Source: Thomson, John: “Canton, Bride, and Bridegroom”, 1869

The photo I have selected, “Canton, Bride, and Bridegroom” illustrates the strong role concealment played in creating an allure for footbinding. In her piece “The Body as Attire: The Shifting Meanings of Footbinding in Seventeenth- Century China”, Dorothy Ko asserts the appeal and alluring nature of footbinding, stating “To be provocative, a pair of small feet had to be covered by binder, socks, and shoes dredged with perfume and fragrant powder, then hidden under leggings and skirts.” (Ko, P. 16)  Although Ko is assessing the portrayal and message of footbinding in the seventeenth century, after viewing Thomson’s work, it becomes clear that this notion of draping the body with skirts and embellishing it with ornaments has held strong for a very long time.  Featured are a bride and groom on their wedding night in late 19th century China. At first glance, the couple shown seems to be completely plain and emotionless in face, attesting to the idea that beauty in China is not at all dependent on facial appearance; however, beauty was more focused on the adornment and embellishment of body, specifically with emphasis on the bound feet.

The bride’s stature and dress, as well as her body positioning in relation to her husband serve as symbols to further evidence the idea that the beauty in footbinding lie in the adornment and covering up of the body. From head to toe, the bride is completely covered- her legs are draped over with a long skirt only faintly showing the tips of her slippers, making them seem even more mysterious and exotic in nature. Her long, plain vest furthers this concealment, robbing her body of any shape or femininity, bringing more attention to the delicate nature of her feet. Her expressionless face is covered in jewelry, not only serving the purpose of taking attention away from her face, but also serving as an indicator of higher class in Chinese society. Then, we can observe the positioning of her husband in relation to her body. The first obvious comparison to make is his large feet in relation to her delicate bound feet, perhaps done on purpose to create a greater allure for the bride. Then, we can observe the distance between them: although they have just married, they stand as though they are strangers, adding an air of mystery to the photo, a quality very commonly associated with footbinding. All of the components of Thomson’s photo come together to communicate a portrayal of footbinding that finds its power and intrigue in the art of concealment.

Yes, the art of concealment and explain connotation of “the concealment.”

-Allie Williams

The practice of binding feet dates back to 960, it was a form of fashion and beauty that women from every economic standing practiced. The elegance emerged from the covered, unknown delicacy that bound feet encompassed. Today a Western view of foot binding can be seen as a brutal, forceful way to confine women. There are many different ideas that surround the practice, even within China; foot binding was a marker of ethnic boundaries. Among other connotations, foot binding embodies the female image and symbolizes men’s view on woman.

Foot binding is an old practice and expression of Chinese wen civility. Today around the world there is a charge to recognize women’s equality within society, which is another reason people looking back at the process see it as a sign of inequality. Today’s view on foot binding and the view hundreds of years ago remains the same in some aspects; the binding of feet is a way to label women as a delicate object that belongs to men.

shall we take this as thesis claim and the writing can start from here? Chinese men during the era of foot binding saw the tiny, covered feet as a form of sexual pleasure, a way to establish a difference between the women and the ‘barbarians’. Some women appreciated the practice of foot binding because it raised their social status, and enhanced their beauty and femininity.

When analyzing this image the viewer initially sees the woman in the background with bound feet, an ornate headdress, and the man in the foreground dressed in traditional Chinese apparel examining her feet. The woman’s face is shielded so it is difficult to understand her facial expression, but the man looks very inquisitive. Connotatively, one might assume only the woman’s face is covered because women were seen as more submissive than men, and during this time covering everything was the norm for women. The man seems to not only be looking at her feet, but also judging them and seems appealed that this woman went through the foot binding process. Her face is less important than the fact that her feet are bound and that she is properly expressing the female image. stay with the statement of “the boundfeet as man’s sexual desiring object.”

no need of working on another image but stay with the one you have worked on and examine in depth. 

On the surface this is an image of a Chinese family posing for a family portrait. The men are sitting one side and the women are on the other. They are all dressed in robes and the woman and girl have bound feet. With a deeper understanding of this image one can reason that the women in this photo symbolize the female image of Chinese culture. The men are looking at the camera, they appear more relaxed while the women’s feet are bound, and they are sitting very submissively making a conscious effort to not look towards the camera.

Although only two images were analyzed where the practice of foot binding is evident, there are many more accounts of women who lived a submissive life beginning at a very young age when their feet were broken and bound.  This process enabled them to become a part of the female image of elegance and delicacy. Foot binding is a symbol of gender norms in China, and added an element to the female image that became so prevalent in China and around the world.

Source: Thomson, John: “Women with Bound Feet,” 4,700 × 3,492 pixels (unable to find year).

The image I chose, titled, “Women with Bound Feet,” depicts a woman exposing her bound feet. The photographer, John Thomson, famous for photographing everyday life, compares the feet with a regular unbound foot. The woman pictured is surrounded by nothing. She is wearing simple clothes, little jewelry, and exhibits an expressionless face in this photograph. She seems ordinary which leads me to believe she was a prostitute who was paid by Thomson to pose and expose her destroyed feet to the world. This image is unveiling the horrible act of foot binding and showing the world that it may not be something that should be desired by all.

What is photographer’s purpose of taking this photo and make an argument about that

The image above seems bland. It is simple, and through its simplicity uncovers many pieces behind this particular photo. At first glance, the bound feet are not the first thing that catches an observers attention. The expression on the woman’s face is the first thing that would catch someones eye.The woman in the picture seems unamused. Her expression makes me feel as though she has seen hard times. She does not seem regal or confident but shows an expression of defeat. The cloth she is wrapping around herself is a glimpse into the idea that she could be a poor woman. Dorothy Ko, mentioned that Thomson would pay lower class women to expose their bound feet for a few cents (purpose of doing so?). To have a natural foot displayed next to the bound one dramatically shows the difference. It shows what this woman’s foot could have been. It is important to note, that the natural foot is standing alone. There is no face attached to it. This choice, by Thomson, helps focus all attention on the unveiled feet. Dorothy Ko explains that many saw the uncovering as laughable in her essay, “A Bondage in Time.” This claim is proven in the photo which lacks the beauty and mystery that foot binding once had. Once uncovered, the practice is seen as grotesque and undesired. The secrecy once associated with foot binding is lost and its once unveiled slowly loses its popularity.

– Maggie Small

Source: Artstor, Erotica: “The ‘Golden Lotus’ held in the Palm of the Hand” 1736-96 (Ch’ien-lung Period),Painting–China: Qing–1644-1912 A.D, University of California, San Diego

The above image, titled “The Golden Lotus’ held in the Palm of the Hand” from the Ch’ien-lung Period depicts a man and women in period dress in a traditional Chinese garden. The man, down on one knee,  gently holds one of the women’s bound feet, which emerges only slightly from beneath her skirt,  in the palm of his hand. Her bound foot is at the center of the painting and the two are making eye contact. Their exchange of pleasant knowing looks are illustrated in their facial expressions.

make an argument right after description

This painting relates many of  the meanings and traditional reasons behind footbinding as described by Dorothy Ko in her article “The Body as Attire: The shifting Meanings of Footbinding in Seventeenth-Century China.” Bound feet was an expression of wen civility and were critical in the search for a suitor. The bound foot was erotic for men and, as Ko mentions, suitors desired a small bound foot over a pretty face. In the painting, the traditional garden background emphasis the element of civility in the bound foot. The man holds the much desired “golden lotus” and their facial expressions seem to indicate its eroticism. It’s placement at the center of the painting emphasizes its importance. The fact that the small bound foot protrudes only slightly from beneath the women’s skirt signifies the appeal found in its concealment rather than exposure.

analysis could be in more detail and deapth

– Marysol Newton

Bowdoin Class 2017

Source: Artstor, Title: “Erotica: Lover Delights in the sight of her Tiny Feet
Chun gong hua: hu xiang ai fu”, 19th Century.

In this picture we see into the private life of a woman and man presumably husband and wife. The man is leisurely laid back resting on a bed while he admires and holds the small bound feet of this woman. At the time, bound feet were a sign of femininity and thought to have put women in a more domestic position by essentially crippling them and limiting their mobility to ensure dependence on men. In this picture, we are exposed to this misogynistic dynamic as it is the female on display and the male enjoying as the viewer. Ultimately, I think the body language depicted in this picture speaks to the symbolism of footbinding as beautiful, an embellishment of the female body and as a sexual object.

The man is in a relaxed posture enjoying while the woman displays her foot allowing him to fondle it. Both of their facial expressions would suggest pleasure and content with the beauty of the bound feet. The placement of the picture, a bedroom, reveals a very concealed part of a couple’s private life and implies sexual undertones to the man and woman’s interaction. On another note, based off of the decoration of the bed sheets, nice clothing the pair wears and the fashionable style of the woman’s hair I would deduce this is a higher class couple. It speaks more to the elegance and status of the woman’s bound feet because she is wealthy enough to be able to bind her feet because it is not necessary for her to work. I find that the color blue is very dominant in this picture as both the woman and man are wearing it as well as the bed sheets. Blue can be perceived as a very elegant color as it is often used in traditional Chinese porcelain and fine china.

In conclusion, this image offers a lot of little signs to overall depict the dynamic between men and women with their feet bound. It also allow us to see what went on behind closed doors in the private life of Chinese women and men. One aspect of bound feet was its connection to sexual fantasy and fetish. It was a symbol of a women’s sexuality, beauty and high class.

make a central thesis statement first, then support it via the explanation of how the visual denotations connotate social-cultural meanings