由於地理環境特殊加上族群多元特色，使台灣本土的民俗藝術，具有多樣的美感和久遠的歷史。隨著70 年代政治環境的改變，人民的生活與價值觀亦產生變化；地方充斥著新世代另類文化活動，與廟宇相關的傳統演出則迅速沒落；進入80 年代情況並沒好轉，電子花車、清涼工地秀和四處泛濫的色情影像蔓延全台。幸而經過無數來自不同領域的傳統藝術愛護者全力搶救之後，許多近乎消逝的民俗藝術和技藝傳承，終於獲得官方與民間應有的關注，並開啟有關古蹟維護、文物保存、人才培育的獎勵及立法；除了致力保存民俗活動的特質外，由於民間與官方之間共同的努力，使台灣三大偶戲：布袋戲、傀儡戲與皮影戲終於得以完整存留下來。但是其中皮影戲因材質使用上較沒其它兩類戲偶來的豐富，導致需要面對更多的難題。本文的研究方法以文獻探討法探究皮影戲未來發展面向，採用觀察法蒐集當代藝術工作者的創作觀點，做為皮影戲日後創作合乎現代意境及舞台使用的媒材之參考，同時也能保留舊有的戲碼，有效開拓皮影戲藝術未來的新方向。因皮影戲的演出方式受到很多侷限，在地方民俗戲曲中屬於發展較弱勢的偶戲，難敵聲光多變、色彩繽紛、造型似真人的偶戲。有鑒於此，本研究擬透過對於當代藝術家的觀念與實驗性展 演深入分析，以提供皮影戲另一種可能的演繹方式，並探究其未來永續發展的可行性。

On behalf of the special geographical surroundings and rich character of tribal groups the folk arts in Taiwan have multi-sense of beauty and a long history. Life and values were also changed through the variation of politic environment since 1970s, and the traditional performances regarding local temples declined rapidly and were replaced by current cultural activities of new generations. It was even worse after 1980s when electric performing vehicles and pornographic shows became extremely popular in most part of Taiwan. However the folk arts and its skills has been regarded as most precious properties by many people and culture workers soon after their enduring appeals and the inheritance of folk arts finally has been confirmed through official reward and lawmaking followed with many culture foundations, private research studios and local museums be turning up in the past two decades.A reliable cooperation between civilian and government in Taiwan preserved considerable folk activities in the end including: Hand puppet show, Puppet theatre and Leather silhouette show.Definitely quite a lot of difficulties ahead of leather silhouette show simply because it is comparatively weak on self-improvement and development. Besides only five troupes survive in Taiwan although a Leather Silhouette Museum and annual Puppet Festival were brought onward in Kaohsiung City the limit of it such as the style and effect of performance causes the inevitable fate of declining should never be ignored. Considering present situation this essay would like to provide another possible and reasonable suggestion for sustainable development if leather silhouette show through the analysis of conceptual and experimental exhibitions held by contemporary artists.