Balanced Harmony: Aesthetic Realms in Chinese Film

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.