Home Balanced Harmony: Aesthetic Realms in Chinese Film
Article
Licensed
Unlicensed Requires Authentication

Balanced Harmony: Aesthetic Realms in Chinese Film

  • Zhen Li

    Zhen Li is the deputy director and researcher of the film history research department of China Film Art Research Center. His primary research interests encompass the history of Chinese cinema, contemporary Chinese film, oral history, and animated films, reflecting a comprehensive engagement with both the historical and modern dimensions of the cinematic landscape in China.

    EMAIL logo
Published/Copyright: May 23, 2025
Become an author with De Gruyter Brill

Abstract

The concepts of “balance” (中, Zhong) and “harmony” (和, He) represent the aesthetic pursuits of Chinese art for millennia and continue to shape the aspirations of many filmmakers. Within modern and contemporary film literature, the aesthetics of “balanced harmony” (中和, Zhonghe) have been extensively discussed in areas such as narrative structure, audiovisual language, performance theory, and film criticism, with these ideas deeply embedded in the classic texts of Chinese cinema. Both “balance” and “harmony” possess distinct theoretical origins and aesthetic connotations while sharing philosophical connections. As central aesthetic categories rooted in Chinese rites and music traditions, they have accompanied Chinese cinematic practices for over a century, serving as vital theoretical resources for constructing indigenous film aesthetics.


Corresponding author: Zhen Li, China Film Art Research Center, Beijing, China, E-mail:
Translated by: Kexin Ni, Jiangxi University of Science and Technology, Jiangxi, China, E-mail: monicaniki6@gmail.com

About the author

Zhen Li

Zhen Li is the deputy director and researcher of the film history research department of China Film Art Research Center. His primary research interests encompass the history of Chinese cinema, contemporary Chinese film, oral history, and animated films, reflecting a comprehensive engagement with both the historical and modern dimensions of the cinematic landscape in China.

References

Anonymous. 1925.. “Gu Wuwei Daoyan Lunli Aiqing Yingpian Shuishi Muqin” [Ethical Romantic Film Who Is the Mother Directed by Gu Wuwei]. Xinwenbao, 10 October 1925.Search in Google Scholar

Chen, Zhiqing. 1927. “Chuancha?” [“Interpolation?”]. Yinxing (6): 18.Search in Google Scholar

Cheng, Bugao. 1983. Yingtai Yijiu [Reminiscences of the Film World]. Beijing: China Film Press.Search in Google Scholar

Fei, Mu. 1934. “‘Daoxu fa’ yu ‘xuanxiang’ zuoyong” [“The ‘Flashback Method’ and the Function of ‘Suspension’”]. Yingmi Zhoubao 1 (3): 82.Search in Google Scholar

Feng, Youlan. 1961. “Zailun Kongzi guanyu ‘Ren’ de Sixiang” [Rethinking Confucius – On Confucius’ Thought of “Ren”]. In Collected Papers on the History of Chinese Philosophy, Vol. 2. Shanghai: Shanghai People’s Publishing House.Search in Google Scholar

Feng, Youlan. 2013. A Short History of Chinese Philosophy. Beijing: Peking University Press.Search in Google Scholar

Fo, Sheng. 1927. “Maiqian de yingpian” [“Films for Making Money”]. Tianyi Youth Company Tekan (12–13).Search in Google Scholar

Herbert, Fingarette. 2002. Confucius: The Secular as Sacred. Translated by Peng Guoxiang, and Zhang Hua. Nanjing: Jiangsu People’s Publishing House.Search in Google Scholar

Hong, Shen. 1925–1926. “Keyu manbi” [“Leisure Writings”]. Mingxing Company Tekan (1–5), (7), (9).Search in Google Scholar

Hong, Shen. 1926. “‘Siyueli di Qiangwei Chuchu Kai’ zhi guanggao” [“The Advertisement of ‘Rose Everywhere in April’”]. Mingxing Company Tekan (13).Search in Google Scholar

Hou, Yao. 1925. Yingxi Juben Zuofa [The Writing Method of Film Scripts]. Shanghai: Taidong Bookstore.Search in Google Scholar

Huang, Shang. 1984. Huang Shang Lunju Zawen [Huang Shang’s Essays on Opera]. Chengdu: Sichuan People’s Publishing House.Search in Google Scholar

Huang, Zibu, Xi Naifang, Ling Ke, and Feng Su. 1998. “‘Chengshi Zhiye’ Ping” [“Comment on Night in the City”]. In Shiren Daoyan – Fei Mu [The Poet Director – Fei Mu], edited by Huang Ailing. Hong Kong: Hong Kong Film Critics Society. Search in Google Scholar

Li, Lili. 1998. “Langshan Diexueji’ de yuyi he yuanwei” [“The Implication and Origin of The Battle on Wolf Mountain”].” In Shiren Daoyan – Fei Mu [The Poet Director – Fei Mu], edited by Huang Ailing, 146–7. Hong Kong: Hong Kong Film Critics Society.Search in Google Scholar

Li, Lili. 2001. Xingyun Liushui Pian: Huiyi, Zhuinian, Yingcun [Recollections, Remembrances, and Film Existence]. Beijing: China Film Press.Search in Google Scholar

Li, Zehou. 2008. Huaxia Meixue · Meixue Sijiang [Chinese Aesthetics · Four Lectures on Aesthetics]. Beijing: SDX Joint Publishing Company.Search in Google Scholar

Ling, He. 1936. “Shijie Ming Daoyan Pingzhuan” [“Biographies of World – Famous Directors”]. Zhonghua Tuhua Zazhi (42–45): 32.Search in Google Scholar

Ouyang, Yuqian. 1928. “Daoyanfa” [“Directing Method”]. Dianying Yuebao (1), (2), (3), (5), (6).Search in Google Scholar

Pang, Pu. 1996. Pang Pu Academic and Cultural Essays. Beijing: China Youth Press.Search in Google Scholar

Qi, Xiang. 1925. “Daoyan suotan” [“Chats on Directing”]. Xinwenbao, 17, 30 August 1925.Search in Google Scholar

Qian, Mu. 1987. “Zhongguo Jingju Zhong zhi Wenxue Yiwei” [The Literary Connotations in Chinese Peking Opera].” In Lectures on Chinese Literature. Chengdu: Bashu Bookstore.Search in Google Scholar

SF. 1929. “Yingju Jianshang Suitantu” [“Random Talks on Film and Drama Appreciation”]. Dianying Yuebao (10): 2.Search in Google Scholar

Shen, Xiling. 1933. “Zhizuo ‘Nüxing de Nahuan’ Hougan” [“Thoughts after Producing The Cry of Women”]. Mingxing Yuebao 1 (1): 2.Search in Google Scholar

Shi, Hui. 1947. “Yu Li Shaochun tan xi” [“Talking about Opera with Li Shaochun”]. Dajia 1 (1): 65.Search in Google Scholar

Shi, Dongshan. 1959. “Dianying Yishu zai Biaoxian Xingshi Shang de Jige Tedian” [Several Characteristics of Film Art in the Form of Expression]. Beijing: China Film Press.Search in Google Scholar

Sun, Yu. 1987. Yinhai Fanzhou – Huiyi Wo de Yisheng [Sailing in the Silver Sea – Recalling My Life]. Shanghai: Shanghai Literature and Art Publishing House.Search in Google Scholar

Sun, Yu. 1990. Daluzhige [Song of the Great Road]. Taipei: Yuanliu Publishing Co., Ltd.Search in Google Scholar

Sun, Yu. 2008. “Dianying daoyan lun – Zhongguo dianying nianjian 1934” [On Film Directing – China Film Yearbook 1934 (photocopy)]. Beijing: China Radio and Television Press.Search in Google Scholar

Tu, Weiming. 2013. The Prospect of the Third-Stage Development of Confucianism: Lectures, Q&A, and Discussions at the University. Beijing: SDX Joint Publishing Company.Search in Google Scholar

Wen, Jun. 1934. “Dianyingju Zhong de Chuancha: Yizhong Biyao de Jiqiao” [“Interpolation in Film Dramas: A Necessary Technique”]. Minbao, 5, 24 January 1934.Search in Google Scholar

Wu, Yonggang. 1935. “‘Shennv’ Wancheng Zhihou” [“After the Completion of The Goddess”]. Lianhua Huabao 5 (1): 3.Search in Google Scholar

Xiong, Feng. 1943. “Zhu Shilin de Zuopin ji Qita” [“Zhu Shilin’s Works and Others”]. Taipingyang Zhoubao 1 (73): 1537–8.Search in Google Scholar

Xu, Gongmei. 1924. “Yingju de Dongzuoshu” [“The Art of Movement in Film and Drama”]. Dianying Zazhi (7), (8), (9).Search in Google Scholar

Xue, Chou, and Ze Yuan. 1925. “Daoyan de Jingguo” [“The Process of Directing”]. Great Wall Company Tekan - Chun Gui Meng Li Ren [A Dream of Love in the Boudoir] 7.Search in Google Scholar

Yang, Chunshi. 2004. “Zhonghua Meixue de Gudian Zhutijianxing” [“The Classical Intersubjectivity of Chinese Aesthetics”]. Shehui Kexue Zhanxian (1): 76.Search in Google Scholar

Yu, Qian. 1925a. “Daoyan mantan” [“Casual Talks on Directing”]. Minxin Company Tekan (3): 36.Search in Google Scholar

Yu, Qian. 1925b. “Yingxi jiaoben caize zhi biaozhun” [“The Criteria for Selecting Film Scripts”]. Minxin Company Tekan (1): 17.Search in Google Scholar

Yu, Qian. 1926. “Daoyan san nian yihou ganyan” [“Thoughts Three Years after Directing”]. Minxin Tekan (3): 43–4.Search in Google Scholar

Zhen, Zhen. 1926. “Yujie Bingqing” [“Pure as Jade and Ice”]. Minxin Company Tekan (2): 60.Search in Google Scholar

Zheng, Zhengqiu. 1925. “Wo suo xiwang yu guanzhong zhe” [“What I Expect from the Audience”]. Mingxing (3): 2.Search in Google Scholar

Zhou, Laixiang. 2020. Mei Shi Hexie - Zhou Laixiang Meixue Wenxuan [Beauty Is Harmony - Selected Aesthetic Essays of Zhou Laixiang], 3. Jinan: Shandong Literature and Art Publishing House.Search in Google Scholar

Zhu, Shilin. 1930. “Lian’ai yu yiwu” [“Love and Duty”]. Yingxi Zazhi 1 (10): 39.Search in Google Scholar

Postscript

The originally article entitled “中和”:中国电影美学境界说 was published in Dianying Yishu 电影艺术 (Film Arts) 2023 (05): 26–33.Search in Google Scholar

Received: 2025-01-25
Accepted: 2025-02-20
Published Online: 2025-05-23
Published in Print: 2025-04-28

© 2025 Walter de Gruyter GmbH, Berlin/Boston

Downloaded on 26.9.2025 from https://www.degruyterbrill.com/document/doi/10.1515/jcfs-2025-0002/html?lang=en
Scroll to top button