This book attempts a comprehensive study of shadow puppetry in its varied types and forms prevalent in several Asian countries. It deals with the shadow art from its origins in the oldest civilisations of China and India spreading into Indonesia, Thailand, Cambodia and Malaysia and carried across by artistes and performers to the Middle East and from there to Europe, England and America in the 17-19th centuries.It is still living and vibrant, widely and largely, in Indonesia and China, less so in India, Thailand and Malaysia, disappearing in Cambodia, but revived in Turkey and adapted into various forms of theatre in Western countries and presented, artistically and appealingly, in Australia.The mutual influence of the shadow and human theatres, in the early stages of growth, is a striking phenomenon observed in many countries. The influence exerted by the iconography of the shadow figures on the plastic arts is no less significant in Asia.As a precursor of the cinematic art (in China and Europe), it holds an important and distinctive position, particularly in its connection with the evolution of sophisticated cinematic techniques like animation.Though traditional and sacred in its origin, it is now innovative and secular in outlook. It has the potential for adaptation for emerging new artistic and theatrical needs.The book is well illustrated with reproductions from varied sources relevant for the understanding of the narrative.