Cheongsam: The Costumes Myth Of Oriental Women In Colonial Era

Cheongsam is the myth of the East.

Cheongsam is a myth of the age of colonization, the Orient, the feminine, the modern and the sexy costumes.

Cheongsam combines Oriental tradition with modern style. Its specious cultural semantics represents the ambiguous nature of Chinese culture in the twentieth Century.

Only when the cheongsam is placed in the special context of colonial culture can we really understand the unique cultural meaning of cheongsam.

If there is no Western female dress system as a frame of reference, the semantics of cheongsam will become blurred, and even lead to serious misreading.

Western women's long skirts strengthen the sexy parts by highlighting the contrast between different parts of the body. Their grammar is declarative and has obvious romanticism.

Western women

Cheongsam is not the case.

Cheongsam's grammar is imaginative, with oriental style of symbolic style.

It silently clings to the surface of the body without any publicity, like the gentle and gentle quality of the eastern woman.

The silk texture of cheongsam suggests that the skin of the eastern woman is smooth and delicate, and even it seems to have body temperature.

Cheongsam's narration is gentle and compact. It seems to be simple and concise.

Tight cutting will highlight the body lines of Eastern women.

The exaggerated figure of Western women is not suitable for wearing cheongsam. Their undulating lines make the cheongsam rugged and rough, so it is rather funny.

However, this appearance difference is the real source of the so-called "Oriental sentiment" in the colonial context.

Cheongsam is Oriental, and Qipao women are also Oriental. But the cheongsam myth is built in the Western perspective of the sexy East, is the colonization of the semi colonial East sexy props.

Cheongsam, on the other hand, is a self contradictory garment.

If the complex clothing must be pornographic when it is "off", then the cheongsam leaves a narrow gap on the silk fabric, which omits the "off" aggressive behavior.

This makes the cheongsam first the object of "see", but it is not too direct naked, but there is no "leak" at first.

It does not need to be "off" to satisfy the desire of the subject.

Through a gap, the gap seems so natural that it seems to be formed by the rupture of inadvertent fabrics - "leaking" under the package is hidden and wants to say the rest of the body news.

The extreme high slit is a clear meaning prompt, which provides an imaginative hint for the body part to be seen.

There is no doubt that the revolutionary significance of cheongsam lies in its call for body liberation to Oriental women.

Through a gleaming gap, the feminine body is ready to come out, which suddenly sparkles with the dazzling light of white gold and illuminates the long night of the eastern female body space.

The encounter of Wu Lao Tai in the novel midnight reveals the serious consequences of this incident.

When the old winter saw the cheongsam for the first time, it brought him a shocking visual attack.

The light of the woman's body not only burned the eyes of Uncle Wu, but also burned his ancient heart and made a fatal blow to his fragile old body.

In view of the pornographic semantic features of cheongsam, its destructive fate in a sacred revolution is inevitable.

By the middle of the twentieth Century, a peasant centered revolution was mercilessly sweeping up this erotic temptation.

Over the next few decades, women's bodies were reclaimed in their hard, dull clothes, and were even returned to fully masculine uniforms.

Until 2000, after Maggie Cheung's emotional interpretation in the movie "the mood for love", people once again felt the charm of the cheongsam myth.