Category Archives: Fashion and Gender in China

Liu Jianhua’s Game Series: A Social Commentary of the Consumption of the Qipao

Liu Jianhua’s Game Series calls the authenticity of the qipao, and ultimately its cultural meaning, into question. Initially, the qipao was sanctioned by the Chinese government in the early 1900’s as the official dress for women in China. The qipao upheld Chinese national pride by showcasing patterns and designs specific to the Chinese fashion industry while allowing women an increased range of motion.

Chinese women were empowered by the qipao because they could choose the design and cut to show as much of their body as they were comfortable. Affluent women were able to dabble in Western ideals of fashion (by experimenting with Western patterns and designs) without backlash from society because the shape and the cut of the qipao were distinctly Chinese; this distinction placed national identity above the individual appreciation for Western ideals.

The qipao fell out of favor in the 1950’s-1960’s due to Cultural Revolution and the Socialist period that followed under Mao Zedong. The qipao had come to represent over-extravagance and wealth, which was frowned upon during the socialist era. In the 1990’s, however, the qipao underwent a cultural emergence due in part to China’s growing economy and political stability. What truly brought relevance to the qipao was the renewed cultural pride that began in the fashion industry and was consumed by the general public and the West.

introduce an argument first before the detail. also there is no enough room for detailed historical description about qipao in a post

This is where Liu Jianhua’s Game Series becomes important in understanding the peculiar place of the qipao. Currently, the qipao is a cultural symbol but does not have national backing as it did from the 1920’s – 1950’s. As a result, the qipao has become less about empowering Chinese women and upholding national pride as much as it is about the qipao a commodity for mass consumption. While many fashion houses, Chinese and Western alike, are paying their respects to the traditional Chinese dress, they have left out the designs and cuts specific to Chinese culture. good point, are you going to support it?

katy-perry-122766413 (Katy Perry at the Grammy Awards in a Western interpretation of the qipao)

what does the photo of Katy Perry with Liu Jianhua’s work? I feel confused.

LIu Jianhua purposefully chose to remove the heads of the women he sculpted to show the audience that when we consume the qipao, we are not focused on the people wearing the dress but on the dress itself and its ability to be modernized. He has the women positioned with their legs spread open to show the viewer that the qipao has become a object with which to objectify women. Qipaos now, such as the one worn by Katy Perry at the Grammy Awards, do not provide as much covering for women as they used to. is it better to focus on one image?

women on blue rimmed plate Liu Jianhua, Color Ceramic Series – Game, Ceramic Sculpture 2000, 52 x 52 x 23 cm, LJH30

In addition, Liu Jianhua purposefully sculpted the women’s bodies without arms to indicate that they are powerless to the men that objectify them, and furthermore that the qipao is powerless against those that interpret it out of the Chinese context. Liu Jianhua chose to put the women on porcelain plates as an “offering” to the viewer. These women, who are headless and powerless, are up for the taking in terms of the male gaze. Their bodies and the designs of the qipao are also available for the fashion industry, both Chinese and Western, to have as much or as little as they want. raised number of good points here which need careful and analytical explanation.

While some might critique Liu Jianhua’s Games Series as extremist, I argue that he is providing a social commentary not only for men, but for Chinese and Western civilization. It is warning against the objectification of women’s bodies, and the dehumanization and dis-empowerment that results. It is a sign that the qipao is not authentically Chinese anymore; it has been interpreted through various lenses within the fashion industry and has lost its origin, at least, in eyes of the average western consumer.

if this is the argument, then introduce it at the beginning.

Liu Jianhua_twowomenonaplate (Liu Jianhua, Color Ceramic Series – Game ,Ceramic Sculpture 2000, 61 x 61 x 15 cm, LJH12)

Sources used:

http://china.shanghartgallery.com/artists/liujianhua/default-a.htm#BIO (photographs)

http://www.culturebase.net/artist.php?1487 (the inspiration for Liu Jianhua’s Games Series)

http://www.liujianhua.net/entext_details.aspx?id=10 (Liu Jianhua’s biography)

https://blackboard.bowdoin.edu/bbcswebdav/pid-507079-dt-content-rid-1515700_1/courses/ASNS2076.GWS2076_2016S/qipao%20slides%281%29.pdf (Professor Tsui’s Qipao powerpoint slides)

Selling Soap and Women: Qipao Advertisements in 1930s Shanghai

Two women wearing cheongsam in a 1930s Shanghai advertisement.

The cheongsam or qipao has been present in China’s fashion scene for centuries. Although it became muted post 1930’s, leading cultural authorities including world renowned fashion designers, like Oscar de La Renta and Valentino, as well as Chinese art, film and television resurrected the qipao from an article of service wear to a product of high end fashion in the early to late 1990s. Although the qipao has persisted throughout history, it is important to recognize that the meaning of the qipao has never been static. The qipao holds distinct cultural, social, and symbolic values unique to each of its various time periods.

The image above is an advertisement for Victorian Soap and was published in 1930’s Shanghai. At the center of the photo are two young women. The backdrop is a traditional Chinese garden. One woman wears a red and white floral printed qipao while the other’s is black and white. The two girls have short western hair styles and shoes as well as red lipstick. Both are also holding golf clubs. The women on the left prepares to swing. Around the image is a floral border with inscriptions lining the sides. In the foreground are enlarged versions of the Victorian Soaps advertised. need a thesis statement right here

This advertisement is a classic example of the type of photo calendars typically distributed during this era. In the 1930s, the urban center of Shanghai was the metropolitan capital of China. When situated in its unique historical context, we can understand the picture of the two females as representative of the newly gained independence women had found in the public landscape at the time. The fact that the women are depicted outside in a garden landscape signals to this new sense of freedom. The two women are also holding golf clubs. Previously sports and outdoor activities traditionally reserved for men, like golfing, began to allow female participants in the 1930s.

Western influence from the ongoing colonial era is also signified by their bob hairstyle and red lipstick. Instead of the bound feet of the previous era, the women have natural feet adorned with western style shoes that were more practice for outdoor activities. Although the long qipao’s have traditional floral patterns popular at the time, their short sleeves make them much more revealing that the conservative dress of the 1920’s. In order to make the clothing distinctly feminine, the qipao’s are form fitted. Before, the qipao was seen as a distinctly male form of dress because of its rather shapeless figure. By this time however, western fitted elements were added to emphasis sexuality and gender norms.

Although central to the poster, the advertisement is not for the qipao but rather for Victorian Soap. By associating the two however, it connotes to the viewer that the stylish and modern Chinese woman is a consumer of this product. In a way, this type of association works to sell not only the soap but the women. If one uses the soap, they too can achieve the sense of sexuality and modernity portrayed in the picture. Although the women in the poster are shown enjoying new social independence, their highly sexualized depiction as well as the manor in which they are sold beside the product, reminds us of that despite the era’s progress, the patriarchy and its objectification of women still dominates.

the thesis came finally at the end of your post, which could be introduced at the beginning

The Consumption of Female Sexuality

Screen Shot 2016-02-29 at 10.37.01 PM

Liu Jianhua: Color Ceramic Series-Obsessive Memories

Ceramic Sculpture 2000, 40 x 31 x 30 cm, LJH25

Courtney Gallagher

In the contemporary installation art piece, Obsessive Memories, Liu Jianhua uses female sexuality to draw a comparison between the consumption of women and the consumption of material goods.

sound thesis

The Body: The artist reveals the materialization of the female body by eroticizing it, thus making it an image of male desire. The body is positioned in a way that is very revealing—where one’s eyes instantly are drawn to the bare legs. Not only the bare legs, but also the positioning of the legs, present an alluring image to the viewer. The image seeks to arouse male, or the consumer’s, desire and sexual fantasy. The body appears with neither head nor arms to accentuate the projected submission of the female to the male viewers, or the consumer’s, sexual desires. In this way, Jianhua makes the female body a commodity by using female sexuality as an image of desire for the viewer. Not only this, but the artist makes the commodity of the female body seem easily attainable because the passivity the female body suggests through not having arms nor legs. Thus, the female body visually implies instant submission or gratification–where the male or consumer desire could be easily satisfied through attainment of the commodity.

Cheong-sam: The cheong-sam shapes the female body, sexualizing it further, thus furthering its desire of consumption by male viewers [or consumers]. The cheong-sam appears tight-fitting, short, and embellished with intricate patterns and beautiful colors. The cheong-sam looks as if it is riding up because of the body’s position on the couch, making it more revealing than it already would have been. The traditional cheong-sam was a symbol of concealment and femininity. The modern, revealing cheong-sam depicted in this image, however, conflicts with the garment’s traditional symbolic value by making it an object of erotic, sexual fantasy. In this way, Jianhua uses the cheong-sam to highlight both the issue of sexualizing females as a means of consumption, as well as a means to accentuate the female’s eroticism.

The Sofa: Lastly, the consumption of the sexualized female body is once again hinted at with the female body presented on a sofa. The sofa appears to be a Western commodity because it exhibits neither traditional Chinese cloth (silk) nor intricate embellishments. As a piece of furniture, the sofa represents a place of leisure and relaxation—an object that males yearn for at the end of a hard workday. Thus, Jianhua makes an image of desire to consume both the sofa and the sexualized female body, thus materializing the female body.

In sum, Jianhua’s installation piece uses female sexuality to arouse desire in men, and make the female body an object of consumption—much like a sofa. The inviting image creates a “rape” of the female body. It consumes the female in a state in which it has control neither of their mind nor body [shown by the woman being armless and headless.] Through this imagery, Jianhua draws a disturbing comparison between the rape of this woman and the metaphorical rape of China by capitalism—where the introduction of desire for material objects, through capitalism, has assaulted and degraded the moral and ethical values of the country.

analysis is persuasive and organization is clear. sentence structure could be concise

The “New” Qipao

Screen Shot 2016-03-01 at 7.55.01 PM

Photo citation: http://www.chinatoday.com/culture/qipao/qipao.htm

The qipao began as long lose fitting clothes, that had draping sleeves and skirts. The beginning of the qipao was at the time in Chinese history when the Manchu people took over. This loose clothing fit what the Manchu people valued, work. Before the Manchu took power, Chinese women could not really work because of their bound feet. However the original qipao would allow woman to still work.

The qipao changed over time. It became shorter and tighter with small sleeves and slits. This is drastically different from the original qipao, but soon the new qipao became hugely popular world wide. At one point the qipao was not thought of as appropriate dress by the Chinese government but since there was so much popularity of the dress world wide, the qipao was brought back to its home of China.

not much room for general description and need a central argument

In the photo above the woman is wearing a qipao at the time of its “home-coming”. This is a new qipao with a shorter hem. There are two long slits going up the womans’ dress. This qipao has the classic high collar neck and button up neck opening. There is also small cap sleeves. The material and pattern of the qipao seems to be traditional (silk and floral pattern). However the rest of the photo has western elements. The woman’s shoes appear western. Her hair looks a lot like how woman had their hair in the 20s in America. The room itself looks western with the leather couch and little decoration elsewhere in the room.

The whole picture suggests the mixing of Chinese and Western style, while the qipao has some of the similar elements of the original dress, it is different. This new qipao has western influence but it is still sexualizing the female body. The woman is seated facing the camera in an “inviting stance”.

This sexualizing of the female body works in both Chinese and the Western ways of life. This in turn implies that the meaning of the qipao was changing to sexualizing. This is a stark contrast to the original qipao that was shapeless. The new qipao now stands for femininity and the coming together of the Chinese and Western world.

if Chinese style and Western influence for the purpose of sexualization of woman is the argument, then introduce it at the beginning and explain with persuasion

Modernized and Westernized Qipao

Screen Shot 2016-02-28 at 8.09.09 PM

http://mandarincollardress.com/wp-content/uploads/2015/11/22/Red-trim-American-flag-English-calligraphy-collage-print-modern-qipao-short-mandarin-collar-cotton-sheath-dress-YiTangFang-68128G-011.jpg

http://www.cozyladywear.com/short-modern-qipao-cheongsam-chinese-party-dress-p-587.html

The qipao was originally worn by the Manchu ruling elite in the 1600s and looked like a hybrid of a loose-fitted long sleeve dress and an elegant robe. Over time, as the Han and Manchu began to assimilate, the qipao also underwent various transformations, such as a tighter fit and shorter hem length. Today, the qipao is worn by all demographic groups (western and eastern women, old and young, and wealthy and middle-class) for all different occasions (work uniform, tourist souvenir/costume, formal event gown, casual party/clubbing dress, or even a casual outfit).

may start from the following paragraph

Thus, as the subject of the qipao changes, the message of the qipao has also changed, with both negative and positive implications. In recent years, alongside the global integration of China, the qipao has adopted many western alterations to appeal to a more international audience. However, as can be observed in the two presented images, the westernization of a dress that is not inherently western provides a unique juxtaposition/superimposition of cultural discourse, but also can devalue or skew the original message that the traditionally and culturally valued qipao was designed to project.

The images show the western penetration and global influence that has affected China. First, we can see that the qipao is made of cloth and print, not delicately embroidered like classic qipao. Furthermore, the print on both of the qipaos are totally hyper-westernized/de-orientalized. The two Asian models, presumably Chinese, are wearing traditional Chinese qipaos. However, the print of the two modern qipaos is a completely inaccurate depiction of what the original qipao embodied. On the modeled qipaos, one has American flags, American alphabet letters, American newspaper print, and the other has European women wearing high heels, trench coats, sunglasses, handbags, and sun hats, all of which are not even remotely identifiable to the classic qipao or Chinese culture. Going back to the origins of the qipao, some common designs were dragons, mountains, water-weeds, and fire, which were representative of adaptability, stability, purity, and brilliance, respectively. In contrast, the designs printed on these modern day qipaos are purely surface level, visually and materialistically rich but symbolically insignificant and culturally lacking. This demonstrates that the qipao is still admired, but it is appreciated and purchased for commercial reasons with little connection to traditional and cultural Chinese values.

what is signified by American flags and European prints and for what purpose?

Interestingly, the two images, although taken from two very different shopping websites, have very similar physical style regardless of the different print, which indicates the pervasive preservation of traditional Chinese qipao style. Both dresses have the traditional Han style length, fit, side-thigh slit, knot buttons, and high collar. Although the qipaos displayed in the two images are meant to appeal to an international audience and has clearly diverged from the original qipao, it still maintains the physical design and cultural touches of the qipao. This shows that the present purchasers of the dress choose to wear the qipao purely as an aesthetic or exotic outfit, and not for cultural celebration. Through this semiotic analysis, we can conclude that the qipao has a decreased cultural and traditional message, but instead hasan increased commercial and artistic value. The Chinese culture that was originally conveyed by the authentic qipao has become diluted by the consumer culture it caters to. conclusion is strong

strengthen the connotation

1940s Modernized Qipao Found in Tang Wei’s “Lust, Caution” movie, photograph.

Over the last few centuries, the qipao, a one-piece Chinese dress, has experienced a substantial shift in place in the Chinese fashion world. From the loose-fitting, long, concealing qipao style worn by Manchu people during the Guangxu period, to the tight-fitted, sexualizing modern day portrayal, the qipao and its socio-political implications have changed immensely. The Guangxu qipao of the late nineteenth and early twentieth century and the qipao of the 1960s highlighted very different portrayals of the female body. The modern 1940s qipao, displayed in the image to the right, emphasizes the attractiveness of the sexualized form of the female body and the older qipao of the late nineteenth and early twentieth century accentuates the importance of embroidery and the beauty in concealment.

Qipao in the Guangxu Period (1875-1908) Titled: Lady Heseri, photograph, 1900.

When comparing the two images, the viewer notices the difference in color and pattern immediately. Although these two images were captured using the same medium, photography, they provide much different viewing experiences. The woman wearing qipao of the Guangxu period is pictured in black and white, so we are unable to see the true color of her dress. In addition, the photographer chose to take her picture in an area with limited to no natural light. We can see very intricate and delicate embroidery on her qipao. The green color of the woman’s qipao, represented in the above right photo, is emphasized due to the monotonous and basic tones that lie behind her. The photographer strategically placed this woman in a room with natural light. Her dress has minimal print in comparison to the woman on the left.

connotation?

The photographers may have made specific decisions when shooting each woman for a few reasons. Firstly, the woman pictured in color exists in a very different time period to the woman of the Guangxu era. The photographer taking the modernized picture has chosen to place this woman in a room that utilizes the sun’s natural light to accentuate her form and body outline. We can see the light shining on the front of her body detailing the folds in the dress and female figure. The woman in the Guangxu period is not emphasized through color. Color became more of an important factor in socio-political status as time progressed. We can the importance of embroidery in the earlier years of the qipao through the photo of the Guangxu period. The elegance in the more traditional dress lied in its concealment and detailed stitch work, rather than the modern tightfitted, simple form with minimal pattern/flowers and stitching.

Secondly, it is important to notice that both women are not looking at the camera, but are delivering very different messages. The female in the older photo holds a very straight and serious face. Perhaps if she were looking at the photographer and acknowledging him/her, it would undermine the importance and beauty in her concealing qipao. Because she does not look at the camera, she is more mysterious to the viewer and embodies the true essence of concealment, a highly attractive attribute of the time period. The woman in the 1940s picture plays a game with the viewer. She knows she is being seen, however, she is portrayed in a much more sexualized light. Her head is slightly turned towards the camera, however, she does not give us her full attention. She is teasing the viewer in a sexy and lustful way. She tilts her head in a way that almost looks down at the viewer. This decision adds another factor to the game she is playing; she is sexy in her tight-fitting, flattering qipao and therefore powerful and perhaps acting lustfully.

Lastly, it is essential that we acknowledge the difference in the way each woman is standing. The contrast in body language delivers meaningful messages to the viewer. The loose-fitting Manchu style qipao that covers the woman pictured in the older photo does not outline her body in any way. She stands up straight and allows her body to be concealed. She does not use her body in a sexual way, as the woman on the right does. This woman leans her body on an object that sits behind her and gently rests her hands behind her. She arranges her body this way to reveal her long, thin, and smooth arms and thin figure.

Both woman wear the qipao. However, they both wear very dissimilar styles that portray different ideas about what it means to be a woman and how females were portrayed in their given time periods.

two photographic female images, shot in different time and place, speak for how qipao reflects historical transformations. the historical transformation could be explored in terms of form, color, material, design denotations. the denotations then speak for different time, place, ethnic identity, and more connotations.

Fan Bing Bing on the Red Carpet

“Fan Bing Bing in Dragon Robe by Lawrence Hsu” Fan Bing Bing photographed at the premiere of “Robin Hood” during the 2010 Cannes Film Festival. Accessed February 29, 2016. www.redcarpet-fashionawards.com/2010/05/13/2010-cannes-film-festival-“robin-hood”-premiere-–-fan-bingbing

fan-bingbing-robin-hood

While traditionally the qipao served the purpose of being the state mandated Chinese dress in the early 20th century, the gown has made a comeback in recent years. Despite having exited the realm of high fashion in the 1950s, the qipao now returns re-legitimized, having a very obvious presence on the fashion runway. In his article, Contemporary Re-Emergence of the Qipao: Political Nationalism, Cultural Production, and Popular Consumption of the Traditional Chinese Dress” author Matthew Chew accredits such a re-emergence largely to the influence of cultural elites in China- most specifically, prominent fashion designers.

The image I chose to analyze this week serves as evidence to Chew’s claim, as it pictures well known actress Fan Bing Bing on the red carpet, dressed in qipao. Fan Bing Bing’s outfit combines both traditional and modern style, showing not only the ever-present cultural importance of the qipao, but also transforming the qipao to fit modern standards of fashion.

To further prove this transformation of the qipao, we must observe the entire image at first glance. My eyes immediately noticed the low neckline, something that is obvious and critical to a traditional qipao piece. Next, I noticed the bold yellow color of her gown, and the many symbols it represented- the Dragon, the peonies, and the water. The embroidery is extremely fine and detailed, and the material resembles that of a traditional qipao. She wears dangly earrings and no other jewelry with her hair pulled back simply and elegantly. Fan Bing Bing is featured on the red carpet surrounded by tons of photgraphers- not even Chinese, mostly western- that seem to have all their eyes on her.

The neckline to me really symbolized the modern twist Bing Bing is putting on the look- Bing Bing is drifting away from the traditional neckline and replacing it with something a bit more cutting edge and revealing. The bareness of her shoulders and neck serve the purpose of drawing even more attention to her gown. The yellow color immediately made me think of the Emperor’s traditional robe. Yellow, the color of royalty, was only to be worn by the emperor. By wearing this color, Fan Bing Bing is making a bold statement and showcasing her high status on the red carpet. The dragon, which traditionally symbolizes adaptability further evidences the qipao’s ability to adapt to modern times. The traditional looking embroidery and material to me showed that she respected the original look, yet still looked to update it to modern times. The background further evidences not only her importance, but the importance of the qipao in the global sphere as many western photographers are looking at the qipao, photographing and admiring the piece very graciously.

further address the idea of qipao tradition and modern celebrity through the lens of global photographers

let the connotation follows immediately the denotation, in so doing, the organization may be clearer.

Katy Perry and Modern Orientalism

The style of qipao began during the Manchu rule and was originally a Manchu style. All qipaos have high collars that are tight fitting, there are slits that go up the leg which make it more convenient for women to move easily, qipaos are typically made with silk and satin, and have knot buttons that are used as clasps. In the 1930’s qipao signified a modern woman, and since then there has been a global re-emergence of the qipao. Many fashion designers began using the qipao as inspiration. Before long the qipao style became a major trend, and celebrities like Nicole Kidman, Jennifer Lopez, and Katy Perry were seen in qipao style dresses. The image of Katy Perry in qipao is an example of modern Orientalism.

if this the thesis, then clarify the meaning of “modern orientalism”

katy-perry-122766413

“VMA 2011: Red Carpet Fashion.” Katy Perry Photographed on the Red Carpet at the 2011 MTV Video Music Awards in Los Angeles. Accessed February 28, 2016. http://www.mtv.com/photos/vma-2011-red-carpet-fashion/1668988/6501727/photo/.

At first glance Katy Perry is dressed in a bright outfit, she is wearing a tight dress with somewhat revealing cutouts, and an umbrella to match the dress. There is nothing subtle about her choices in style. The dress has some qipao like qualities with the high, tight fitting neck, and the fabric that the dress appears to be made from, however she has clearly strayed from what a traditional qipao looks like. Orientalism can be explained as how the west perceives the East, and as Katy Perry demonstrates, it is typically an exaggerated perception. The flowers in her hair have an oriental look to them that match some of the embroidery on her dress, and the color of her hair. Perry takes it one step further by adding the umbrella as an accessory. The fact that she uses the umbrella as her chosen “accessory” instead of a purse or handbag to pose with on the red carpet is a clear sign of exaggeration. Flowers are used frequently in oriental designs, and Katy Perry makes that aspect quite apparent by matching the color of her hair to the flowers that decorate it. Qipaos traditionally have slits along the side to maximize movement, but Perry exaggerates this quality with the cutouts on the front and sides of her dress.

Many American celebrities have been seen in qipao, but never as exaggerated as the look Katy Perry chose to wear. One stereotype of the West is that they view the East as exotic, and Katy Perry defends this stereotype with her chosen style of qipao. Katy Perry has Orientalized the entire look by exaggerating common oriental traits.

strengthen the connotation part with denotation as supporting materials, asking the question of how Katy and her qipao construct “modern orientalism?”

Footbinding: Perceptions of Femininity

Screen Shot 2016-02-12 at 3.24.39 PM Photo: From Peabody & Essex Museum in Salem, MA [from presentation]

Courtney Gallagher

ASNS 2076: Fashion and Gender in China

Prof Shu-chin Tsui

2/15/16

In this photograph, the photographer presents four young, ordinary women performing needle work, with bound feet visible beneath the work bench. During the Song Dynasty in China, women with bound feet were part of a socially and culturally defined gender norm. The bound foot was a sign of femininity, sexuality, attractiveness, civility, and higher social status. The women in this picture do not exhibit any of the socially and culturally defined gender norms, yet interestingly their feet are bound.

make an argument or raise a thesis seeking question immediately.

From a strictly visual point of view, the women shown in the photograph are clearly of the working, or lower, class. They have their hair pulled up, wearing clothes of basic material, without embellishment. These women are in a group, appearing in exactly the same attire, doing the exact same work, and apparently lack any type of individuality. Yet, despite this lower working class appearance, their feet are bound, which is emblematic of non-working, courtesan women. The typical courtesan would dress in the finest silk, wear embroidered attire, and have very small, beautiful shoes. Small, embroidered shoes and tiny feet created an aesthetic of subdued feminine elegance. The photographed women are not wearing any of the typical attire associated with the courtesan. Their shoes are plain and black, and their clothing is made of, what seems to be, a inexpensive material. Other than the bound feet, all other indications suggest strongly that these women are of the lower working class.

this paragraph could be taken away or incorporate with the first

It becomes clear that these women bound their feet because it has cultural significance; in particular, relating to defined a gender norm. Smaller feet meant that the women were more civil, more attractive, more delicate and fragile—which defined feminine beauty. This “ideal image” of beauty [the ideal size of the foot] was a direct sign of the “ideal status.” Smaller the feet also meant a woman was more likely to marry into a higher status. Thus, the women in this photograph show the ideal impulse of women to overcome their bodies in an attempt to overcome status. It is a mother’s hope, especially when their child is of a lower class, that their bound feet would help them marry someone of a higher class. Although footbinding was originally exclusive to the upper class, it trickled down to the lower classes because of its correlation with high social status. However, it was especially difficult for working women to endure footbinding because it made their jobs more difficult, as the foot restriction inhibited their ability to perform manual labor. The fact that lower-class Chinese women would bind their feet, despite the difficulty it might cause while doing manual labor, shows the amount of socio-cultural significance placed on having a bound foot.

Although this photograph, at first glance, speaks to these women’s ordinary, working class social status, they have bound feet because of its ability to shape how others saw them. The bound foot was a way to show a women’s femininity by a very obvious physical indicator. Dorothy Ko makes the claim in her article, “The Body as Attire,” that the bound foot was a “mark of womanhood . . . it was the most natural enactment of a woman’s gendered identity.”[1] Thus, this picture confirms Ko’s thesis that the perception of the body in China during this time was not seen as an isolated entity—it was seen as the “social body”—linking, cosmologically, “…human growth and development with creative processes…”[2] Viewing the physical body as the “social body,” especially the bodily appearance [clothing, shoes, foot size] was directly linked to society’s social, moral, and ethnic norms. This is why these lower-class women in the photograph are trying, through footbinding, to change others perception of them and comport themselves with the social, moral, and ethnic norms of the time.

paragraph organization with the structure of denotation-connotation?: ordinary women but bound feet; group photo and same dress ….

[1] Dorothy Ko. “The Body as Attire: the Shifting Meaning of Foot binding in Seventeenth-Century China,” Journal of Women’s History 8-4 (Winter 1997): 21.

[2] Ko 18.

Footbinding in China- Meg Fay

“Woman with bound feet reclining on chaise lounge, China”

Date: between 1890 and 1923

Medium: 1 photographic print.

Found in the Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

URL: http://www.loc.gov/pictures/item/2001705601/

Between the seventeenth and twentieth century, foot binding played a critical role in Chinese female fashion culture. In her article, “A Bondage in Time: Footbinding and Fashion Theory,” . Dorothy Ko states, “the meanings of footbinding are historical and multiple; they are always constructed, hence always entangled with the politics of seeing”(5). The opinions and meanings developed about footbinding over the past four centuries have relied on the viewer and his or her personal perception. In her other article, “The Body as Attire,” Ko explains that footbinding was seen as a sign of civility and orderliness, served male interests, and was a beautiful embellishment of the body that lied in concealment.

This text represents a few of the most pervasive motivations and ideas associated with footbinding in the nineteenth and twentieth century. It captures the essence of social structure in China at a time when male dominance and masculinity relied heavily on female footbinding. This photo symbolizes many valued aspects of footbound women at the time; concealment, mysteriousness, elegance, and luxury.

Upon seeing this text, the viewer may question why the woman is sitting in a chair. Her feet are not featured dominantly in this image, however, this lack of emphasis signifies a key component of Chinese culture in the late nineteenth and early twentieth century. The photographer chooses to display the woman’s bound feet in a discrete manner in this text and one can interpret this decision as a method to represent the mysteriousness of footbinding culture. The photographer uses darkness around the bound feet strategically to proclaim this mysteriousness. In addition, intricately embroidered shoes cover her feet allowing the woman to conceal them.

how bout focus on the idea of perception and conduct a semiotic analysis: how is viewer’s perception of the bondfeet through this photographic display: denotations of the found feet, the clothing, the chair and the black/white photo ….

Women in the twentieth century were forced to work physically demanding jobs with crippled feet and foot binding and fashion culture disabled many from certain laborious tasks completely. Perhaps the photographer chose to portray this woman sitting, rather than standing, to symbolize her weaker state and subservience to men. This female weakness and sense of helplessness gave males a chance to further assert their masculinity and power. In her article, “The Body as Attire,” Dorothy Ko states, “the perceptions of women’s bound feet were integral to articulations of manhood and nationhood in late imperial China”(12).

Women with bound feet were respected and their decision to participate in the fashion system displayed their civility and political obedience. Rather than placing her feet on the floor, the photographer chooses to keep them elevated to display their value and elegance. Finally, this woman dressed in silk, rests on a chaise, symbolizing luxury and high class.

The photographer’s decision to place the woman on a chaise with bound feet in a dark and mysterious lighting further iterate male superiority and the mysterious nature of footbinding. In addition, the chaise and her silk clothing symbolize luxury and the upper class. Finally, his/her choice to cover the feet with delicately embroidered shoes further emphasizes the beauty of footbinding as a concealed practice.

Meg (: