Introduction
Feminine beauty has been a source of constant admiration since time immemorial. The ways in which female beauty are admired are numerous and varied : different opinion of real loveliness range from nude studies to veiled models. Each and every nation has its own ideas of feminine beauty, totaling different from the other. Thus there is the light-hearted, submissive beauty of the Siamese woman; the exotic beauty of the South Sea Islander; the glamorous, long legged American; the French coquette; the vivacious Spaniard; all have their own distinctions and subtle attractions.
Of all the many types and classes of feminine beauty, there is no doubt that the Chinese type has a big claim on the attention of the connoisseur. The Chinese woman is always delicate and truly feminine. The study of Chinese poems and lyrics and Chinese paintings and sketches makes it easy to visualize the kind of beauty which Chinese people realize the true attributes of real loveliness and therefore they enhance these qualities by representing their women with all the delicacy and charm which nature has bestowed upon them. While the Chinese man is always shown as daring, rugged and brave, the woman is pictured as dainty, and refined, often in a reclining attitude, or sometimes engaged in the pursuit of various arts – painting, music and literature. Nakedness is very seldom seen in Chinese paintings, nor indeed is it written about in poems. The Chinese woman is always dramatized as dreamy and abstract in appearance.
Chinese beauty and charm lies mainly in the face and hands. A woman is considered beautiful in the eyes of the Chinese if her facial expression is refined and appealing. Such beauty is usually landed in music and poetry. The alluring expressive eyes, the delicately arched eyebrows, the enticing attractive lips, the sweet smile, al harmonize to form the rare beauty of the Chinese woman. The hands, too, play an important part in the judge
ment of the lovely Chinese woman. Her hands are small, dainty and graceful, her fingertips are light and elegant, and all these add up to make the allurement and attractiveness of her Classical beauty.
Clothing and ornaments are important which increase, rather than detract from the charm of the Chinese Beauty. Her gown is loosely fitted to her body, while long wide sleeves cover her arms and the length of her dress denies any view of her legs. This characteristic of dress, although it differs so much from the Western form of attire, adds to her natural qualities and makes her more admired, and certainly more respected. The ornaments she wears are in accordance with her character, and are always chosen to enhance her gracefulness. Flowers, pearls, earrings, necklaces, are selected so as to amplify her personal attributes, and must never be gaudy or over-bright.
“And At That Moment Silence Was More Poignant Even Than Music”
Thus classical Chinese Beauties are represented as slender, willowy, reserved and with delicate sloping shoulders, graceful hands and well-cut features
In producing this book “Classical Chinese Beauties” the author ha spent many years of careful research and intensive study of Chinese literature and art, always aiming to portray a true representation of the Chinese type of traditional classical beauty.
Many countries have published books depicting the various types of beauties admired by them. However, China has been as exception, and it is with this omission in mind that the author has devote and material in the preparation of this volume of selected photographs.
The author has spent much time in selecting models who could portray and express the qualities of typical Chinese Beauties and in doing so has encountered great difficulty in the approaching of the models and persuading them to cooperate.
“A Network” “Kerchief Contains No Tears”
The costumes chosen for “Classical Chinese Beauties” represents styles of several periods of Chinese dresses. They show the designs and the patterns of the Orient.
This book aims to give the world an idea of the gentleness and gracefulness of Chinese womanhood in earlier periods. All the illustrations are treated with modern processes of photography with optic, light and shade illusions instead of the usual brush and ink.
Although this book contains only forty pictures, a greater number of black and white negatives have been exposed. In addition, many color transparencies have been used so as to provide a wide range of choice and the best prints have been employed.
Francis Wu, F.P.S.A., F.R.P.S., A.I.B.P., Hon. M.P.S., Hon. S.F.F.
August 1951
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