Hunan Flower Drum Opera is one of the Chinese opera arts, from the formation of ancient Chinese opera, it is inseparable from the ancient Chinese totem worship, religious ritual activities. With the progressive development of ancient Chinese civilization, the court music and dance under the culture of ritual and music, as well as religious rituals under the “Nuo(傩)” culture, although used by the ruling class to maintain and consolidate political interests, coupled with a political coat. But it is precisely this is the systematic, integrity of the preservation of the existence. Along with the phenomenon of "the collapse of rites and music," the art and culture of the ruling class moved downward, from court to folk, fusing with folk songs and dances to gradually form new art forms. The idea of ritual and music and the “Nuo” culture is also a new art bearer, along with the development of a new art form to spread the carrier. Until the Yuan, Ming and Qing dynasties, the ancient Chinese court music and dances and folk songs and dances were integrated into the opera and became the mainstream art form of the society at that time. In particular, dance has gradually become marginalized in the lives of mainstream social groups, and it is difficult to see classical dance works passed down from generation to generation. Although the art of opera indirectly carries the ancient Chinese dance, is a kind of living existence of ancient Chinese dance, and makes it inherit and develop, but it also makes the ancient Chinese dance form to demise and decline. The study of the formation of Hunan Flower Drum Opera is generally based on Chinese opera. Starting from the formation and development of the opera, a comparative study of the opera's artistic styles, performance forms, singing lyrics, and other aspects is presented. However, in my opinion, although Hunan Flower Drum Opera is an operatic art, its formation is different from that of operatic art.The main reasons are as follows: (1) According to Yang Enshou during the Guangxu period of the Qing Dynasty, "Xuciyucongji" recorded that “湘中岁首有所谓灯戏者，初出两伶，各执骨牌二面，对立而舞， 各尽其态。”According to qianlong thirty years "Chenzhoufuzhi" records “元宵前数日，城乡多翦纸为灯，或龙、或狮子，及各鸟兽状。十岁以下童子，扮演采茶、秧歌诸故事。至十五夜，笙歌鼎沸，盈街达旦，士女聚观，统曰闹元宵。是日作油染元宵团相馈遗。舞灯之后，又各聚赀唱梨园，名曰灯戏。”The origin of Hunan Flower Drum Opera is the combination of Hunan folk songs and dances with opera. Therefore, the art of opera can only be a "tributary" and not a "source," but a folk opera art that has been absorbed and borrowed under the influence of opera. (2) In the Han Dynasty, Wang Yi recorded in "Chucizhangju": "昔楚国南郢之邑，沅湘之间，其俗信鬼神而好祀。其祀必作歌舞以乐诸神。" In China's historical development, Hunan experienced the Spring and Autumn and Warring States periods, "the land of Chu", but also the ancient Chinese "Nuo culture" most prevalent period. The “Nuo” culture of ancient Chinese cultural ideas, social art forms have a direct impact on the role. Therefore, this study explores the development of Hunan Flower Drum Opera from a longitudinal historical perspective, using the general timeline of Chinese “Nuo” culture as a starting point for interpreting the development of Hunan Flower Drum Opera. Locate Hunan, China to study the flower and drum opera, and explore the artistic characteristics left behind by the influence of ancient Chinese “Nuo” culture. At the same time on the Hunan Flower Drum Opera in “Nuo” cultural exploration, not only can the ancient Chinese court music and dance, folk songs and dances of the formation of the origin, style characteristics to explain the analysis. It also provides a new research basis for the inheritance and development of contemporary Hunan flower drum opera.