แต่จุดผลิกผันของความงามในรูปแบบนี้ต้องมาสะดุดลงเมื่อปลายสมัยราชวงศ์ชิงเป็นช่วงเวลาที่จีนบอบช้ำจากความพ่ายแพ้ในสงครามจีน-ญี่ปุ่นครั้งที่ 1 (The First Sino-Japanese War) นอกจากความสิ้นหวังแล้ว สิ่งที่พ่วงมาด้วยกลับเป็นความรู้สึกอับอายและถูกหยามเกียรติจากฝั่งศัตรูและอำนาจตะวันตกที่เข้ามา โดยเหตุผลที่จักรวรรดิต่างชาติมองว่าจีนล้าหลังไม่ใช่เพียงเพราะเทคโนโลยีห่างชั้นกันเท่านั้น แต่ยังมีเรื่องของวัฒนธรรมกดขี่ผู้หญิงหลายอย่างและการที่ผู้ชายมีร่างกายผอมเพรียวแบบเหวิน ทั้งหมดนี้ทำให้จีนถึงกับได้ฉายาว่า ‘ชายป่วยแห่งเอเชีย’ (Sick Man of Asia) เลยทีเดียว
When talking about media from China these days, one can’t help but notice a recurring image – that of slim, sweet-faced young men like Wang Yibo or Xiao Zhan. This trend even extends to platforms like TikTok, where we see a similar style among young men. These trends are essentially reviving past beauty ideals and making a comeback in society. Despite their popularity and substantial influence on Chinese culture, they’re being tightly regulated by the government. This makes us wonder, why is China so deeply invested in this particular phenomenon?
Before China entered the imperial era, the definition of masculinity in China was divided into two types: Wen (文), embodying the elegance of scholars and aristocrats, and Wu (武), representing the strength of warriors and soldiers. In the past, the trend of men appearing delicate and possessing feminine features gained more popularity among women. During the late dynastic periods, men, regardless of their position, could openly express same-sex affections, whether they were emperors or commoners. Typically, those who were younger and of lower social status often preserved the beauty ideals associated with ‘Wen.’
However, the turning point of this beauty ideal took a stumbling turn during the late Qing Dynasty, a period when China suffered the defeat in the First Sino-Japanese War. Besides the sense of disappointment, what followed was a feeling of embarrassment and scorn from both the enemy and Western powers that had entered. The reason for the perception of China’s decline by foreign dynasties was not solely due to technological disparities; it was also related to cultural restraints on women and the image of slim, delicate male bodies resembling the “Wen” type. All of these factors led China to be derogatorily labeled as the “Sick Man of Asia.”
In such circumstances, the royal bloodlines and nobility sought a way to reclaim national glory, and their answer was to reestablish the significance of military prowess and masculinity intertwined. The archetype of “Wu” resurfaced as the dominant trend and became the type of man the state endorsed. This decision was influenced by the societal perspective of Social Darwinism from the Western Europe, which reinforced the belief that a nation’s survival depended on masculinity. This concept emphasized physical strength, societal positioning, and being the backbone of Chinese men.
Cultural Revolution & Revolution of LGBTQ+ Identity
After the end of the Qing Dynasty, China entered a new era with a new form of governance. The power shifted hands for over 30 years, under the rule of Mao Zedong. In 1949, the country embraced communism. During this time, men were often portrayed as laborers or strong soldiers (reflecting the “Wang” image), sacrificing personal success for the greater good of the country. There was an emphasis on loyalty to the leadership and adherence to the Communist ideology. The traditional Confucian saying, “A man should be a good husband to his wife, a good father to his children, and a good son to his parents," still lingers and holds weight, shaping the beliefs of the Chinese people even to this day.
However, after the policy of the Great Leap Forward ended in failure, Mao turned to the Cultural Revolution (1966-1979) to eradicate what he believed hindered China’s true equality. Utilizing students as instruments, he launched attacks and executions against those who held differing views or contradicted Communist ideology. Once these students had served their purpose, Mao concluded the movement with purges and the suppression of those involved, sending them for “reeducation” through forced labor. In this turbulent period, he even covertly targeted same-sex relationships that deviated from the Communist norm of masculinity. This upheaval disrupted the peace of communities and essentially erased everything that wasn’t in line with Mao’s vision of Chinese identity, all in one swift move.
The Chinese entertainment industry enters the global market
As we enter the 21st century, the definition of male beauty seems to be revisiting the aesthetics of the late Qing Dynasty. The K-pop industry in Korea, which has spread worldwide, has popularized the term “flower boys” (꽃미남) to describe delicate and effeminate young men who appear somewhat feminine. As fan clubs of K-pop idols expand into China, Chinese society has also adopted the term “xiao xian rou” (小鲜肉) to refer to various celebrities, whether they are singers, actors, or youthful models, who possess youthful and attractive features. This term roughly translates to “fresh meat” and serves as a metaphor suggesting that these individuals are young and enticing, suitable for one’s personal enjoyment.
However, allowing investments in creating male celebrities in the aforementioned style does not necessarily imply that same-sex relationships are accepted within the framework of the Chinese government. While the “effeminate” form of male beauty, different from the “macho” appearance, can be highlighted in mainstream media, TV series and films that present content about same-sex relationships (both male-male and female-female) are still heavily censored. This has led many producers to alter their scripts to fit within the boundaries of “bromance” instead.
In late last year, the Chinese government announced a continuous policy of controlling the economy and society, prompting several news outlets to note that this could be the second cultural revolution. One of the measures for control includes banning all forms of television that feature effeminate men or individuals who dress or behave in ways that do not conform to traditional gender roles.
The enforcement of such regulations reflects that Xi Dada, the current leader of China, aims to follow in the footsteps of Mao Zedong by erasing beauty standards influenced by K-pop and J-pop from the minds of Chinese youth, making them less inclined to embrace a non-conforming masculine identity as desired by the Communist Party. This also leads to a decline in moral values, underscoring the truth that conservative factions view inclusive concepts such as same-sex relationships and LGBTQ+ identities as foreign cultures that must be eradicated.
No matter how much time passes, if we observe closely, the concept of beauty influenced by “Wen” still finds its way into contemporary society. Whether it’s the younger generation or those who feel like masters, considering themselves as treasures of the fortunate, this mindset persists. However, it has shifted from a form of governance to an economic power. The ongoing question is how China will manage and shape these cultural aspects in the future.
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