unique performance techniques and outstanding skills. It is a unique flower in the shadow play of Chinese folk culture and a protection project of intangible cultural heritage in Shaanxi Province. The main characteristics of Hanyin shadow play are: 1. Han tune Erhuang singing. Hanyin shadow play singing adopts the local Han tune Erhuang singing, and at the same time integrates the rich Bashan dialect, Huguang rhyme, and southwestern folk music elements, gradually forming a unique and distinctive local feature. Its north-south inclusive style and simple performance style are deeply loved by the masses in southern Shaanxi, Hubei, and northern Sichuan. 2. A large number of "guaranteed" singing roles in the original play and excerpt play. In the 1920s and 1930s, the performance repertoire of Han tune Erhuang shadow play reached more than 320 by shadow play artists. At the same time, it also absorbed local Bacha Opera, Erpengzi Opera and other repertoires as "farewell plays". The fact that there are many familiar repertoires for the audience to choose from is also one of the reasons for the long-term survival of shadow play. 3. Comprehensive singing skills. In the performance of Hanyin shadow play, not only are the roles carefully divided (one end, two clean, three male, four female, five ugly, six outside, seven small, eight tie, nine old, ten miscellaneous, referred to as "one end and ten miscellaneous"), but also the performance program and the civil and military scenes are closely coordinated, carefully designed, and never sloppy. The perfect performance system of Han tune Erhuang puts forward rigorous and standardized performance requirements for Hanyin shadow play. 4. Standardized performance form, the ancient Han tune Erhuang, after generations of artists created, refined, and sublimated, formed a set of standardized performance programs. It requires artists to have excellent hand skills. 5. Unique skills. One of the unique skills of Hanyin shadow play is that when performing, the handsome face of a woman turns around on the curtain and instantly turns into a ghost face, and then turns back to a handsome face several times, the action technique is extremely fast; in the fight between generals, there are skills such as beheading people on horseback. Another unique skill is to set off firecrackers without burning the lights when there are fireworks burning lions, setting off gunpowder guns, dragon lanterns and lions, and colorful lotus boats in the performance, creating danger and momentum, giving the audience an immersive feeling. After thousands of years of historical changes, the immigrant culture and the integration of northern and southern cultures of Hanyin shadow play have formed their own unique charm. 1. Repertoire singing. Hanyin shadow play is an outstanding representative of Hanyin shadow play. It is a shadow play that uses Han tune Erhuang as the singing, continues the singing, repertoire, and performance program of Han tune Erhuang, and uses shadow puppets as a medium to achieve the purpose of education. 2. Hanyin shadow play integrates with other types of drama. The Han River Basin is rich in heritage. The drama is mainly based on Han tune Erhuang, and there are Bacha, Daoqing, Xianzi Opera, Erpengzi, Dibengzi, etc. Each type of drama has distinct characteristics, but at the same time, they learn from each other, penetrate and integrate in the coexistence. Hanyin shadow play inherits the formality and rigor of Han tune Erhuang, absorbs the humorous performance of Bacha and ghost play, and absorbs the lively, festive, humorous, fun and thrilling performances from Erpengzi and Dibengzi. 3. Shadow carving. Since shadow puppets combine drama performance, play appreciation and collection, carving is done at no cost and strives for excellence. The shadow style is highly refined and expanded, and it is crafted, patterned and idealized. Hanyin shadow play absorbs the essence of Hanyin shadow play. After hundreds of years of creation, sublimation, perfection and reform, it has formed its standardized program, distinctive personality characteristics and unique performance style. Its singing, performance, craftsmanship and folk art have high academic value. It is an intangible cultural heritage protection project in Shaanxi Province.