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Image, Word, and Emotion: The Persistence of the Beautiful/Lovelorn Woman in the New-Style “Hundred Beauties” Albums (1900–1920s)

Image, Word, and Emotion: The Persistence of the Beautiful/Lovelorn Woman in the New-Style... The “hundred beauties” (baimei 百美) genre, begun in the late Ming and established during the Qing, conventionally depicted one hundred “beautiful women” (meiren 美人), selected from Chinese history through woodblock print portraits, biographies, and poems. During the transitional era from the late Qing to the early Republic, the genre saw dramatic transformation in both form and content as contemporary, emergent “fashionable ladies” (shizhuang shinü 時裝仕女) became subjects. This article focuses on how the traditional lovelorn woman derived from the “boudoir plaint” (guiyuan 閨怨) continues to dominate the new-style hundred beauties albums under fashionable appearances. The author aims to shed light not only on the technical construction, through words and images, of gendered emotions but also on the perspective and historical milieu of the creators. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Chinese Literature and Culture Duke University Press

Image, Word, and Emotion: The Persistence of the Beautiful/Lovelorn Woman in the New-Style “Hundred Beauties” Albums (1900–1920s)

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Copyright
Copyright © 2019 by Duke University Press
ISSN
2329-0048
eISSN
2329-0056
DOI
10.1215/23290048-7496872
Publisher site
See Article on Publisher Site

Abstract

The “hundred beauties” (baimei 百美) genre, begun in the late Ming and established during the Qing, conventionally depicted one hundred “beautiful women” (meiren 美人), selected from Chinese history through woodblock print portraits, biographies, and poems. During the transitional era from the late Qing to the early Republic, the genre saw dramatic transformation in both form and content as contemporary, emergent “fashionable ladies” (shizhuang shinü 時裝仕女) became subjects. This article focuses on how the traditional lovelorn woman derived from the “boudoir plaint” (guiyuan 閨怨) continues to dominate the new-style hundred beauties albums under fashionable appearances. The author aims to shed light not only on the technical construction, through words and images, of gendered emotions but also on the perspective and historical milieu of the creators.

Journal

Journal of Chinese Literature and Culture – Duke University Press

Published: Apr 1, 2019

References

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    Chen Dexin 陳德馨
  • Canon Formation and Linguistic Turn: Literary Debates in Republican China, 1919–1949
    Chen Jianhua 陳建華 Kai-wing Chow et al
  • Who Are the Most Beautiful Women of China? The ‘One Hundred Beauties’ Genre in the Qing and Early Republican Eras
    Li Xiaorong
  • “Baimeitu de chuantong yu xipu” 百美圖的傳統與系譜
    Liu Qiulan 劉秋蘭
  • “Qing mo min chu xinxing baimeitu yanjiu” 清末民初新興百美圖研究
    Liu Qiulan 劉秋蘭
  • “Zhizao shishang: Qing mo min chu xinxing baimeitu de liuxing” 製造時尚：清末民初新興百美圖的流行
    Liu Qiulan 劉秋蘭
  • Voicing the Feminine: Constructions of the Gendered Subject
    Robertson, Maureen
  • The Mandarin Duck and Butterfly School
    Xu Xueqing Kirck A. Denton Michael Hockx
  • “Minchu xinshi baimeitu de tuxiang fanshi yu guannian chongjian” 民初新式百美圖的圖像范式與觀念重建
    Zeng Yue 曾越
  • “Wei xin nüxing suzao yingzi: Shen Bochen Xinxin baimeigu yu Xinhai geming nüjie” 為「新女性」塑造英姿—沈泊塵《新新百美圖》與辛亥革命女傑
    Chen Dexin 陳德馨
  • Canon Formation and Linguistic Turn: Literary Debates in Republican China, 1919–1949
    Chen Jianhua 陳建華 Kai-wing Chow et al
  • Who Are the Most Beautiful Women of China? The ‘One Hundred Beauties’ Genre in the Qing and Early Republican Eras
    Li Xiaorong
  • “Baimeitu de chuantong yu xipu” 百美圖的傳統與系譜
    Liu Qiulan 劉秋蘭
  • “Qing mo min chu xinxing baimeitu yanjiu” 清末民初新興百美圖研究
    Liu Qiulan 劉秋蘭
  • “Zhizao shishang: Qing mo min chu xinxing baimeitu de liuxing” 製造時尚：清末民初新興百美圖的流行
    Liu Qiulan 劉秋蘭
  • Voicing the Feminine: Constructions of the Gendered Subject
    Robertson, Maureen
  • The Mandarin Duck and Butterfly School
    Xu Xueqing Kirck A. Denton Michael Hockx
  • “Minchu xinshi baimeitu de tuxiang fanshi yu guannian chongjian” 民初新式百美圖的圖像范式與觀念重建
    Zeng Yue 曾越