Summer is coming, the short skirts and shorts on the street are beginning to compete, are last year's clothes still worthy of this year's you? For many young sisters, no clothes to wear is actually not so terrible, the appearance anxiety generated by the daily mirror may be more serious, and even fermented the phenomenon of "reconciliation with the plain face" mystery...
In fact, every appearance has its most beautiful time, and we can find this from the porcelain patterns of calligraphy and painting in the past.
Qing Kangxi Pastel Figure Lady Picture Plate Collection of the Palace Museum
Before the Han Dynasty, people mostly thought of tall and plump as beauty, "Shijing Xiaoya" said "Whistling song sad, reading Bishuo people", sad in their hearts, singing songs to miss the beautiful people, of which the word "Shuo" outlines the general image of the beauty. In the pre-Qin poetry classic "Wei Feng Shuo Ren", "Shuo" is also used to describe such a beauty as "Shuo Ren Qi, Dressed in Brocade", this beauty is not only tall and white, but also "hands like soft hands, skin like gelatin, collar like cockroaches, teeth like rhinoceros, mantis head moth eyebrows, clever smiles, beautiful eyes, "this has become a good sentence commonly used by people to praise beauty after a thousand years.
Of course, under the big aesthetic trend, there are also aesthetics due to personal preferences, such as the good waist of the King of Chu during the Warring States period, "the waist of Chu is slender and light in the palm", and the women in the palace lose weight by dieting to please the King of Chu.
Modern Xie Zhiliu Female Chart Axis Partial Collection of the Palace Museum
The female aesthetic of the Han Dynasty can be seen from the feminine and slender figurines. According to their own aesthetic consciousness, the Han people have created more slender faience figurines than actual human objects, giving people a dignified and quiet Confucian and elegant style, which should have a lot to do with the social atmosphere of the Han Dynasty of "deposing hundreds of families and respecting Confucianism alone".
Han pottery painting of female figurines
Collection of the Palace Museum
Han pottery painting of female figurines
Collection of the Palace Museum
In the Sui Dynasty, the truly beautiful woman was a "beautiful person with a beautiful posture", who needed both appearance and temperament.
Sui Red pottery yellow and green glazed feasting figurines Collection of the Palace Museum
The Tang Dynasty is the representative of the word fat, but at this time it is not to say that fat can be, it needs to reach the point of "condensed rouge" and "abundance", like Yang Guifei's "natural beauty is difficult to give up", "looking back at a smile and a hundred beautiful students", what is reflected is a gorgeous beauty like a peony in a flower. We can find that most of the Tang Dynasty female pottery figurines have full and rounded faces, and they are full of blessings when they look at them, and some of them are still on the tall hairstyles, revealing a kind of prosperous atmosphere.
Tang Shi Nü Music Brick Collection of the National Museum of Korea
Tang Sancai Equestrian Figurines Collection of the Friar Museum of Art, USA
In the Song Dynasty, the delicate, delicate and powerless "sick beauty" was the mainstream of female beauty, and female aesthetics began to change from fat to thin. At this time, the importance of women's virtues exceeded their appearance, and the most modern human ills of foot binding and ugly customs also began in the middle of the Northern Song Dynasty.
Song Pottery yellow-green glazed female figurines
Collection of the Palace Museum
In the Ming and Qing dynasties, the implicit and introverted beauty was still the pursuit of female beauty, as Zhang Chao of the Qing Dynasty said: "The so-called beauties take flowers as their appearance, birds as their voices, the moon as gods, willows as their posture, jade as their bones, ice and snow as their skin, autumn water as their posture, and poetry as their hearts." "In the hearts of the literati, the beauty of women inside and outside is the best."
Ming Wanli Blue flower blossom light baby girl drama pot
Collection of the Palace Museum
At this time, the most typical beauty is like Lin Daiyu in "Dream of the Red Chamber": "Two bends are like a frown, and a pair of eyes that seem to be happy or not happy." The state of two sorrows, the illness of the body. Tears lit up, and the panting was slight. When idle, it is like a flower shining on the water, and the action is like a weak willow supporting the wind. The heart is more than dry, and the disease is like Xizi winning three points. This aesthetic form was retained until the Republic of China. At this time, the clusters of ladies on porcelain paintings and calligraphy are usually also a way to educate women.
Republic of China Xu Zhongnan pastel lady pattern garlic bottle
Tianjin Cultural Relics sold RMB 2,688,000 in 2011
It is never simple to express the femininity of women on hard porcelain, generally speaking, "the painting of porcelain products is to paint people first, painting animals is secondary, and flowers and landscapes are secondary." Among all the porcelain figure paintings, the Kangxi Dynasty is the most wonderful, especially the Kangxi paintings of bottles and jars with beautiful people, the Qing people sighed that "can not be seen again in the future generations", how beautiful should this be, can not look at it?
Qing Kangxi Colorful Magu Dedication Chart Plate
Collection of the Palace Museum
Qing Kangxi Colorful Magu Dedication Chart Plate
Collection of the Palace Museum
We look at the above two Kangxi Dynasty Magu offering life plates, although the two plates depict different movements of Magu, but they all show Magu's graceful and rich style, and its flowing clothes are more reminiscent of Gu Kaizhi's Luoshen, euphemistic and moving, full of romantic colors.
"Drinking Liuzhai Porcelain" has said: "Kangxi strokes are qing dynasty crowns, and the characters resemble Chen Laolian." Chen Laolian is Chen Hongshou, the most special one among the painters of the Ming Dynasty. His paintings, unlike Shen Zhou and Dong Qichang, bring the childish and ancient fun of the Jin and Tang dynasties back to the paper silk — those paintings of people, strange-looking, do not seem to be in reality, they are either fighting grass or drinking tea or enjoying scenery, always with a calm and eternal charm, it seems to have broken through the limitations of time and space. And looking at the characters on the two plates, it can indeed show the arrogance of old Lianqi.
Ming Chen Hongshou Female Volume Partial
Collection of the Palace Museum
The most difficult thing about drawing a female figure is the expression of the line, how to clearly portray the face of the character, so that it has an eyebrow to convey the god craftsman needs to consider. In the Kangxi period, craftsmen in order to pursue a thin and powerful pen and ink line effect often used black color to draw eyebrows, making it clear and more moving than the previous generation of goddesses.
Qing Kangxi Blue and white multicolored ladies picture plate a pair of British Museum collection
The beauties of the past have a look, and the beauties of the past are exactly the same... In the Internet age, we are often trapped in the beauty filter, inferior and sensitive, everyone no longer dares to show the picture, and appearance anxiety has become a shackle for many people. But is the real beauty of big eyes and high nose bridge? Beauty should be open, pluralistic, and should be freed from the eyes of others and defined by itself. And more important than external beauty, it is a kind of spiritual freedom and independence, and we believe that the beauty that blooms from the inside out of appearance freedom and self-appreciation will be more eye-catching.