Wang, Haizhou and Yuan, Yaxuan. "Chinese Cultural Spirit: The Expression of Values in Chinese Films" Journal of Chinese Film Studies, vol. 2, no. 1, 2022, pp. 1-21. https://doi.org/10.1515/jcfs-2022-0008
Haizhou Wang, Doctor of film studies, is a professor and doctoral supervisor of film studies at the Beijing Film Academy. He serves as the dean of the Postgraduate Department and the head of the Library of the Beijing Film Academy. He is the lead researcher for the China National Social Science Major Project, “The Inheritance and Development of Chinese Artistic Traditions in Contemporary Chinese Films.” Haizhou Wang is the vice president of Chinese Collegial Association for Visual Art and the chairman of the Film History Committee. Meanwhile, he is the convenor of the Drama and Film Sub-Committee of the National Arts Degree Graduate Education Steering Committee of the State Academic Department. Haizhou Wang has won the titles of Beijing Education Innovation Model and Beijing Great Wall Scholar.
王海洲，电影学博士，北京电影学院教授、研究生院院长、图书馆馆长，博士生导师，国家社科基金艺术学重大项目首席专家。现任国家一级学会中国高校影视学会副会长兼影视史学专业委员会主任委员；国务院学位委员会全国艺术专业学位研究生教育指导委员会戏剧戏曲与广播影视分委会召集人。曾荣获北京市教育创新标兵称号、北京市长城学者。
Yaxuan Yuan is a PhD candidate in the College of China Film Culture Research at Beijing Film Academy.
袁雅瑄，北京电影学院中国电影文化研究院2019级博士研究生。
Abstract: One of the particular characteristics of Chinese films is that they are based on the unique sources of Chinese cultural thought. This article examines the main spiritual ideas of traditional Chinese culture through the lens of the three relationships between heaven and man, humans and other humans, and man and himself. It explores how Chinese films made in different cultural contexts and historical backgrounds have expressed the spirit of Chinese culture through both inheritance and transformation. We approach this issue by focusing on expressions of the traditional concepts of “the unity of man and heaven,” “vigor and promise,” “moderation and harmony,” and “the unity of body and mind.”
Keywords：Chinese films; cultural spirit; unity of heaven and man; vigor and promise; unity of body and mind
摘要：中国电影的民族特色之一在于其立足于独特的中华文化思想根源。本文从天人关系、人人关系、人我关系三个层次考察中国传统文化中的主要精神内涵，并从天人合一、刚健有为、中庸中和、身心合一等思想观念出发，探讨了中国电影的价值表达在不同的文化语境、时代背景之下对中国传统文化精神的传承与转化。
关键词：中国电影；文化精神；天人合一；刚健有为；身心合一
Chinese film artists create artistic works with national characteristics by addressing Chinese history and realities with their own creativity and imagination. These films embody the unique ideologies and values of the Chinese people, containing important and immutable spiritual elements of Chinese culture. Chinese films have presented these spiritual elements from different perspectives and in different forms at various times, usually in the form of either the inheritance, or the transformation, of tradition. How Chinese films present the spirit of Chinese culture and how they further its development is an important academic topic worthy of investigation.According to the view of Marxist philosophy, any type of practice is defined by three relationships: between man and nature, man and society, and man and self-consciousness. Accordingly, this paper uses these three levels to analyze the inheritance and transformation of the spirit of Chinese culture as depicted in Chinese films.This paper transforms the Marxist categories of the relationships between man and nature, man and society, and man and self-consciousness into expressions with Chinese characteristics; that is, the relationship between man and heaven, humans and other humans, and man and himself (the individual).中国电影是中国电影艺术家面对中国的历史、现实，投入自己的创造力、想象力创作出来的具有民族特色的艺术作品，它体现着中国人特有的思想观念与价值追求，蕴含着中国文化中一些内在不变的重要精神。它们以传承或者转化的形式存续在中国电影中，显影在不同时代，以不同的角度和形式被呈现。中国文化精神如何呈现在中国电影中，中国电影又是如何弘扬中国文化精神， 是一个值得研究的重要学术命题。根据马克思主义哲学的观点，任何实践都包含三种关系：即人与自然、人与社会、人与自我意识的关系。因此本文试从这三个层面来分析中国电影对中国文化精神的传承转化。本文将人与自然、人与社会、人与自我意识这三个层面的关系转化为具有中国特色的表述，即人与天、人与人、人与自身（我）的关系。The Relationship Between Man and Heaven:
Perspectives on Nature and Life in Chinese
Films 天人关系：中国电影的自然观、人生观
1.1 The Unity of Man and Heaven
“The unity of man and heaven” emphasizes that man is a part of both heaven and earth. This belief reflects the reality that man cannot be separated from nature and shows man’s dependence on nature. The formation of this concept was connected to the Chinese nation’s early development into an agricultural civilization. In an agricultural society, the earth produces everything, and people see themselves as relying on the heavens for food. They naturally revere and worship nature. For example, in the film Yellow Earth (Huangtudi 1984), whenever humans appear at the same time in a scene with “heaven and earth,” men seem to be either enveloped in boundless yellow earth, or appear with the vast sky over their heads. Sky and earth occupy the majority of the picture while humans appear as miniscule, caught between heaven and earth.Although “the unity of man and heaven” emphasizes man’s dependence on nature, it does not deny the importance of man himself. If people can respect and live in harmony with nature, they will be able to play the same role as heaven and earth. As the saying goes, “if one is able to give their full development to the nature of creatures and things, he can assist the transforming and nourishing powers of heaven and earth. If one is able to assist the transforming and nourishing powers of heaven and earth, he can form a ternion with heaven and earth.” (The Doctrine of Mean). In the film Yang Shanzhou (2011), the setting is the vast and barren Daliang Mountain. The local residents have difficulty finding drinking water, and drought can reduce crop yields at any time. Whether the villagers have a harvest or not depends entirely on heaven. However, under the leadership of Party members and cadres such as Yang Shanzhou, the villagers actively improve the natural environment. Through afforestation and soil and water maintenance, they are able to restore the local ecological environment. Thus, man and nature have returned to a state of harmonious coexistence.“The unity of man and heaven” also emphasizes the equality of all things, emphasizing that man should live in harmony with other creatures in the universe. Traditional sayings like “have love for the people, and cherish all things” (The Book of Mencius), and “all people are my brothers and sisters, and all things are my companions” (Zhengmeng·Qiancheng) emphasize the need for people to have sympathy and love for all things. Example of these attitudes are revealed in the film Kekexili: Mountain Patrol (Kekexili, 2004). In the film, mountain rangers spontaneously assemble even though they “have no money, nobody, and no guns.” The reason they are willing to risk their lives to fight the vicious poachers is simply their love for other creatures. For them, the lives of Tibetan antelopes are as precious as human lives, so it is worth sacrificing their own lives to protect them.1.1 天人合一
“天人合一”强调人是天地的一部分，反映了人无法脱离自然的现实，表现出人对自然土地的依赖。这种观念的形成与华夏民族较早进入农耕文明有关。在农耕社会，地生养万物，人靠天吃饭，人对自然有着天然的敬畏与崇拜。正如电影《黄土地》（1984）所展现的，当人与天地同时出现在画面里时，人要么被包裹在无边的黄土里，要么头顶着广袤的天，天地占据了画面的绝大部分空间，皇天后土之间是小小的人。“天人合一”虽然强调人对自然的依赖，但并不否认人的重要性。人如果能够尊重自然，协调自然， 就能够发挥出与天地同等的作用，正所谓“能尽物之性，则可以赞天地之化育。可以赞天地之化育，则可以与天地参矣”（《中庸》）。在电影《杨善洲》（2011）中， 广袤的大亮山却是一片荒山，当地居民吃水困难，农作物产量随时都会因为旱情而减产绝收。老百姓是否能够吃得上饭，全靠天意。然而在杨善洲等党员干部的带领下，村民们对自然环境进行了积极的改造。通过还原植被，保持水土，当地的生态环境得到了恢复， 人与自然回到了和谐共生的状态。除此之外，“天人合一”还强调万物的平等性， 强调人要与天地间的其他生灵和谐共处。古人所说的“仁民而爱物”（《孟子》）和“民吾同胞，物吾与也”（《正蒙·乾称》），强调的都是人需要对万物抱有同情和泛爱。正如电影《可可西里》（2004）所展现的那样，自发集结的巡山队员们“要钱没钱，要人没人，要枪没枪”， 他们之所以愿意冒着生命危险与穷凶极恶的盗猎者搏斗，正是出于对其他生灵的热爱。对于他们而言，藏羚羊与人类同等可贵，因此值得他们牺牲性命去守护。
Fei Mu’s Spring in a Small Town (Xiaocheng zhi chun, 1948) expresses the Confucian view of destiny. Although the characters Zhou Yuwen and Dai Liyan’s marriage exists in name only, and Zhou truly loves Zhang Zhichen, she still chooses to follow the idea of destiny found in Confucianism. In this way, she achieves self-transcendence by restraining her inner desires and impulses and following humane ethics. On the other hand, Zhang Yimou’s Red Sorghum (Honggaoliang, 1988) leans towards the Daoist view of destiny by expressing the liberation of one’s nature. In the film, national and existential crises inspire the call towards a liberated nature. Compared to the red tape of bureaucracy and feudal traditions, the revelations of “heaven” are more direct. The characters have wild sexual relations in the sorghum fields and also shed their blood in the shadow of knives and gunfire [in the war of resistance against Japan], composing a hymn to the splendor of natural life.1.2 天命观念
费穆的《小城之春》（1948）遵循的是儒家的天命观。周玉纹与戴礼言的婚姻虽然名存实亡，她对章志忱也产生了真实的爱意，但她还是选择遵照儒家所说的天命，实现对自身的超越，克制内心的欲望和冲动，守护人道伦理。张艺谋的《红高粱》（1988）则倾向道家的天命观，表现了天性的解放。民族危难和生存危机激发出天性的召唤。相比于繁文缛节和封建传统，“天” 的启示是更加直接的。他们在高粱地里野合，在屠刀炮火下流血，谱写出一曲自然生命的赞歌。1.3 Vigor and Promise
In the 1930s, in the face of great national crisis, many insightful people reflected on their personal and collective strife. They were unwilling to be degraded and oppressed, but instead devoted themselves to the cause of saving the nation. Chinese filmmakers were some of those who worked to awaken the national spirit and resist the powers of oppression. In times of war, the Chinese people needed to display a spirit of vigor and promise, drive out foreign powers, defend their sovereignty, and achieve national independence. In subsequent eras of construction and development,it has remained necessary for Chinese people from all walks of life to continue to work hard, transform backwards conditions, and realize the prosperity and rejuvenation of the Chinese nation. Chinese films have represented many admirable and exemplary characters since the period of reform and opening-up. Films have witnessed and portrayed the inheritance and development of a spirit of vigor and promise in the New China of the reform era.1.3 刚健有为
在20世纪30年代，面对民族危机，国难当头， 不少有识之士痛定思痛，反思自身，不甘于堕落，不甘于被压迫，投身于救亡图存的事业当中。中国电影人也力求唤醒国民精神，不畏强权，奋起反抗。战争年代需要中国人发挥刚健有为的精神，赶走列强，捍卫主权，实现民族独立。建设年代，同样需要各行各业的每一个中国人奋发向上，改变落后局面， 实现国家富强、民族复兴。中国电影记录了其间涌现的许多令人敬佩的模范人物，见证了刚健有为精神在新中国的传承与发展。Relationships Between Humans and the
Ethics of Chinese Films
人人关系与中国电影的伦理观
2.1 The Order of Human Relations
Influenced by the concept of “integrating the nation and the family,” a major feature of Chinese films about family ethics is that the ethical issues they discuss also often reflect social and state issues. For example, in response to the social crises faced during the Republican Period, early family ethics films tried to use the reconstruction of family ethics to express hopes of regaining social order. During this period, Zheng Zhengqiu’s released a series of films about family ethics including An Orphan Rescues His Grandpa (Guer jiuzu ji, 1923), The Death of Yuli (Yulihun, 1924), A Blind Orphan Girl (Manggunv, 1925), The Last Conscience (Zuihou de liangxin, 1925). Although these films all criticized ideas of feudalism as backwards and opposed the destruction of people by feudal ethics, they still pursued the restoration of the traditional family order. In these films, the re-uniting of families and the return of moral order serve as happy endings.2.1 人伦有序
受“家国一体”的宗法观念影响，中国家庭伦理题材电影的一大特点是以家庭伦理问题折射社会国家问题。因此，针对民国时代所面临的社会危机，早期家庭伦理剧试图用家庭道德秩序的重建，表达对社会秩序回归的期望。在郑正秋的以家庭伦理为主题的一系列电影如《孤儿救祖记》（1923）、《玉梨魂》（1924）、《盲孤女》（1925）、《最后之良心》（1925）中，即便有批判封建落后观念的成分，反对封建礼教对人的残害，但仍然追求传统家庭秩序的恢复。结局的圆满仍然体现为家人团圆和道德秩序的回归。
2.2 Balanced Harmony and the Golden Mean
Chinese culture has a long history because it has absorbed new cultures throughout its development. The prosperity of diverse cultures found in China pushes forward Chinese culture as a whole. After the recent changes due to modernization and globalization, Chinese culture is now experiencing both the integration of, and the clash between, various ancient and modern cultures at home and abroad. When these cultural differences are portrayed in movies, they are often depicted in the context of the family. For example, in Shower (Xizao, 1999), Lao Liu, who runs a run-down bathhouse, is estranged from his son, who has just returned from the big city. Another example is the conflicting living habits of the grandma and the young girl living together in a courtyard in You and Me (Womenlia, 2005). In Love Education (Xiangaixiangqin, 2017),the rural grandmother, the middle-aged mother, and the rebellious granddaughter all understand marriage and family dramatically differently. Despite their conflicts, all the characters eventually achieve a certain balance while still holding onto their differing opinions.2.2 中和中庸
中国文化之所以源远流长，就是因为在其发展历程中不断吸收新的文化，多元文化共同繁荣，推动中国文化不断向前。经过近现代的一系列变革之后，在全球化日益发展的大趋势下，中国文化如今也经历着古今中西各种文化的交融与碰撞。这种文化的差异性呈现在电影中时，往往是被内化到家庭中去讨论的。例如《洗澡》（1999）中经营没落澡堂的老刘和新兴城市归来的儿子之间的隔阂，《我们俩》（2005）中同住一个四合院的“祖孙”二人生活习性的相斥，《相爱相亲》（2017）中乡下姥姥、中年母亲与叛逆孙女对婚姻家庭的不同理解，最终都是在保留差异性的同时， 找到了某种平衡。2.3 Benevolence
In the 1930s, when the society was in turmoil and people were uncertain of the future, Chinese filmmakers still tried to awaken the idea of positive feelings between people. They aimed to transform people’s minds with movies. For example, Fei Mu’s Song of China (Tianlun, 1935) compassionately and affectionately calls for great love in the world.In the wake of the shift to a market economy, materialism and the worship of money have brought new challenges to moral beliefs. Under these circumstances, the spirit of the emotional values and virtues of traditional culture remain worthy of excavation in Chinese films. For example, Jia Zhangke’s films express deep appreciation for traditional human relationships. This is seen in the friendships of The Pickpocket (Xiaowu, 1997), the love in Still Life (Sanxia haoren, 2006), and the kinship in Mountains May Depart (Shanhe guren, 2015).2.3 仁爱深情
在20个世纪30年代社会动乱、人心难测的特殊时期，中国电影人仍然怀抱用电影化育人心的初衷， 尝试唤醒人与人之间的美好感情。例如费穆导演的《天伦》（1935）就试图以一种悲悯深情的方式呼唤人间的大爱。在市场经济大潮中，物质主义、拜金主义给道德信仰带来挑战。在这种情形下，传统文化中具有美德性质的情感价值仍然是值得中国电影挖掘的精神源泉。贾樟柯的电影就表达出对传统人情的深切感念， 如《小武》（1997）中的友情，《三峡好人》（2006）中的爱情， 《山河故人》（2015）中的亲情。Theories of the Relationship Between Body and
Mind and Rational Desire in Chinese Films
人我关系与中国电影的身心观、理欲观
3.1 The Unity of Body and Mind
According to Song Qi, “many knights in Jin Yong’s novels must first clear their minds so they can achieve the ’sudden enlightenment’ necessary for the highest levels of martial arts” (Song 2010, 136). Zhang Yanwan argues “the knight can only achieve true harmony between the doctrines of the supreme state of martial arts and the Buddhist dharma by abandoning the shackles of knowledge and tricks” (Zhang 2012, 136). When martial arts novels have been adapted into films, they have retained the same patterns of character development as seen in the novels. These have become the models for the development of protagonists in martial arts movies. Such protagonists include Yang Guo in The Return of the Condor Heroes (Shendiao xialv, 1984), Linghu Chong in The Swordsman (Xiaoao jianghu, 1990), and Xu Zhu in Dragon Chronicles: The Maidens of Heavenly Mountain (Xin tianlongbabu zhi tianshantonglao, 1994). In these films, enlightenment involves both physical and mental aspects. In terms of narrative, if characters want to grow and improve their martial arts, they often must first achieve enlightenment. It is only by satisfying this mental breakthrough that they will change and be able to perform more powerful martial arts. When the martial art of Tai Chi appears in martial arts films, it particularly demonstrates the traditional concept of the unity of body and mind.3.1 身心合一
“金庸小说中很多侠客想要达到武功至高境界的‘顿悟’，必须先使内心澄明”，甚至“侠客只有摒弃知识、招数的束缚才能真正达到习武至高境界的道理与佛法的同源性”。随着武侠小说被改编成武侠电影，小说中人物的成长模式也被搬到电影中，成为武侠电影主人公的一种成长模式，例如《神雕侠侣》（1984）中的杨过，《笑傲江湖》（1990）中的令狐冲，《新天龙八部之天山童姥》（1994）中的虚竹。在这些电影中，悟道涉及身心两个方面，既有身的体悟，也有心的觉悟。因此在叙事上，人物要想获得成长，提升武艺， 往往要先经历悟道的过程。只有同时满足心境的突破， 自内而外不同于以往，武力才会变得更加高强。武侠电影中经常出现的太极武术充分展现了古人身心合一的理念。
3.2 Self-cultivation and Self-controlIn the relationship between reason and desire, traditional Chinese culture has generally emphasized restraining desire.Ultimately, these three schools of thought all argue that abandoning restraints on desire will lead to disaster. This perspective is well-articulated in Lou Ye’s film, Mystery (Fucheng mishi, 2012). In the film, Wenzi is killed by a customer’s lover on the roadside because she sells her body for money. The character Sang Qi murders because of her sense of possessiveness. Extorted by witnesses, she is then arrested by the police. A vagrant is murdered for extortion. The character Qia Yongzhao also strays by nature. He leaves his family with nothing and is arrested by the police for murdering the vagrant. The film suggests that men and women who indulge in their desires are ultimately destroyed by them.3.2 修身克己
在理欲关系上，中国传统文化总体上强调对欲望的节制。儒释道三家都认为，一旦放弃对欲望的克制，就会招致祸患。这在娄烨的电影中得到了很好的诠释。电影《浮城谜事》（2012）中，蚊子因爱慕钱财而出卖身体，被顾客的情人杀死在路边；桑琪因占有欲而杀人， 被目击者敲诈，并被警察拘捕；流浪汉因敲诈成瘾被杀人灭口；乔永照出轨成性，被净身出户后一无所有， 又因杀死流浪汉被警察拘捕。沉溺于欲望的男女，最终都被自身的欲望毁灭。The spiritual core of Chinese culture has served as the root of the Chinese nation. This cultural spirit has been determined by China’s specific and unique geographical, environmental, and historical background. It is the driving force for promoting contemporary cultural innovation and development. Immersed in Chinese culture, Chinese filmmakers have been influenced, whether intentionally or not, by the spirit of traditional culture. Whether they have maintained and inherited traditional values, or revealed contradictions between traditional values and modern China, Chinese filmmakers have been rethinking, transforming, and developing the spirit of traditional culture. In the future, we can neither leave this land nor leave behind our history. Therefore, in the creation of Chinese films, we should continue to “inherit our original culture, absorb foreign culture, and face the future” as a means to inherit, transform, innovate, and develop the exceptional qualities of traditional Chinese culture.中国文化精神中的核心命题，是中华民族的根性所在，是由具体而独特的地理环境与历史背景所决定的，是促进当下文化创新发展的动力源泉。身处在中国大地上，浸润在中国文化中，中国电影的创作者无论有意无意都不同程度地受到了传统文化精神的影响。无论是对传统价值的维护和传承，还是揭示传统价值与时代语境之间的矛盾，都是中国电影人对传统文化精神的重新思考和转化发展。未来我们既不可能离开这片土地，也不可能脱离我们的历史，因此当继续以“不忘本来，吸收外来，面向未来”的姿态，在中国电影创作中实现对优秀传统文化的传承转化、创新发展。想要了解更多关于“中国文化精神”以及“中国电影的价值表达”，请点击下方的阅读原文，了解更多吧！
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