Abstract
While a slender body is a prerequisite for beauty today, plump women were considered ideal in Tang Dynasty China and Heian-period Japan. Starting around the Southern Song period in China, bound feet symbolized the attractiveness of women. But in Japan, shaved eyebrows and blackened teeth long were markers of loveliness.
For centuries, Japanese culture was profoundly shaped by China, but in complex ways that are only now becoming apparent. In this first full comparative history of the subject, Cho Kyo explores changing standards of feminine beauty in China and Japan over the past two millennia. Drawing on a rich array of literary and artistic sources gathered over a decade of research, he considers which Chinese representations were rejected or accepted and transformed in Japan. He then traces the introduction of Western aesthetics into Japan starting in the Meiji era, leading to slowly developing but radical changes in representations of beauty. Through fiction, poetry, art, advertisements, and photographs, the author vividly demonstrates how criteria of beauty differ greatly by era and culture and how aesthetic sense changed in the course of extended cultural transformations that were influenced by both China and the West.
Schlagworte
Asian Studies Japan studies China studies- Kapitel Ausklappen | EinklappenSeiten
- 1–14 Prologue 1–14
- 215–246 8 : Until Naomi Was Born 215–246
- 247–254 Epilogue 247–254
- 255–256 Afterword 255–256
- 277–280 Selected Bibliography 277–280
- 281–288 Index 281–288
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- „... what appears to have been a failed coup to oust Mao.Lin Daiyu (林黛玉). A character in A Dream of Red ...”
- „... detained, but her family was implicated in the Lin family’s alleged coup attempt. She remarried after the ...” „... and very old. Having a lascivious nature, it is said to bear unicorns when it couples with a bull, and ...” „... dragon steeds when it couples with a stallion. It appears that out of lust, inspired by your beauty, it ...”
- „... skin, he [Emperor Xuanzong] wondered if this were not just, as the couplet went: “In Mount Lantian the ...”
- „... . . .”), Michizane focuses on hairstyle as characterizing beauty in a couplet quoted in Collection of Chinese and ...” „... Courtiers, Likewise on Makeup” contains a couplet partially quoted above:Twin hair-loops just tied up ...”
- „... ” by Li Shanfu (mid to late Tang) contains a couplet that goes, “Dancing sleeves of blue silk mingle as ...” „... put aside the rhetorical reason for using “paired phrases” in a couplet, such a face cannot be thought ...”
- „... Japanese. The portrayal of Jade Orchid quoted above also included a couplet: “Her face is like a lotus ...”