Red Sleeve Tim Fragrant Night Reading~
[1] Mantis head moth eyebrows, graceful posture
In the impression of many people, the model of oriental beauty is the qipao, and the "combination of things and things" such as the qipao, black silk, and high heels can set off the "miao" of oriental women just right, and more cover is conservative, and more exposed is "unable to pass the trial".
"Lady, gentleman" is also jokingly called "lady, gentleman is good", of course, lustful people want to be favored in order to be happy. This "Guan Ju" as the beginning of the "Book of Poetry" has a great understanding of human nature.
The classic "Dialects" explains the "Miao" in this way - "beauty is the shape, and the heart is the beauty", in today's words, it means that both virtue and color, both inside and outside. However, virtue and sensuality as inner beauty require time and energy to cultivate, and external beauty can sometimes be achieved quickly.
For example, this mantis moth eyebrow.
(How can this be described?) Do you want to refer to cecilia Cheung in the old movie "Mouse Loves Cat"? ）
The makeup thing has been quite systematic in the pre-Qin era.
For example, the "two moves" in "Chu Ci". This "second move" refers to "soul summoning", when the witch had to prepare all kinds of the most attractive things to "lure" the undead back, and the beautiful woman was the bait of it - look, this is the routine in ancient and modern times.
The part of the "Two Moves" about the beauty of the soul has vividly depicted the woman's lip color, eyebrow color, eyebrow shape, face makeup, hair balm, hairstyle, body shape, eyes, and even some strange makeup, or strict regulations.
Here is still the main talk about [eyebrows].
There is a word called "eyebrow flying color dance", which can also be understood literally as "eyebrow makeup fits the body, and the color is naturally compelling". Flipping through the texts, there are countless verses about "moth eyebrows".
Moth eyebrows
"Liezi Zhou Mugong" lures "Shi Fangze, Zheng Moth Eyebrow", "Chu Ci Da Zhao" has "Emei Man Only" (actually moth eyebrows), "The Moth Eyebrows of the Women Envy Yu" in "Leaving sorrow", Wen Tingjun's "Bodhisattva Man": "The hills overlap Jin Ming extinguished, and the sideburns want to incense the cheeks and snow." Lazy to draw moth eyebrows, make up and wash late. ”
How important eyebrow makeup is to the "finishing touch" of the whole plastic surgery, I believe women know.
In fact, in ancient China, heavy eyebrow makeup was not heavy eye makeup, and the depiction of the eyes was heavy on the eyes, rather than the external eye shape. The contemporary concept originating from the West is more focused on "external eye shape" - think of the promotional words of various advertisements!
Regarding thrush, there is also the idiom of "open thrush". It is said that The Western Han Dynasty's Jingzhao Yin Zhang Chang had a very good relationship with his wife, because the lady's eyebrow horn was injured when she was a child, and there was a lack of horns - I guess it was an irreparable mark left by the fire or knife marks, so Zhang Chang had to draw an eyebrow for his wife every day before going to the court.
Behind this shows that, first, Zhang Chang and his wife have a very good relationship; second, Zhang Chang's thrush craftsmanship is very skilled and exquisite.
There is a follow-up to this story.
After Emperor Xuan of Han knew about this anecdote, once, when he went to the court in front of many ministers, Zhang Chang asked about it, and Zhang Chang replied not too politely- "The pleasure of the boudoir is better than that of the thrush." ”
The subtext is that these powerful people in the dynasty have gone more than I can play, and more people than I can play too much. You are a ninety-five-year-old, no matter whether the major affairs of our military and state are properly handled, do you care that my wife and wife Xiu'en love to manage a woolen thread?
This Han Xuan Emperor also has a reason to think, although it is a little self-deprecating and uninteresting, his temper is good, and he did not wear small shoes for him because he opened his mouth.
In addition, this matter is still a little strange to think about, Zhang Chang's thrush to the lady should be regarded as a boudoir matter, usually not likely to be seen by outsiders. If it is accidentally seen by the servants, the madness of this gossip is comparable to the speed of light.
Throughout the ages, gossip and anecdotes are always the wind under the feet, not only to make the Divine Taibao Daizong sigh to himself, even the Great Sage of Qi Tian had to cover his face and cry.
[2] The change of intensity and lightness
Talking about makeup in ancient China, it refers to the makeup of women's faces in a narrow sense, and also involves hairstyles, clothing, jewelry, etc. in a broad sense. The changing characteristics of women's makeup in chinese dynasties also present the changes in the social style and aesthetic trends of ancient China from the side.
For example, in the Xia Shang and earlier periods, there are few historical materials about "makeup", but we can deduce that makeup customs such as bodywork, tattoos, ear piercing, and chiseled teeth have already taken shape.
Modern people must apply grease and powder every day, draw eyebrows and draw eyes and other makeup methods, the earliest clear record can be traced back to the Zhou Dynasty - that is, an era of plain makeup.
By the time of the Qin and Han Dynasties, makeup had already begun, and the beauty medicine formula had also appeared in ancient books such as "Fifty-two Sick Prescriptions" and "Shennong Materia Medica". Overall, before Tang, women's makeup was light makeup.
What makes women's makeup shift from simple and conservative to gorgeous blooming must be the Tang Dynasty.
The Tang Dynasty was an eclectic dynasty in general, with a wide variety of makeup, but also elegant and atmospheric heavy makeup (or red makeup) and fresh and natural light makeup.
Tang women are also relatively unrestrained in terms of dressing, especially in the Wuzhou Dynasty, the low-cut dress of "pink chest and half concealing doubts about Qingxue" has become a trend and a common dress - this is the peak of "glamorous swagger".
Of course, after the peak is gradual decline.
By the two Song Dynasties, the wind of thick makeup has disappeared, and the makeup has returned to light makeup, in contrast, Liao, Jin and Yuan have their own rich ethnic customs, which is a bit gorgeous.
Until the Ming and Qing dynasties, the convergence and conservatism of the entire social atmosphere made women's makeup also strive to create a dignified, elegant and rigorous, not only on the face, but also in the headdress, clothing and accessories. Compared with the previous dynasty, the charm of the Ming and Qing dynasty makeup is no longer able to see the vigorous vitality at a glance.
You can refer to the portrait of Empress Ming Xiaojiesu in the picture below - the 1st Empress of Emperor Jiajing Zhu Houxi of the Ming Dynasty.
Statue of Empress Ming Xiaojiesu
It is worth saying that although the makeup of "eyebrow flying color dance" returned to understated plain makeup after the Tang Dynasty, and this simple style continued until the end of the Qing Dynasty, it did not change much. However, the concept and technology of skin care and beauty are constantly innovating, and it is closely related to the development of traditional Chinese medicine and reached a peak in the Qing Dynasty.
The "Secret Recipes of the Qing Dynasty Court" records a large number of maintenance formulas used by Cixi in that year - such as "Empress Dowager Cixi plus and minus Jade Rongshan", "Western Empress Dowager Fengzi Fang", "Lafayette Yu Rong BaoChun Wine", "Lafayette Incense Divergence" and so on.
Nowadays, these formulas may be digested and absorbed by major cosmetics giants, and the "Han Fang Essence" of "beauty and nourishment, and the same origin of herbs" has been re-launched, so that countless men and women are willing to offer their wallets.
History, once again, has completed a reincarnation with a great sense of humor.
【3】"Love foot habit"
In the ancient process of makeup development, the care of the feet was obviously not as much concern as the face and hands. But from ancient times to the present, there are some people who have "foot fetishes", the preference for feet, I am afraid that it is still related to [sex], the so-called strong "xing" association, remember Yu Dafu's "past" There is such a paragraph -
Speaking of her feet, it is really unloved. She was in her twenties, and those fat feet were the same as those of a twelve- or thirteen-year-old girl. I had also worn stockings for her, so her fat, tender white, thin toes, and thick heels of flesh often had to be the center of my fantasies. From this pair of feet, I was able to come up with many bizarre dreams. For example, when I was eating, when I saw the pink and white sticky fragrant rice, I would think of her feet. "In this bowl," I thought, "if it is her tender feet in this bowl, then I must feel a strange itching pain when I suck here." If she were to lie on her back and stretch out her fleshy feet for me to suck, there would be many cries of truth and falsehood from her two very curved lips. Or turn around and maybe hit me on the head..." I'm going to eat an extra bowl when I think of this meal.
Speaking of which, the fun of "licking the feet" is afraid of "elegant and popular appreciation".
However, in the process of the development of ancient makeup, or in the oriental aesthetics, there is an extreme "foot fetish" that must be mentioned - naturally a three-inch golden lotus.
It was founded in the Song Dynasty, developed in the Ming Dynasty, and flourished in the Qing Dynasty.
Many contemporary people regard the Song as a paradise for literati. However, for the women of the Song Dynasty, it is not necessarily. Before the Song Dynasty, the mainstream culture was quite tolerant of women, but the flourishing of the theory of "saving heaven and going to human desire" made women bear unnecessary burdens. Extreme "foot love" is to wrap feet to flourish, in addition to the preference for small feet, small feet can not walk normally to achieve a real "door does not go out of the two doors do not step", obedient "husband godson".
The women of the Song Dynasty were divided into two categories by concept and reality, one was the woman of the good family, and the other was the woman of the Qinglou.
The women of the good family are responsible for helping men pass on their inheritance, and they must strictly observe chastity; the women of the Qinglou are both erotic and satisfy the pleasures of men, to be precise, those who are rich and powerful.
The commercial development of the Song Dynasty was indeed remarkable, but the prosperity of urban culture was the annexation of a large amount of land, and many peasants were forced to give up their land to become merchants. At the same time, it also allows some families who cannot make a living to be forced to sell their children and women, on the one hand, men with spare money and needs, on the other hand, women who are active or passively committed to the wind and dust, supply and demand, a culture full of meat aroma also flourished - Liu Yong wrote "flower words", and Song Huizong also lingered on Master Li's body fragrance.
At that time, all kinds of expensive wind and snow were actually a by-product of the culture of the two Song Dynasties.
[4] "The Beauty of Chinese Makeup" reads North
The above content is derived from this "The Beauty of Chinese Makeup".
Compared with other literary and art books of Pu Rui Culture, the cover of this book is really too untiroteal - it can be done more and spend more, rather than so "plain". However, there are also vegetarian sayings, for example, clear water out of the hibiscus, natural to carve, some beauty, because of the simplicity is different.
The book is not thick, easy to open and close, rich in pictures and text, rigorous in examination, elegant in language, excellent in paper, and well-laid out - it can be described as hidden and easy to let go.
Because this book is full of hard-core knowledge, I regard it as the same reference book as the History of Ancient Chinese Costumes (Shen Congwen) and Ancient Chinese Gold and Silver Jewelry (Yang Zhishui), so I don't think this "The Beauty of Chinese Makeup" is a popular science book for the public — especially this light reading at the moment.
Reading "The Beauty of Chinese Makeup", I will think of the actresses of those old movies more than 10 years ago, their makeup is certainly not "stunning", but it is absolutely "plain" and fascinating- vegetarian, not without makeup.
I have no understanding of the makeup concept of contemporary Chinese women, so naturally I dare not say that it is all copied from the West, so that I have lost my national things. But sometimes when I walk on the street, I really feel that there are not many "special oriental", "special Chinese", and "nationally recognizable".
If "modernization and globalization" is a total Westernization, is this considered a "cultural colonization" in the new era?
Perhaps everyone with a patriotic heart should think about it carefully.