Chinese ideals of female beauty: Difference between revisions
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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]]).” <ref>{{citation|author=Kit Wah Man, Eva |chapter=Female Bodily Aesthetics, Politics, and Feminine Ideals of Beauty in China |title=Beauty Matters |url=http://books.google.co.uk/books?id=y7yjRlwg8agC&pg=PA169 |publisher=Indiana Univ Pr |year=2000 |pages=169–96}}</ref> Thus, historically, the religious influences on Chinese beauty ideals tied outer beauty closely to inner beauty. |
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]]).” <ref>{{citation|author=Kit Wah Man, Eva |chapter=Female Bodily Aesthetics, Politics, and Feminine Ideals of Beauty in China |title=Beauty Matters |url=http://books.google.co.uk/books?id=y7yjRlwg8agC&pg=PA169 |publisher=Indiana Univ Pr |year=2000 |pages=169–96}}</ref> Thus, historically, the religious influences on Chinese beauty ideals tied outer beauty closely to inner beauty. |
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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)<ref>{{cite book|last=Chun|first=Lin|title=“On Feminism and China: Foot-Binding as an Aesthetic, History and Dialogue”|year=2008|location=New York|pages=23-30|url=http://www.asianetwork.org/exchange/2008-spring/anex2008-spring-lin.pdf}}</ref> . 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 was created by the Chinese government and shaped both Chinese men and women’s ideologies. |
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==Hair== |
==Hair== |
Revision as of 17:29, 3 August 2011
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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.[citation needed]
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.[clarification needed] 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.[dubious – discuss]
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).” [1] Thus, historically, the religious influences on Chinese beauty ideals tied outer beauty closely to inner beauty.
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)[2] . 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 was created by the Chinese government and shaped 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.[3]
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[citation needed] – 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
Notes
- ^ Kit Wah Man, Eva (2000), "Female Bodily Aesthetics, Politics, and Feminine Ideals of Beauty in China", Beauty Matters, Indiana Univ Pr, pp. 169–96
- ^ Chun, Lin (2008). “On Feminism and China: Foot-Binding as an Aesthetic, History and Dialogue” (PDF). New York. pp. 23–30.
{{cite book}}
: CS1 maint: location missing publisher (link) - ^ "Chinese New Year: cosmetics consumption in China has grown in the last 20 years from around RMB 200 million (US$25 million) to more than US$6 billion.(Trade Routes)." http://www.highbeam.com/doc/1G1-115758625.html High Beam Research. 1 Mar. 2004. 20 Apr. 2009