micro-hutong ~ standarachitecture
Steve Winwood - Valerie by SteveWinwoodVEVO
Painted Eyebrow Trends in Tang Dynasty
This is a chart showing different eyebrow trends in the Tang Dynasty. It’s based on a chart in Chinese Clothing by Hua Mei and Gao Chunming (2004), on pg 37. I wanted to create a chart that had the eyebrows on faces.
"Women of the Tang Dynasty paid particular attention to facial appearance, and the application of powder or even rouge was common practice. Some women’s foreheads were painted dark yellow and the dai (a kind of dark blue pigment) was used to paint their eyebrows into different shapes that were called dai mei(painted eyebrows) in general. There were literally a dozen ways to pait the eyebrows and between the brows there was a colourful decoration called hua dian, which was made of specks of gold, silver and emerald feather.” (5000 Years of Chinese Costume, 77)
"…during the years of Yuanho in the reign of Xuanzong the system of costumes changed, and women no longer applied red powder to their faces; instead, they used only black ointment for their lips and made their eyebrows like like the Chinese character ‘八’." (5000 Years of Chinese Costume, 77)
The black lipstick style “was called the ‘weeping makeup’ or ‘tears makeup’.” (Chinese Clothing by Hua Mei, 37)
The AIDS epidemic soured the memory of the sexual revolution and gay liberation of the 1970s, and prominent politicians, commentators, and academics instructed gay men to forget the sexual cultures of the 1970s in order to ensure a healthy future. But without memory there can be no future, argue Christopher Castiglia and Christopher Reed in this exploration of the struggle over gay memory that marked the decades following the onset of AIDS.
Challenging many of the assumptions behind first-wave queer theory, If Memory Serves offers a new perspective on the emergence of contemporary queer culture from the suppression and repression of gay memory. Drawing on a rich archive of videos, films, television shows, novels, monuments, paintings, and sculptures created in the wake of the epidemic, the authors reveal a resistance among critics to valuing—even recognizing—the inscription of gay memory in art, literature, popular culture, and the built environment. Castiglia and Reed explore such topics as the unacknowledged ways in which the popular sitcom Will and Grace circulated gay subcultural references to awaken a desire for belonging among young viewers; the post-traumatic (un)rememberings of queer theory; and the generation of “ideality politics” in the art of Félix González-Torres, the film Chuck & Buck, and the independent video Video Remains.
Inspired by Alasdair MacIntyre’s insight that “the possession of a historical identity and the possession of a social identity coincide,” Castiglia and Reed demonstrate that memory is crafted in response to inadequacies in the present—and therefore a constructive relation to the past is essential to the imagining of a new future.
“If Memory Serves is a carefully argued case for the deep, albeit repressed, kinship between the rise of queer theory and the horrors of AIDS. This is a book that boldly seeks to prod sleeping collective memories of old school faggotry—that pre-AIDS sensibility which harnessed promiscuous sex to an unabashed declaration of queer identity—toward a new historical narrative that refuses to enlist our past only to reinforce the claims of our present.” —Jonathan Katz
Sally Jesse Raphael Hot Drag Divas 2001.wmv Part 1 by Brad Fennel