Before discussing the contemporary controversy over the image of the squinting eye, it is necessary to trace the origins of this stereotype. In 1913, United Kingdom novelist Saxophone · Romer created an unsettling character, Fu Manchu, who was portrayed as a typical oriental villain: tall and thin, bald, with thin eyebrows and long eyes, and a sinister face.
Fu Manchu's image quickly became a "typical" Asian villain in the eyes of Westerners, laying the foundation for later stereotypes.
Over time, Western stereotypes of Orientals have become more and more solidified. In their brochures and pictures, Orientals always seem to be endowed with a bunch of "iconic" features: squinting eyes, slumped noses, protruding mouths, buckteeth, high cheekbones, and short and fat figures.
These features are exaggeratedly magnified, even concentrated on the same face, as if this is the standard for all Orientals.
However, upon closer inspection, we can see that there is no such exaggerated combination of facial features in real life. This stereotype is far from the truth and has long existed in the Western media.
However, it was not until 1980 that the character was banned from public view due to racial discrimination and other reasons.
People thought that those biased images would disappear, but surprisingly, elements such as "squinting eyes" have quietly reappeared in the contemporary advertising and fashion world. From magazine covers, visual posters, and clothing models, we began to see deliberately created squinting eyes, high cheekbones, and a hint of "evil spirit" in the eyes.
These images are also branded as "high-end" and "fashionable", which is even more puzzling.
This phenomenon begs the question, why are these discriminatory images reappearing in our lives in this 21st century? Whose tastes are they catering to? This is a question that deserves deep consideration by each of us.
In the current whirlpool of squinting controversy, photographer Chen Man's work plays a key role with his widely controversial photographs of oriental women. The models in those photographs invariably present an uncomfortable image: squinting eyes, high cheekbones, a collapsed nose, and gloomy death makeup and eerie hairstyles.
These elements are deliberately strengthened, as if in Chen Man's perspective, this is the "standard sample" of oriental women.
When the photos were made public, the public's reaction was predictable. Netizens expressed their anger and incomprehension, accusing Chen Man of scandalizing the image of oriental women. People ask: Why do we need to be represented by such negative stereotypes? Isn't this an insult to Oriental women?
In the face of criticism from the radical public, Chen Man finally chose to apologize publicly, and the relevant brands also quickly issued statements to make their positions clear. However, these remedies do not seem to have quelled public anger.
People are still asking: Since Chen Man thinks this is what oriental women look like, why don't they dress themselves up like this?
The deeper reason for the questioning of Chen Man comes from cultural identity. As a native Chinese, has she noticed a huge difference between the Oriental women around her and the images in her work? Whose aesthetic is this deliberate ugliness pandering to? Is it the stereotype of the West towards the East, or is it some kind of self-dwarfing psychology?
The Chen Man incident triggered not only an online scolding war, but also a deep-seated issue involving cultural self-confidence, aesthetic standards, and freedom of artistic creation. People are beginning to reflect: should we, as creators, be responsible for the cultural message that our work conveys? In the pursuit of artistic expression, should we also consider the impact of the work on public perception?
Although Chen Man tried to quell the controversy by apologizing, the imprint left by the incident on the public's mind will not easily dissipate. It serves as a cautionary tale to us in today's globalized world, where we need to present our culture with confidence and respect, rather than blindly catering to the expectations or prejudices of others.
The Chen Man incident is undoubtedly an important trigger for this great debate about cultural expression and identity.
In 2019, the advertisements of food brands Three Squirrels Hot and Sour Noodles and Snail Noodles were criticized again, causing public dissatisfaction.
Some netizens found that the image of the model in the advertisement was very similar to the controversial image of the Oriental woman in the Chen Man incident. The model in the advertisement was deliberately portrayed as squinting, which was contrary to the theme of the food advertisement and caused discomfort and anger among many consumers.
For a local brand like Three Squirrels, it is really incomprehensible why such a controversial advertising image was chosen. As the largest food e-commerce company in China, the target consumer group of Three Squirrels is undoubtedly Chinese consumers, however, the image of choice is rarely accepted by Chinese consumers.
The incident once again sparked deep thought about cultural expression and commercial marketing. As a homegrown brand, should Three Squirrels be more cautious about cultural sensitivities? In the pursuit of "creativity", should we also take into account the feelings of the majority of consumers? These questions are not only related to the marketing strategy of a company, but also to the cultural confidence and identity of the whole society.
The controversy over the Three Squirrels advertisement has brought the issue of "squinting eyes" into a new perspective in the discussion, and at the same time revealed the depth and breadth of the issue in the business field.
In the midst of the hustle and bustle of the "squint" controversy, we need to think deeply: where is the root of the problem? Is it the small eyes themselves, or is it a deliberate distortion of the small eyes? In order to understand this question, we first need to distinguish between the concepts of "squinting eyes" and "small eyes".
As a natural physiological feature, small eyes are not large, but they usually have a crescent-like curvature, giving people a gentle and affectionate feeling. Although the eyes of singers Li Ronghao and Zhang Yuqi are small, they give people a negative impression by no means.
In contrast, "squinting" is a deliberate effect created through makeup, often showing a visual effect of being narrow and narrow, with the corners of the eyes elongated towards the back of the head, giving people an unnatural and even somewhat gloomy feeling.
Looking back at the depiction of beauty in traditional Chinese literature, we will find that the definition of beauty in ancient times is far from "squinting eyes". Cao Xueqin's Wang Xifeng has "a pair of Danfeng triangular eyes", and Wu Yueniang has "eyes like apricots".
The description of Pan Jinlian in "The Golden Vase Plum" is even more nuanced: "The sideburns of the black-bearded crow wagtail, the eyebrows of the crescent moon that bends the green, the fragrant cherry mouth, and the straight and bulging Qiongyao nose" These descriptions are all singing the praises of bright and smart eyes, rather than deliberately squinting eyes.
In the modern entertainment industry, you can find many stars with small eyes who are loved, such as Li Ronghao and Zhang Yuqi, as well as Lin Yilian, Qin Hailu, Xiao Yaxuan, Li Yuchun, etc.
Although the eyes of these artists are small, they all exude a unique charm, which is far from being summed up by "squinting eyes".
So what exactly is the problem? The answer seems pretty obvious. There is nothing wrong with small eyes, the key is whether you should wear makeup moderately, rather than deliberately making small eyes "squinting".
This kind of makeup often gives people a sense of evil and viciousness, which is far from the beauty in most people's minds.
What's more worth pondering is why in some magazines or posters, small eyes are always deliberately drawn as "squinting"? Is this a purely aesthetic preference, or is it a perpetuation of some kind of cultural bias? Should we reflect on whether we will inadvertently fall into the trap of self-dwarfing in the pursuit of the so-called "sense of luxury"?
This debate around the eyes actually reveals a deeper question: how can we maintain cultural confidence and show the authentic and diverse beauty of the Orient in the context of globalization? This question is worth pondering.
In the case of the "squinting eyes" controversy, the model talent show of Tsinghua Academy of Fine Arts has added a new dimension to this topic. As a top art institution in mainland China, Tsinghua Academy of Fine Arts undoubtedly plays a role as a weather vane in its aesthetic orientation.
However, when the models they showed were all wearing squinting makeup, the public's reaction was understandable.
Tsinghua Academy of Fine Arts refers to this kind of makeup as a "high-class face", as if it wants to give this aesthetic a kind of artistic height. But what is a real "senior face"? According to common sense, it should be an unshaped face with a unique temperament and aura.
Although it may not conform to conventional aesthetics, it should give people a different aesthetic sense However, the so-called "high-class face" displayed by Tsinghua Academy of Fine Arts seems to be just challenging the bottom line of aesthetics in the eyes of many people.
This practice has raised questions among the public: Is squinting the same as a senior face? In fact, models such as Liu Wen, Ni Ni, and Du Juan, who are considered to have "high-end faces", their charm does not only come from the shape of their eyes, but from the presentation of their overall temperament.
They don't need to wear squinting eyes and makeup, and they can also be loved by domestic and foreign audiences.
The controversy has provoked deep thinking about the definitions of "high" and "fashion". Are we too easy to equate certain physical characteristics with a sense of luxury? Between the pursuit of the so-called avant-garde and the unique, is the diversity and inclusiveness of aesthetics neglected?
The controversy at Tsinghua Academy of Fine Arts stems from an exploration and attempt of oriental aesthetics within the art circle. However, when this attempt is at odds with the public's aesthetic perception, we have to wonder: should the public's acceptance and cultural identity be taken into account while pursuing artistic innovation? Finding this balance may be an important issue for art education and creation in the future.
In this heated debate about "squinting eyes", we can see two opposing points of view. On the one hand, pointing out the problem of images such as Chen Man and the Three Squirrels is a manifestation of cultural self-confidence and a defense of oriental aesthetics.
On the other hand, being overly sensitive is a sign of cultural inconfidence, and that we should not be angry at the portrayals of others.
This debate actually reveals a deeper question: how can we maintain cultural confidence while remaining open and inclusive in the context of globalization? How to take into account public sentiment and cultural identity while pursuing artistic innovation?
It's worth pondering why some creators and brands repeatedly use this controversial "squint" image? Whose tastes are they catering to? Is it pandering to Western stereotypes, or is it pursuing so-called "avant-garde art"?
Looking to the future, we look forward to seeing more works that truly reflect oriental aesthetics and have an innovative spirit. This requires creators to find a balance between cultural confidence and aesthetic innovation, as well as a more open and inclusive approach to different artistic expressions.
Only in this way can we show the unique charm and profound heritage of oriental culture in global cultural exchanges.