Chinese ideals of female beauty

In Chinese contemporary popular culture, no one female beauty ideal exists paramount.

Thus, Chinese women consume a standard of female beauty that is not purely “Chinese” in nature. Despite the assorted geographical and cultural influences on this beauty ideal, it almost always appears as eroticized in the media. Typically, the presence or implied presence of a male gaze sexualizes the beauty.

History

The emphasis of both Taoist and Confucian notions of female beauty on the relationship between inner and outer beauty has influenced the creation of Chinese female beauty ideal. Outer beauty was thought to represent virtuousness, talent, and other positive characteristics. Indeed, physical characteristics supposedly offered clues about the woman’s (often sexual) nature.

For example, in Taoist thought, women with manly voices make poor sexual partners, because this trait suggests an excess of ch'i that inhibits the attainment of sexual harmony. In her article “Female Bodily Aesthetics, Politics, and Feminine Ideals of Beauty,” Eva Kit Wah Man articulates how Confucianism and Taoism played essential roles in the creation of Chinese beauty ideals: “In the Chinese tradition, as in other cultures, both the external sexual and inner moral dimensions determine the beauty of a woman…The notion of female beauty comes from both (Taoism and Confucianism).” Thus, historically, the religious influences on Chinese beauty ideals tied outer beauty closely to inner beauty.

The modern Chinese society is highly affected by Western capitalist and Marxist thoughts, the Chinese would not describe themselves as a completely Capitalist country, nor a purely Marxist country. They tend to ignore this type of question about the essence of its political position, and develop their economy, politics, culture and feminism in their own way. They call themselves a socialist market economy with Chinese characteristics. The rise of Chinese feminist development is highly influenced by the idea that since the early 19th century, the “new “ China and its government claimed that they are the one who would save the Chinese woman from the “old society” and set women’s minds free (Chun, 2008) . During that time, Chinese women seem to have been treated equally. The Chinese government ended the practice of foot binding, and women can do any job they want—even heavy-duty jobs in factories. The “Iron Woman” as an honorary title and very positive woman image is created by the Chinese government and shapes both Chinese men and women’s ideologies.

Hair

Advertising offers insight into the Chinese conception of beautiful hair. As of 2004, the consumption of cosmetics and hair products in China had grown over the past twenty years from 25 million US dollars to 6 billion US dollars, brands are eager to advertise their products to the growing market.

Contemporary sinophone shampoo commercials aimed at female consumers typically portray the same beauty ideal when it comes to hair: long, shiny, dark, and sleek. The thirty second clips usually feature a solitary model with a thick, glistening mane. Engaged in any activity – simply lounging around the house or, as in the case of one commercial, jumping out of an airplane – her hair is in constant motion. The commercials characterize the model’s animated and lively hair as strong, shiny, long, and soft. Often, a male gaze on the model sexualizes and eroticizes the hairstyle. Sometimes a male character appears, usually to approve of or admire the gorgeous hair the product had created, but often the male gaze is implied.

See also

• Women in the People's Republic of China

Notes

Chun, Lin. (2008). “On Feminism and China: Foot-Binding as an Aesthetic, History and Dialogue”. New York University. Retrieved from http://www.asianetwork.org/exchange/2008-spring/anex2008-spring-lin.pdf