Home An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics
Article
Licensed
Unlicensed Requires Authentication

An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics

An erratum for this article can be found here: https://doi.org/10.1515/jcfs-2025-2001
  • Jia Leilei

    Jia Leilei is the former associate dean of the Chinese National Academy of Arts and serves as a researcher and now the dean of Nanhai Academy of the Arts and Technology. He is a doctor of theatre, film and television literature. His publications include Film Linguistics (1996), The History of Chinese Martial Arts Films (2005), What Are Good Movies (2009), The Methodologies and Paradigms of Filmology (2015), and Cultural Industry and Cultural Soft Power (2016).

    EMAIL logo
Published/Copyright: November 23, 2023
Become an author with De Gruyter Brill

Abstract

Shadow play is the collective name of different forms of art performance such as “shadow puppets” (皮影戏, Piyingxi), “puppet play” (傀儡戏, Kuileixi), and so on. It is a folk art taught through practices and oral traditions, “creating shadows with light”, and came into being over two millennia ago. It emerged in different forms at different times and across different regions and cultures, thus the phrase can connote slightly different art forms depending on cultural context. Chinese people later used “shadow play” to refer to films introduced to China. Such usage not only addresses the connections between film and opera, but highlights how film inherited traditions of shadow play – telling stories through shadows.


Corresponding author: Jia Leilei, Nanhai Academy of the Arts and Technology, Hainan, China; and Chinese National Academy of Arts, Beijing, China, E-mail:
Translated by Zhou Yuanping, South Central University for Nationalities, Hubei, China

About the author

Jia Leilei

Jia Leilei is the former associate dean of the Chinese National Academy of Arts and serves as a researcher and now the dean of Nanhai Academy of the Arts and Technology. He is a doctor of theatre, film and television literature. His publications include Film Linguistics (1996), The History of Chinese Martial Arts Films (2005), What Are Good Movies (2009), The Methodologies and Paradigms of Filmology (2015), and Cultural Industry and Cultural Soft Power (2016).

References

Ban, Gu. 1975. Han Shu, Xiaowu lifuren [Book of Han, Concubine Li of Emperor Wu] (Volume 12, Volume 97). Beijing: China Theater Press.Search in Google Scholar

Cao, Dagong. 1996. Yinxi gailun, Zhongguo wushengdainyingshi [An Introduction to Shadow Play, History of Chinese Silent Film]. Beijing: China Film Press.Search in Google Scholar

Chen, Xihe. 1986. Zhongguo dianyingmeixue de zairenshi—ping “yingxi juben zuofa” [Recognition of Chinese Film Aesthetic—A Commentary on “Shadow Play Script Writing Methods”], Vol. 1, 84–92. Beijing: Contemporary Cinema.Search in Google Scholar

Chen, Menglei. 2011. Bowu huibian. Gujin tushu jicheng, yishudian [Natural Science, Collection of Ancient Books, Art], Vol. 805. Beijing: Zhonghua Book Company.Search in Google Scholar

Chen, Yimin, and Junxiang Liu. 1999. Zhongguo quyi, zaji, mu’ouxi, piyingxi [Chinese Opera, Acrobatics, Puppet Play, Shadow Puppets]. Beijing: Yanshan Press. Culture and Art Publishing House.Search in Google Scholar

Cheng, Jihua, Shaobai Li, and Zuwen Xin. 1963. Zhongguo dianying fazhanshi [Chinese Film History]. China Film Press.Search in Google Scholar

Ding, Shanshan. 2017. Zhongguo dianyingkanwu shigao [Chinese Film Journal] (1921–1949). Beijing: China Film Press.Search in Google Scholar

Dong, Meikan. 1983. Shuo ju [History of Chinese Opera]. Beijing: People’s Literature Publishing House.Search in Google Scholar

Feng, Menglong. 2011. Qingshi leilue [Love Stories]. Nanjing: Phoenix Publishing & Media Group.Search in Google Scholar

Gao, Cheng. 1989. Shiwu jiyuan [The Origin of Things]. Collated by Li Guo. Proofed by Xu Peizao. Beijing: China Theater Press.Search in Google Scholar

Ge, Hong. 1993. Xijing zaji [History and Anecdotes of Chang’an]. Translated by Cheng Lin and Cheng Zhangcan. Beijing: China Theater Press. Guzhou Renmin Chubanshe.Search in Google Scholar

Gu, Kenfu. 1921a. Yinxi yuanliu kao [A Study of Shadow Play Origin]. Shadow Play Journal (1).Search in Google Scholar

Gu, Kenfu. 1921b. Yinxi zazhi fakanci [Introduction to“Shadow Play Journal”] (Volume 1). Shanghai: Shadow Play Magazine (1).Search in Google Scholar

Hong, Mai. 1997. Yijian zhi, Yijian sanzhi [Yijian Mystery] (Volume 3). Beijing: Beijing Yanshan Press.Search in Google Scholar

Hou, Yao. 1926a. Yingxi juben zuofa [Shadow Play Script Writing Methods]. Shanghai: Taidong Tushuju.Search in Google Scholar

Hou, Yao. 1926b. Dianying zai wenxueshang de weizhi [The Role of Shadow Play in Art]. Shanghai: Minxin Tekan “Yujiebingqing” (1).Search in Google Scholar

Hu, Zhongchi. 1996. Yingxi yu yishu. Zhongguo wushengdainyingshi [Shadow Play and Art. A History of Chinese Silent Film]. Beijing: China Film Press.Search in Google Scholar

Jiang, Kui. 1986. Annotated by Song Xuanchang. Jiangbaishi shiji fazhu [Annotations on Jiangkui’s Poems]. Shanxi: Shanxi People’s Publishing House.Search in Google Scholar

Li, Suyuan. 1995. Yingxixue yanjiu [Shadow Play Studies]. Contemporary Cinema (6):29.Search in Google Scholar

Liao, Ben, and Yanjun Liu. 2000. Zhongguo xiju fazhanshi [History of Chinese Opera] (Volume 4). Shanxi: Shanxi Jiaoyu Chubanshe.Search in Google Scholar

Liu, An. 2006. Huainan honglie jijie [Myths and Legends of Sages from the pre-Qin to Western Han Dynasties]. Proofed by Feng Yi and Qiao Hua. Guzhou Renmin Chubanshe. Beijing: Zhonghua Book Company. Beijing: China Theater Press.Search in Google Scholar

Marx, Karl. 1971. Preface and Introduction to Critique of Political Economy. Translated by the Bureau of Works of Marx, Engels, Lenin and Stalin of the Communist Party of China Central Committee. Beijing: People’s Publishing House.Search in Google Scholar

Ruan, Yicheng. 1996. Yingxi de zhexue, zhongguo wushengdainyingshi [Shadow Play Philosophy, A History of Chinese Silent Film]. Beijing: China Film Press.Search in Google Scholar

Wu, Zimu. 1984. Meng liang lu [People’s Daily Life in Lin’an]. Zhejiang Renmin Chubanshe. Hangzhou: Shanghai Classics Publishing House.Search in Google Scholar

Wu, Zimu, Mi Zhou, and Zhu Fei. 1993. Ducheng jisheng [People’s Daily Life in the Song Dynasty]. Shanghai: Shanghai Classics Publishing House.Search in Google Scholar

Ye, Mingsheng. 2017. Zhongguo kuileixishi [History of China’s Shadow Play] (Ancient, Modern and Contemporary Volume). Beijing: China Theater Press.Search in Google Scholar

Zhang, Dai. 1985. Langhuan wenji, langhuanfudi ji [Essays of Zhang Dai, Experience in Langhuanfudi]. Changsha: Yuelu Press.Search in Google Scholar

Zhong, Dafeng. 1986. Yingxililun lishi suyuan [History of Shadow Play]. Contemporary Cinema (3):76.Search in Google Scholar

Zhou, Jianyun. 1921. Yinxi zazhi fakanci [Introduction to“Shadow Play Magazine”] (Volume 1). Shanghai: Shadow Play Magazine (2).Search in Google Scholar

Zhou, Jianyun, and Xuchang Wang. 1992. Yinxi gailun [An Introduction to Shadow Play]. In 1920–1989 Zhongguo dianyinglilun wenxuan [Selected Works of Chinese Film Theory 1920–1989], edited by Luo Yijun. Beijing: Wenhua Wenyi Chubanshe.Search in Google Scholar

Postscript

The originally article entitled 影戏论——中国电影美学的源流辨析 was published in Dianying Yishu 电影艺术 (Film Arts) 2022 (02): 12–20.

Received: 2023-07-26
Accepted: 2023-11-02
Published Online: 2023-11-23
Published in Print: 2024-04-25

© 2023 Walter de Gruyter GmbH, Berlin/Boston

Downloaded on 27.10.2025 from https://www.degruyterbrill.com/document/doi/10.1515/jcfs-2023-0068/html
Scroll to top button