It seems that you can tell their expressions and thoughts from your eyes. Just looking at the pictures can make you feel that you can match the fresh and refined feeling brought by the whole undeveloped scenic spot at a glance. But to put it down, the eyes are beautiful, there is no unified standard, and it is impossible to be completely rigid and digital. Nowadays, for plastic surgeons, all the above are unrealistic fantasies-it is possible that one day, under the condition of complications that operators, patients and third parties can bear, the above technical standards of eye beauty can be achieved. Although there are related reports, there are many complications. So my point of view is: firstly, it conforms to the aesthetic harmony and unity of the five senses; Secondly, it should meet half of the aesthetic standards recognized by the public; Finally, satisfying personalized aesthetic taste and respecting subjective differences are the beautiful eyes. Beautiful eyes belong to aesthetics. With the change of the times, the world's aesthetic needs will often change. For example, as we all know, the Tang Dynasty was rich, and the Ming and Qing Dynasties advocated delicacy and gentleness. The only constant thing is the preference for slender process and single eyelid.

People's preference for single eyelid and metamorphosis: From the figure painting "The True Picture of a Woman" by Terry in Qin Dynasty and Gu Kaizhi in Eastern Jin Dynasty to the late Qing Dynasty and the early Republic of China, even before the Anti-Japanese War, people's preference for single eyelid and metamorphosis has never changed. The monotony of the single eyelid in the picture of a lady may be based on the realism in the Jin and Tang Dynasties. Looking up, you can see that both men and women have single eyelids. Naturally, it is impossible for all painters to have double eyelids, just as western painters do not paint westerners with single eyelids. But after the Song Dynasty, painting a beauty as a single eyelid became a procedure. The formation of the program is either due to Chen and Sean, or due to the long-term aesthetic restriction with the north as the cultural center.

In a word, before China people's aesthetics were surpassed by western aesthetics, China people had their own standards for the identification of beauty. This standard of China people was completely destroyed before and after the Anti-Japanese War. In the "Moon Card Painting" exhibited in the "Centennial Print Poster Exhibition", we can roughly see the process of the contrast and change between Chinese and Western forces.