What would it look like to put the faces of Li Qin, Qu Ying, and Pan Shuangshuang together?
A: Zhang Baijia, who played Li Jasmine in "Skyscraper".
In addition to the three mentioned above, in fact, she also bumped Zhong Chuxi in the face:
And Qiu Tian:
In our facial aesthetic analysis, "face bumper" (no pejorative) is actually a very valuable object of study.
By analyzing them, we can often get some less intuitive aesthetic consensus to deepen our understanding of the aesthetic trend of the face.
For example, Hayley Bieber and Shen Aojun, which we analyzed earlier. The history of the former's face change is a process of constantly catering to the aesthetics of American Internet celebrities.
From thin lips, thin eyebrows, fleshy nose:
to a sharp little upturned nose and a duck's beak that can be concave "O-shaped";
Then to the bronzed skin, the "neat in the wild" eyebrows and the shiny highlights:
With almost all the popular aesthetic elements, she does look like she is both "net" and "Hollywood", but the result is "one person with a thousand faces".
From supermodels to singers to actors, almost bumped the face of the entire European and American entertainment industry.
Hayley & Cindy Crawford
▲ Hayley & Mold
▲ Hayley & Widow
▲ Hayley & Kayla Knightley
Shen Aojun's path is not the same as Hayley Bieber's, her "face bumping" is not because of micro-grooming and makeup, but because she has grown an average face of inner entertainment twenty years ago.
Three courts and five eyes, smooth contours, symmetrical left and right faces, the size of the facial features is appropriate, and the shape is not too delicate, so there is nothing particularly gripping about the whole face, and there is no obvious emotion.
In the era of more than twenty years ago, when there were not many requirements for "beauty", her face could be well adapted to most of the female characters in TV dramas.
But at the same time, we will also see in her many domestic female artists of that era, as well as the shadows of Japanese female artists who also advocate gentleness and balanced beauty. For example, Xu Qing:
Cangjing Kong:
And Song Zuying mix Aoi You:
So what aesthetic trends can we see in the phenomenon of Zhang Baijia's face bumping?
The answer is – structure.
Contrary to the aesthetics of round faces and goose-egg faces in the 2000s, and the aesthetics of inverted triangular awl faces in the 2010s. In recent years, people seem to be increasingly appreciating well-structured, angular faces.
A narrow version of the "Five Square Faces of The Tender Cow", such as Li Qin, Zhong Chuxi, Cici Xiang Weijing, and others:
It began to be given a previously unimaginable reputation, and became a beautiful face whose exposure rate was much greater than that of the old batch of young cows and five square faces (Zeng Yike, original idempotent, etc.). So when we see Zhang Baijia's face, we can think of them.
Sun Yi, who had been pulled in to discuss with Li Qin earlier and was considered more pleasing most of the time, was increasingly nameless.
The fundamental reason for this aesthetic transformation lies in the increasingly strong identification of the Chinese people with the "structural aesthetic". Its background is that the Western modern facial aesthetic has truly taken root in China.
The mixed-race face aesthetic that prevailed in previous years is actually a transitional and conciliatory response made by traditional Chinese aesthetics in the face of Western aesthetic invasion.
Manifests as:
The face is the goose egg face and melon seed face native to the East, and the contour is smooth and soft. But the facial features are Western, high nose bridge, alpine roots, European-style large parallel double eyelids and so on.
The beauties who rose at this stage, such as Fan Bingbing, Baby, Reba, Naza, Tong Liya, etc., all benefited from this aesthetic dividend.
Coincidentally, the Most Recognized Western Beauties, such as Monica Bellucci, Sophie Marceau, Olivia Hessie and Isabelle Adjani:
They are also soft in face and exquisite and deep in facial features.
However, with the development of the mobile Internet, the further explosion of visual information such as images and videos has led the public to receive more and more "original" and first-hand Western visual products.
These include "doll" female stars such as Anne Hathaway and Lily Collins who cater to our existing aesthetics;
Fairy models such as Frida Gustavsson and Nastya Kusakina;
It also includes tall and tough High Fashion supermodels such as Natalia Vodianova, Duchen Cross, and Carly Cross;
In particular, HF supermodels, their image, has caused a lot of controversy for a long time. Comments about them, such as "Isn't this a man?", often appear before our eyes.
However, with the increasingly frequent contact between the domestic fashion circle and the West, as well as the popularity of visual media platforms such as ins and youtube in China. More and more people began to get familiar with and get it, the structure of the sharp, angular HF aesthetic.
So we can find that in the early years, Liu Wen, who blossomed in the wall and the outside of the wall, and whose image was not too recognized (or could not be understood) by the Chinese people, has more and more praise in appearance in recent years.
In various Bimei posts, Liu Wen almost all have the treatment of opening up another track and dominating the top.
At the same time, female stars such as Zhong Chuxi, Ni Ni, and Yang Caijue have also enjoyed unprecedented HF aesthetic dividends. It has become a new species of entertainment industry that swims between female stars and female models, and is highly loved.
At this point, the influence of Western aesthetics on Chinese aesthetics has truly begun the stage of localization.
The hybrid configuration of babyface + large facial features is gradually marginalized as a transitional, unstable (mostly require plastic surgery) facial aesthetic paradigm.
We are beginning to see the possibility of Eastern and Western aesthetics, interconnected on the underlying elements.
Neither the Western aesthetic replaces the Eastern aesthetic, and everyone goes out with a mixed-race face.
It is not that the Eastern aesthetic has turned conservative and completely turned away the menacing Western aesthetic, and everyone draws Emei and wears Hanfu, but "I should go out of my own way while being influenced by you." ”
The essence of the Pursuit of HF aesthetics by Chinese people in recent years is actually the love of Western modern structural aesthetics that originated from the German Bauhaus design school in the early twentieth century.
Although it has different cultural backgrounds and stylistic traditions, it has a temperamental similarity with the "generous", "decent", "not humble and unobtrusive" advocated in traditional Chinese aesthetics.
The structural aesthetic of the face is not to pay attention to whether the facial features are deep enough, mixed, and whether they are looking forward to brilliance, but whether the person's face is a clear, affirmative, and clear set of structures where the turn is turned, so as to ensure the harmony and perfection of the perception.
And on this basis, a kind of confidence and determination of "I am myself" and "I am beautiful" are refined.
As long as these conditions are met, whether the distance between her eyebrows is large or small, whether the mountain root is high or low, whether she is like the Caucasian race or the Mongolian race, does not affect her self-contained beauty.
For example, the two faces that have been hot recently, Qiu Tian and Zhang Jing:
The low mountain root and the meat nose head, according to the mixed-race aesthetic, undoubtedly need to be moved by the knife.
But in fact, not only do we not feel that they need do, but we also think that they are much better looking than the standard Internet celebrity mixed-race face.
The reason is that their faces are very much in line with the requirements of structural aesthetics.
The movement of the facial features is connected with the various parts of the skull, there are no other superfluous lines and rhythms, and it looks simple and complete, which is reassuring.
The difference in height of the facial features is not large, but "the long method is three-dimensional and structured." Their whole head, like Nuwa using 3D software, takes the ellipsoid as the initial model and constantly compares the spatial relationship of each part.
The facial features and the face are attached to this ellipsoid and are part of the whole, and do not fight with each other.
The faces of Song Yi and Zhang Xinyuan are like Nuwa only giving the face-pinching craftsman a 2D frontal view, allowing him to look at the results of the pinch according to his feelings.
The facial features are independent, the face shape is just a frame to circle them, and the movement of the various parts of the skull does not form a clear rhythm with their facial features and silhouettes.
The difference between Zhang Jing and Qiu Tian is like "flat tailoring" and "three-dimensional tailoring". The clothes made by the two methods look like that, but they are qualitatively different.
▲ No matter how big Song Yi's eyes and nose are, compared with Qiu Tian's interlocking and rigorous head and facial structure, he is still vulnerable.
The influence of Western modern aesthetics on our aesthetics has thus gone beyond the stage of fascination with deep and mixed blood, and pointed to the completeness of the structure itself.
Due to the traditional aesthetics of the facial features, it has gradually lost its unquestionable importance under this trend.
For many years, he has been obsessed with big eyes, white skin, small nose skin, and facial beauty. Perhaps it will also usher in their farewell performance in the near future.