Recently, the highly anticipated movie "The First Incense" was released, causing a wide range of discussions. Since 1984, Zhang Ailing's novels have been put on the big screen nearly 10 times, and word of mouth has been mixed.
Zhang Ailing's novels are not easy to adapt, and even more difficult to shoot. However, in 2009, a TV drama version of "Love in the City", although it was greatly adapted from the original book, it unexpectedly won the "true fragrance" recognition of Zhang fans.
Compared with the cold determination in the book, the TV series is more warm. A large part of the reason why it is recognized by the public is probably the white tassel of Chen Shu, which is too moving.
Between the hands and feet, soft but not delicate, pure and not charming, is Zhang Ailing's white tassel. /"Allure of Love"
The tassel is cold and gentle and exudes pride, and So does Chen Shu, and in appearance, she wears a qipao swaying, just like the tassel that came out of the novel.
It is not easy to play the heroine of Zhang Ailing's pen.
There are many beautiful women, but Zhang Ailing's Oriental beauty, beauty in the shape of the god, beauty in the charm, beauty in the talent, is to inherit the traditional oriental connotation, but also to face the modern society, with the beauty of subjectivity.
Zhang Ailing's oriental beauty
Zhang Ailing described the appearance of the white tassel in "Love in the Fallen City": "In the moonlight, the white tassel's face is delicate and crisp, and the eyebrows and eyes are not close to the reasonable, and the beauty is slim. ”
As a reader, you may have imagined the appearance of a white tassel countless times.
Maggie Cheung's posture is a little flattering, more hormones; Li Xiaoran is too bright, and it is not in line with the coldness of the white tassel, and when she thinks about it, it is always not quite commensurate.
It wasn't until Chen Shu wore an elaborate cheongsam, from the old and dark big house to the palatial Tang Mansion, and then drifted from Shanghai in the Ten Mile Ocean Field to the glittering Hong Kong, that we found that this was not the gentle and arrogant white tassel?
The beauty of Chen Shu is not in the skin in the bone. /"Allure of Love"
Few people can wear the beauty of the cheongsam like Chen Shu, and few people can show the complexity of the women in Zhang Ailing's pen, but Chen Shu's white tassels, every look, every look, every turn, have different temperaments and emotions.
There is a scene in the play, in the hotel garden, she slowly lowered her head, Fan Liuyuan couldn't help but laugh. Instead, he said seriously, "Don't forget, your specialty is to bow your head."
As if when she bowed her head, the hesitation in her heart, full of unspeakable pain and emotion, flowed out.
Zhang Ailing's pen always has a unique charm, which makes her "red roses and white roses" still fascinating to this day.
Mu Xin once praised Zhang Ailing's tone of writing as "colorful and interesting", with a high degree of traditional literary literacy, coupled with the extraordinary insight and unique talent of a famous family, so that her novels always exude an ultimate oriental beauty.
When describing Nie Chuanqing's mother, Feng Biluo, in "Jasmine Pieces", Zhang Ailing wrote that she was "a bird embroidered on the screen—a white bird in a woven golden cloud on a melancholy purple satin screen." After many years, the feathers have darkened, the mold has gone, the insects have been mothed, and they are still dead on the screen."
The birds embroidered with Seiko color are used to reflect Feng Biluo's sad life of not being free and withering like a "caged bird" in the Nie family.
Cao Qiqiao in "The Golden Lock", the world knows that her personality is twisted, but hateful people must have pity, Zhang Ailing wrote that she was trapped by the Jiang Mansion is "she opened her eyes and looked straight ahead, and the solid small gold pendant on her ear nailed her to the door like two copper nails - a specimen of a butterfly in a glass box, bright and sad." ”
Whether it is Feng Biluo or Qiqiao, the living life is delicately trapped, and the same work conveys a helplessness and sadness of life.
Similar sentences not only embellish the character plot, but also integrate the imagery of great classical charm and the exquisite and colorful brush-type writing style, which just right creates an endless desolation of the end of the era and the gorgeous passing, and reaches the point of eternity at the level of artistic conception.
Like a touch of Danzhu ochre yellow on a Chinese painting, the end is stretched until the intense color disappears, revealing the elegance and determination of the prosperity.
Who qualifies to define Oriental Beauty?
Zhang Ailing is a writer of oriental beauty and a reflector of "oriental beauty".
In "Allure of Love", Fan Liuyuan and Bai Liusu have a dialogue.
Fan Liuyuan smiled: "The Hong Kong Hotel is the top stage dance hall I have ever seen... There's really nothing to see, except for those weird-looking west cubs, hot days, imitating northerners wearing hakamas. ”
Tassel said, "Why?" ”
Yanagihara said, "Chinese mood! ”
Fan Liuyuan and white tassels. /"Allure of Love"
A similar scene is found in "The First Burning Incense", where Ge Weilong glimpses her own shadow in the glass door of her aunt's house, and then Zhang Ailing writes:
"She herself is part of the colony's characteristic oriental colors, she wears the chic uniform of the South English High School, the emerald bamboo shirt, the knee-length ... Dressing up schoolgirls like Sai Jinhua is one of the facilities where locals delight European and American tourists. ”
In the British colony of Hong Kong, these Chinese "traditional relics" were always deliberately displayed to win the favor of the colonists and satisfy their curiosity and voyeurism in the mysterious East.
Sayyid once said: "The East was almost created out of thin air by europeans, and since ancient times it has represented romance, exoticism, beautiful landscapes, unforgettable memories, extraordinary experiences."
In order to cater to the oriental mood and oriental beauty expressed in the Western hunting aesthetic, it is extremely rigid, just like the handicrafts made in the machine mold, not only have no soul, but also weird.
Thinking about the "oriental high-end aesthetics" selected by foreign fashion brands to represent China over the years, it is often staggering. In terms of clothing, there are big red and green Northeast cotton jackets, large and flamboyant Chinese dragon embroidery; in the selection of so-called high-end oriental beauty models, they also prefer the stereotyped facial features of "collapsed nose bridge, wide eye distance, and Danfeng long eyes".
Northeast cotton jacket, in the end fashionable or not? /Visual China
Another extreme phenomenon is that for decades, we have all identified with the Hollywood-style high nose and big eyes, straight and three-dimensional proud nose bridge, and the rising plastic surgery aesthetic beauty is constantly encouraging everyone to grind the jawbone, pad the nose bridge, open the corner of the eye, and even eager to transform themselves into pure "European and American".
Under the influence of Western aesthetics, we have a set of precise requirements for beauty, such as the golden section line, the nine-headed body, and the vest line, often accurate to the decimal place, fixed on the specific model.
For a long time, we have lost our own beauty, what is the beauty of Chinese?
To get it back, we may need to return to the true Oriental perspective.
The beauty of the East
In recent years, with the return of the national tide, when we explore inward, we find that the aesthetic tradition of Chinese is the truly brilliant and rich "high beauty".
On June 16 this year, after He Haohao's underwater dance "Roselle Water Endowment" was broadcast on Henan Satellite TV, it became a blockbuster and appeared on the hot search lists of several major online platforms.
Roselle, dancing underwater, amazed everyone.
In the past, when people mentioned underwater dance, they usually thought of foreign faces dancing modern dance. This is the first time that everyone has seen such a beautiful Chinese element underwater.
Roselle comes from the "Roselle Endowment" with high artistic achievements in ancient China; and the true image of Roselle comes from the "flying sky" in the Dunhuang murals in China.
Roselle descended, inspired by dunhuang murals.
People who have watched the show, the deepest impression should be those volleying, flowing flying movements. After landing on the ground in the water each time, He Haohao's hands stretched back, his right leg straightened to the ground, and his left leg bent over the knee of his right leg, and the whole person leaned back slightly.
With the help of the power of water, this action becomes rich and tense. This is also the ultimate beauty of the harmony between the forces of man and nature in Chinese philosophy.
After the dance went out of the circle, the whole world asked, "Who is this girl dancing underwater?" ”
In real life, He Haohao has multiple identities, not only is he a lover of ancient style, but also a synchronized swimming champion, a diving expert, and an environmental protection ambassador.
The reason why this dance is out of the circle and excited by all the Chinese is that she presents us with a new sample of oriental female beauty - to undertake and understand the beauty of Chinese tradition with a reverential attitude, to sober and independent self, and to navigate the pluralistic modern world with ease.
Oriental beauty is fascinating and also vivid. There was never a standard answer to these, no fixed templates.
Therefore, in order to question the oriental beauty that we have lost for a long time, the Queen Brand and the actor Chen Shu embarked on a journey of "exploring oriental beauty".
Zhou Jieqiong, a female love bean who plays pop music, is also a pipa musician who stirs up oriental beauty;
A post-90s fashion girl, she is also the inheritor of Peking Opera who surprised everyone with a song "Female Pony";
Diving master He Haohao, also "flying like a frightening, gentle dragon" underwater Roselle;
And modern illustrator Lu Mingshan, inspired by traditional Chinese culture, has painted a new world of life...
They vividly show us the modern connotation of oriental beauty, the integration of inheritance and innovation, new and old, so that people can see the power of modern oriental beauty.
"They" are the epitome of thousands of oriental women, and inheriting oriental beauty, innovating oriental beauty, and discovering oriental beauty are also the persistence of the Queen brand.
As a domestic light luxury skin care brand, "Queen" has its own underpinnings. Since its inception in 1980, the brand "Queen" has been based on the inheritance of ancient Chinese herbs, integrating oriental skin care aesthetics with modern advanced technology to create its own unique skin beauty formula.
Then, people used herbal pearl paste to moisturize the hands of countless factory women, until the 1980s, the Queen's brand piece of pearl cream was even more respected by international friends, popular at home and abroad.
Queen's tablets are filled with pearl paste, surpassing the memories of generations.
Today, with the continuous influx of foreign brands and new consumer goods, the "queen" has become a veritable "new queen" with 40 years of inheritance and accumulation to help modern women discover their beauty.
What is Oriental Beauty?
In decades of questioning and practice, the Queen Brand and the five Oriental beauties have given their own answers - oriental beauty from the inside out, beauty in the form of god, beauty in talent, beauty in the charm.
In the past, we centered on Western aesthetics and lost ourselves for a long time. Today, Chinese women have found themselves, and they are announcing to the world that we can also "take charge of the future with the confidence of beauty."
✎ Author | hh
✎ Proofreading | Morning
✎ Typography | Wangshu
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