"Sister Lang 2" is really mushy...
Although the number of plays on Mango TV is not much lower than that of "Sister Lang 1".
The number of broadcasts was 250 million and 200 million, respectively:
But looking at the search index of major third parties, you can find that its total popularity is even one-tenth of "Sister Lang 1".
From the hundreds of millions of plays at noon on weekdays, to buying a bunch of hot searches can not smash a public opinion splash, did not expect that this phenomenon-level variety show that opened the era of female aesthetics half a year ago, so hurriedly pasted.
However, thanks to the strong support of all the capital fathers, the guest lineup of "Sister Lang 2" is still worth paying attention to.
For example, the preview of the latest issue released the scene where Rainie Yang, Zeng Li and Su Yunying came to be the guests of the kicking pavilion.
Thirty-six-year-old Rainie Yang, still in a good state of scariness, full and natural, the dynamic is not at all pulled down.
Zeng Li, who is the 96 star banhua of the Chinese opera, is also like the poster made by the fans:
A day without disfigurement, a day with food to eat.
How beautiful was Zeng Li in his early years.
Bao Jianfeng half jokingly and half seriously said that she is the goddess of the unprecedented chinese drama:
In various celebrity interviews, the most easily mentioned as a class flower is also Zeng Li.
However, Zeng Li's appearance and beauty are not without controversy.
The lower court is too long, the head is large and the face is large, the facial features are not prominent, and the face is too white.
The contrast with Liu Tao's frame is obvious:
As a result, many netizens have said that they can't get her beauty, and ridicule her, like Guo Zhenni, is blown out by some netizens, "the forum is special for beautiful women."
Coincidentally, Zhang Tong, who was in the same class as Zeng Li and made the boys in the same class recall twenty years later, he was full of praise:
With the current aesthetic, it looks like "unremarkable", saying that she is a class flower, can't help but make people can't help but be black question mark face.
The reason why such a "deranged" situation occurs is largely because with the development of economy and society, the aesthetics of the Chinese people have undergone tremendous changes in the past two decades.
The aesthetic categories that have a huge impact on people have been unconsciously transformed.
Different from what we now often use to describe the appearance, "a", "sassy", "delicate", "domineering" and so on.
In the 1980s and 1990s, the beauty of "generosity" was very important to the Chinese people.
So we can see. The face of the model in Mao Geping's makeup videos in the 1990s is not the kind of Chinese makeup that is described on YouTube as "like a doll (チャイボーク)".
It does not aim for a domineering and dazzling sense of drama, but appears in a posture that is slightly higher than the daily life.
The beauty itself does not have the squinting eyes and desire to refuse to meet back, but it is stable and beautiful, calm and solid.
In the film and television works of that era. Looking around, there are beautiful people like Zeng Li and Zhang Tong, who are based on "generous".
For example, Zhu Lin, the king of the daughter country in "Journey to the West":
Wang Ji in "Beijingers in New York":
Yu Feihong in "Holding Hands":
Xu Qing in "East Sunrise West Rain":
And Yuan Hua in "Year after Year":
And He Qing, who has played Xiao Qiao and Li Shishi:
The exquisite mixed-race aesthetic of small head, small face, narrow face and high nose, in that era, had not yet become the aesthetic pursuit of the Chinese people.
People's preference for juvenile beauty has not yet become the norm.
So we can see that the young and exquisite Li Xiaoran matched Xu Qing in "Coming and Going".
Fan Bingbing, who looks beautiful now, was a squire in "Huan Zhu Ge Ge", and was not questioned by the audience at that time.
As for Zhang Ziyi, the "king of bones" in everyone's eyes, in that era of advocating generous beauty, he was mostly described as a "sharp-billed monkey cheek" that had nothing to do with beauty.
After entering the new century, the youth idol culture of Japan, South Korea and Taiwan, with the aesthetics of girls, has carried out a wave of exports to the mainland that have not been cut off so far.
People's later pursuit of juvenile aesthetics in the mobile Internet era laid a solid foundation in this process.
For example, "Blue Life and Death Love", which has earned countless tears. Song Huiqiao, who played the main role in it, was only less than nineteen years old at the time:
Wen Genying was only twelve years old:
Cai Lin and Kim So-yeon also filmed "The Temptation of Eve" when they were only twenty years old:
Like the "Haojie Chunxiang" and "Palace" that we are more familiar with, the stories told also happened in high school:
At that time, there was even a Korean drama that was rotated on various David TV, called "The Bride Is Eighteen":
"My Savage Girlfriend" and "If Love Has Providence", which were nominated for the Academy Award for Best Asian Film, the protagonists are also teenagers and young people in their teens and twenties:
Japan, which has a tradition of girlish aesthetics, is certainly more influential in this regard.
Almost every influential Japanese female star has participated in the girl draft.
Like Da Zhang Wei's favorite female star Noriko Sakai, she debuted as an idol singer at the age of fifteen:
Kimura Takuya's wife, Kudo Shizuka, also gained the attention of the Japanese art world after she came to prominence in the "17-year-old Beauty Contest".
Not to mention the Shunji Iwai series of movies that have spread throughout East Asia.
"Love Letters"
All About Lily Week
Swallowtail Butterfly
Rainbow Goddess and Flowers and Alice
All of them are protagonists with young girls.
In terms of exporting girlish aesthetics, Taiwan has not fallen behind.
The character settings of Big S and Rainie Yang in "Meteor Garden" are both high school students:
"Lavender", "Dolphin Bay Lovers" and other influential Taiwanese TV dramas at that time, the protagonists are also in their twenties.
Under the export of wave after wave of strong girl aesthetic culture in Japan, South Korea, Hong Kong and Taiwan, the chinese and female aesthetic culture that originally occupied the mainstream on the mainland with "generosity" as the keynote has been quietly and gradually marginalized.
So much so that now we rarely use "generous" to describe a person's face and temperament.
Instead, it is sharp and stunning, which is indexed by the strengthening of the three-dimensionality of the facial features, and young with the extremely white and smooth skin as the indicator.
The "generosity" derived from the Tao Te Ching is actually a rather core category in The Chinese aesthetic.
What it depicts is in line with the highest aesthetic state of the Tao, and it emphasizes a certain wisdom beauty between birth and entry.
Therefore, when we describe a person with "generous" beauty, we do not point to the delicacy and delicacy of her flesh and facial features, but refer to the grand demeanor embodied in the bone, silhouette, temperament, and raising hands and feet.
At the same time, it also silently specifies the rejection of juvenile aesthetics and the praise of mature beauty.
It is estimated that many babies have seen the photo of Hong Huang's mother Zhang Hanzhi. She looks sparse and atmospheric, and she is a big beauty in many hearts.
Hong Huang once mentioned in an interview:
"In the 1980s, he returned to China to start a business. People who didn't see me originally heard that I was the daughter of the great beauty Zhang Hanzhi and immediately opened a green channel for me."
In the early years, the Chinese people's recognition of generous beauty can be seen.
We can also see that it is different from the current skinny and slap-faced Internet celebrity models.
The national models of the 1980s and 1990s almost all have a strong and healthy skeleton and a face with more white space, and the beauty is very atmospheric and mature, and almost everyone is a royal sister.
The beauty of Zeng Li and Zhang Tong, who was praised in the 1990s, is also the product of this atmosphere.
Zhang Ziyi and Yuan Quan, who seem to be too clever and lack a sense of weight, are like little girls who have not grown up compared to them, and they cannot be classified as "big beauties".
So in a sense, we may not lack the aesthetic experience of appreciating mature women, but everything has changed too quickly in the past thirty years and has been inadvertently forgotten by everyone.
Although it has been seriously affected by the aesthetics of Japanese and Korean girls, due to the "generous" aesthetic gene, we will eventually feel that the big baby, Zhao Liying, Gulinaza, etc., compared with Ni Ni and Cuckoo, are still a little less beautiful.
The reputation of the mature atmosphere Yang Caijue also has a tendency to catch up with and surpass the pure Liu Yifei.
Liu Wen, the national model who has undertaken the "generous" aesthetic tradition, will also be considered to be the existence of Zhang Zilin, the sweet sister of the sweet world.
In short, when Chinese people are looking for aesthetic cultural identity, "generous" is an aesthetic category that needs to be taken seriously.
It is it that, to a certain extent, distinguishes aesthetic expression into Chinese/non-Chinese; it is also it that lays the cultural foundation for us to appreciate the beauty of mature women.