introduction
The Tang Dynasty's politics, economy, culture and art all reached unprecedented heights, and the women's makeup culture at that time was also very prosperous, and many unique styles of facial makeup symbols were derived.
Through the combing and innovative practice of the theories related to the symbols of Tang lady's face makeup, we will experience the influence and artistic extension of traditional aesthetic consciousness on fashion design, and explore the combination of traditional symbols and modern visual design.
Through the innovative practice of the symbolic elements of Tang Lady's facial makeup, we try to use modern visual design techniques to extract and summarize the traditional facial makeup elements, and fully integrate them with life elements to achieve innovative application, and effectively explore the way to better inherit and develop traditional visual culture.
1. The art of Tang lady's facial makeup
The Tang Dynasty was a peak period of political, economic, and cultural development of feudal society in the mainland, which also added new vitality and style to the cultural traditions of that time, showing a scene of abundance. "Each dynasty has its own unique artistic style, and it is no accident that it was formed."
Under the collision of various ideologies and cultures, under the influence of social economy, cultural spirit, male aesthetic concepts, etc., the social atmosphere and national ideology of the Tang Dynasty became more and more open.
At that time, the makeup was novel and fashionable but did not lose its style, reflecting the prosperous social style at that time, and also showing the concept of the times and the free and uninhibited aesthetic ideas and tastes of women's bold pursuit.
In terms of social economy, the art of face makeup is inseparable from the unique prosperity era and social background of the Tang Dynasty, "the economic prosperity, social stability, and frequent foreign trade of the Tang Dynasty made women have enough energy to dress up in such a social background."
Among the influencing factors for the improvement of women's status, as the Tang Dynasty became more and more powerful and the development of all aspects was unprecedentedly prosperous, women began to pay attention to their own face makeup and strive for more opportunities to show their heads, and it was this social reality that made new and unique makeup methods be created.
Coupled with the openness of culture, the germination of feminist consciousness gradually created a sense of feminism, and the social status of Tang women was higher than that of other feudal dynasties, such as Princess Taiping and female emperor Wu Zetian, and their influence in the political arena also effectively promoted the development of women's facial makeup.
It is precisely because of the extravagant and romantic lifestyle of the Tang Dynasty that women also attached great importance to facial makeup, which formed the reality that the ladies wore rich makeup and gorgeous ornaments, resulting in a variety of symbolic modeling elements for the face makeup of Tang ladies.
In order to better analyze the artistic characteristics of the Tang lady's face makeup symbol, we can roughly derive the elements of the Tang lady's face makeup symbol from the makeup steps.
"The makeup process is generally divided into seven steps: the order is to apply lead powder, apply rouge, draw eyebrows, applique, dot the face, draw oblique red, and apply lip grease."
Rouge. "The ladies apply rouge to the cheeks of the face, painted in the shape of an egg." The color is intense, generally light red or light red, which is related to the free-spirited personality of the Tang lady.
In order to facilitate use and storage, it is often mixed and dyed into powder and paste, and some are made into flower cakes, and it is more common to soak silk cotton and paper with juice. The shapes are bean-shaped, roll-shaped or sheet-shaped, depending on the material to which they are attached, and various specific names are formed depending on the application method.
The eyebrow style is the focus of women's facial makeup, which is painted on the eyebrows with pigments to beautify the eyes and achieve the purpose of expressing the soul", which changes with the changes in women's social status and aesthetics. There are two types of eyebrows: wide and thin.
Huadian refers to the eyebrow makeup that is painted with pigment or cut with gold leaf, feathers, jewelry and other materials, and pasted on the forehead of women, which is an important part of the art of facial makeup of Tang ladies." In addition to flower-shaped flowers, there are also more complex and various abstract patterns.
Makeup is also known as "face", the earliest called "yang", generally divided into two forms: dot decoration and sticker. "Dotted decoration is to use paint or rouge to embellish the dimples to form a faint delicate shape, while applique is to make shaped thin sheets of pearl, paper or gold leaf on the two sides of the cheeks to form a delicate makeup.
Diagonal red. The oblique red shape resembles a crescent moon (red, close to the temples, symmetrically distributed. "It's generally scarred and curly-shaped. The Xi of depicting oblique red developed in the Northern and Southern Dynasties, and flourished in the Tang Dynasty."
Lip makeup. "It plays an important role in the whole art of face makeup, and ladies use lip balm to draw and change the shape of the lips, also known as 'lip dotting'". Lip balm is a cosmetic pigment made from cinnabar mixed with animal fat, which has strong coverage and a bright color.
Forehead yellow, also known as "eyebrow yellow", the same size as Huadian, is often applied between the eyebrows with yellow powder, which is a very popular makeup Xi in the Tang Dynasty.
Hairstyle, the Tang Dynasty's enlightened atmosphere made the Tang ladies are also constantly pursuing more unique beauty, hairstyle is part of the lady's face makeup symbol), in the ladies' clothing, there are many types of hairstyles: there are half upright, startled bun, reverse bun, double ring look at the fairy bun, the fallen bun and the fallen horse bun and so on.
Second, the development of Tang lady's face makeup symbols
The heyday of the Tang Dynasty covered all aspects, among which clothing also witnessed the aesthetic process of the Tang Dynasty. The symbol of Tang Ladies' face makeup has developed with the aesthetic changes of the times, and the development of clothing also affects the style of face makeup.
In the early Tang Dynasty, the ladies had plump faces, slender figures, and facial makeup following the style of the Sui Dynasty, which was mainly simple, and the clothing also inherited the style of the previous dynasty.
During the Tang Dynasty, the national strength gradually flourished, the clothing style changed from the simplicity of the early Tang Dynasty, the social atmosphere was enlightened, women were more free, the ladies' bodies began to plump, the faces were round, they liked to apply white powder, with willow eyebrows and petite lips, red makeup was the most popular, and the skirt was gradually wider.
In the later period, the social turmoil and the decline of national power, the monarch began to worship religious gods and Buddhas, the eyebrow style evolved into eight-character eyebrows and laurel leaf eyebrows, the lip color was crimson, and the facial makeup changed from red makeup to yellow powder, which is consistent with the forehead yellow described above, and the Buddhist statues are all characterized by the Buddha's face painted with gold.
As for the late Tang Dynasty, ladies were popular with low-cut exposure, showing a fat posture, and the clothes were more fat, and the sleeves could be dragged to the ground. The face makeup tends to be decadent, the popular crying makeup, the aesthetic is weird, and it reflects the bleak atmosphere of the end times.
Lady face makeup is a kind of traditional art full of symbolic imagery, as a traditional fashion, in the long history of development, in addition to influencing the modern fashion of the country, but also to other countries of fashion art has played a certain role in inspiration.
In the field of modern clothing, the integration of traditional makeup art is unknown, and the reference to Tang face makeup is even more extensive. The fashion show on the international runway is not only the clothing itself, but also the makeup and hairstyle of the runway are also indispensable and important elements.
3. The innovative design of the Tang lady's face makeup symbol
"Aesthetics is needed by human beings, but in people's daily life, the role of aesthetic activities is irreplaceable, and with the development of society and economy, people's aesthetic direction is constantly changing."
"The Tang lady makeup symbol is a unique traditional visual symbol of shape and color, which integrates factors such as history, culture, religious consciousness and aesthetic emotion, and is the essence of traditional art."
The innovative design process is first to summarize and refine the symbol of Tang Shinu's face makeup, so that its characteristics are more distinct, and then use exaggerated techniques to extend the art, but to keep its artistic characteristics unchanged.
Although it is a high level of generalization, the relevant details cannot be discarded, otherwise the meaning will be lost. Therefore, in order to grasp the key, it is very important to scrutinize the form, proportional relationship, length and thickness of the line, and it is particularly important to choose the different characteristics of points, lines and surfaces to enrich the content of the symbols.
Through analysis and screening, it is finally necessary to find out the most typical symbolic elements of Tang Ladies' face makeup for artistic transformation. Taking Hua Tian as an example, no matter which stage of the Tang Dynasty, Hua Tian has the most arc shapes and petal-shaped geometric patterns, which are numerous and the most distinctive.
With arcs, circles, dropdrops and irregular shapes as the main compositional features, the shape is very smooth whether it is simple or complex. From the structural point of view, it is mostly characterized by a strong sense of rhythm and freedom and comfort, in which simplicity and complexity alternate, which play an auxiliary and rich role in the picture.
With the development of the times, the flowers became more and more abundant. As mentioned above, Hua Tian in Zhang Xuan's "Pounding Practice" and Hua Tian in the silk painting unearthed in Turpan can be seen that the overall shape of Hua Tian is long and simple, which is different from the thickness and complexity of other styles of Hua Tian.
The elements of the same unit are connected in the same order in the composition, and there is no separation point. The subsequent Huadian figurines such as the wooden figurines unearthed in Turpan and the clay wooden figurines are all composed of figures of different sizes but the same shape, arranged in an orderly manner, and change according to the size of the figures, forming a sparse and dense relationship, so that Huadian has a good sense of rhythm and rhythm.
Tang lady's flower has a relatively soothing sense of firmness, and when several elements intersect, the shape is often simple and symmetrical.
The dark green background presents a staggered layer, highlighting the three-dimensional sense, and showing the rich imagination of the Tang Dynasty people to the fullest.
In the design process, its outer contour shape is extracted according to the organizational structure, and the limitations of the original outer frame are broken through, and the fashion combination of lines and surfaces is expressed, and finally a new visual externalization is formed.
epilogue
With the development of society, although Tang lady makeup has played an important emotional function in a specific historical environment, there is a certain gap with modern aesthetic standards and performance, and it is almost impossible to achieve extensive and direct inheritance in modern life.
The Tang lady makeup symbol is not just a simple use of graphics to arrange and combine, but the external manifestation of emotional factors in the shape of the shape, its modeling method is mainly to stack the basic graphics to create a sense of hierarchy, and from a single shape to create a variety of new forms, so that it is more rich and full, together with other modeling factors constitute a strong visual impact.
According to the research on the innovation practice of Tang Shinu's facial makeup, the development and design of traditional visual elements should not only summarize the visual appearance and provide materials for design innovation, but also excavate the historical causes, cultural characteristics, and emotional expressions of these symbols.
bibliography
Research on the Development of Women's Makeup under the Change of Aesthetic Fashion in the Tang Dynasty.
"Communication and Women's Development"
Research on Women's Fashion in Tang Dynasty Ladies' Paintings