Recently, Chen Duling specially shot a set of costumes in the style of 1980s ancient - costume dramas, which left netizens hardly recognizing her. Some even wonder: Is there really such a significant aesthetic difference between classical makeup and modern makeup? Let's start with the conclusion. The biggest difference between them lies in the 'charm'.
Most of the so - called classical makeup adheres to the traditional aesthetic standards for eyebrow and lip shapes, presenting a classical charm. In contrast, modern makeup is mostly the result of integration under the influence of various trends, like the once - popular Korean and European - American styles, with a style leaning towards modern simplicity and fashion. This charm, though abstract, can be expressed in forms. For example, the makeup and styling of the 1987 version of A Dream of Red Mansions are often regarded as a classic because its style shows a harmonious beauty. Here, harmony means that the proportion of a person's eyebrows and eyes complements the makeup, without being obtrusive, and the colors are warm - toned. So, the reason why classical makeup is enduringly attractive is the grasp of this sense of harmony.
The most challenging part of classical makeup is adapting traditional elements to a face so that they complement each other, which requires a certain amount of experience and effort. Eyebrows, lips, and blush on the cheeks are perhaps the most important makeup on the whole face. When applying classical makeup, there is no obvious eyebrow peak, and the whole line of the eyebrow shape is very soft and long, with layers of smudging and different shades. When applying lipstick, the lips are rarely fully covered. The beauty of small lips from the Han Dynasty still runs through the aesthetic concepts of most periods in China, only with different lip - shape changes. The blush seems to be in patches. Except for some characters in some periods of the Tang Dynasty who would have very red blush, generally speaking, the blush in classical makeup is like the blooming peach blossoms in April, blending harmoniously with the skin tone. It acts like a light - and - shade adjustment in a flat painting, having an auxiliary contouring effect.
In modern makeup, people's eyebrows and eyes are emphasized and enlarged. Various elements such as卧蚕 (undereye shadow), eyeshadow, and high - light are used to highlight the effects of big eyes, small faces, narrow noses, and fair skin. A person's face becomes very three - dimensional, and each part seems to be quantifiable like in a photo - editing app. This makes it easy for us to comment on the features of someone's facial features, but we lose the ability to appreciate the overall beauty.
Although these are all details, the expression of charm is just like this. Although classical aesthetics may not be as three - dimensional and amazing as Western makeup and styling, it is definitely comfortable and enduringly attractive. In this set of Tang - style costumes, Chen Duling wears a tang - collar half - sleeve, has a silk scarf around her hands, and a high - coiled hair bun on her head. Generally, the color combination is warm - toned, and from the makeup to the body - line, it is extremely graceful, thus forming an overall charm. We often say that the women in ancient paintings have round faces, round shoulders, and arc - shaped postures, which is the manifestation of this grace. This makes me think of the state of 'water'. Women are like water, and this is probably the feeling.
Now, more and more people are getting to know classical aesthetics. They realize that classical aesthetics is not eye - catching at first sight, nor does it need the confidence to be extremely trendy. It is an understanding and expression of oneself, a kind of beauty that blends harmoniously with oneself, and also the confidence of our cultural self - confidence. Only when more of us understand it can it truly become a popular beauty trend in the world.
