jumping shadow 260 from the series: the shadow and I
For a great deal of its history, the shadow is recorded in Western art on a basis of narrative need. The story of St Peter's shadow led to Masaccio's fresco; Murnau made much of the shadow in the film Nosferatu despite his source, Bram Stoker's Dracula being clear that the vampire did not cast a shadow. The works I find interesting are where the existence and depiction of the shadow goes beyond the narrative into a separate reality -- I should name Chamisso's story of Peter Schlemihl and Wilde's story of the Fisherman and the Mermaid.
In China and Japan the shadow of the person, 人影, is almost totally unknown in the classical media of brush and ink or wood block printing. I should like the opportunity to study this difference in more depth.