环县道情皮影戏又称“牛皮灯影戏”,是环县地区的重要文化表征。受男尊女卑思想和宗教权威等传统封建观念的影响，环县皮影戏行当长期掌握在男性艺人手里，形成了传统的男权性别交往框架和传承秩序，女性同样作为民间文化的持有者和创造者，却在很长一段时间内没有参与其中或个别间断参与，但都尚未形成规模化。把女性艺人参与道情皮影戏作为研究视角，以性别作为切入点来剖析民族传统文化传承中的交往差异。通过调研环县道情皮影的性别框架结构，分析道情皮影戏女性传承的逻辑困境及构建积极的传统文化再生环境和文化创新实践的必要性。

Daoqingshadow play in Huanxian County, also known as “cowhide lamp shadow play”, is an important cultural symbol of Huanxian County. Influenced by traditional feudal concepts such as the idea of men being superior to women and religious authority, Daoqingshadow playin Huanxian County has long been in the hands of male artists, forming a traditional male dominated gender communication framework and inheritance order. Women, as holders and creators of folk culture, have not participated in it for a long time or participated intermittently, but they have not yet formed a large-scale. This article takes the participation of female artists in Daoqingshadow play as a research perspective, and takes gender as a starting point to analyze the communication differences in the inheritance of national traditional culture. Through investigating the gender framework of Daoqing shadow play in Huanxian County, this paper analyzes the logical dilemma of women's inheritance of Daoqingshadow play and the necessity of building a positive environment for traditional culture regeneration and cultural innovation practice.