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A
thousand years ago in China, the curious custom of breaking
and binding the feet into the shape of a pointed lotus bud
began. Since then, generations of women and girls have tottered
through life on three- to four-inch "lotus" feet encased
in exquisitely embroidered, excruciatingly tiny "lotus"
shoes.
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It
is believed that the origin of the term "golden lotus" emerged
in the Southern Tang dynasty around 920 AD, where the emperor
Li Yu ordered his favorite concubine, Fragrant Girl, to bind her
feet with silk bands and dance on a golden lotus platform encrusted
with pearls and gems. Thereafter, women inside and outside the
court began taking up strips of cloth and binding their feet,
thinking them beautiful and distinguished, dainty and elegant.
It gradually became the prevailing style and "golden lotus" became
a synonym for bound feet.
Chinese
shoemakers crafted the soles and basic forms of boots made for
bound feet, but the beautiful embroidery was done by the women
themselves.
For
well over a thousand years, Chinese men and women pursued the
ideal known as san zun jin lian ,the three-inch golden lily, or
golden lotus, as it is also called. The driving force behind this
desire was complex: it had to do with marriage; it had to do with
sex; it had to do with status; it had to do with beauty; it had
to do with duty. Whatever the rationale, the fact is that by the
time the practice was abandoned, millions of Chinese women had
endured the unimaginable pain of the footbinding process, and
in doing so, had sacrificed their ability to move about freely
and normally
forever...
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Contrary
to popular belief, footbinding did not commence in infancy.
A girl's foot had to be quite well developed before it
could be worked with properly to achieve the desired shape
and size. The more fully developed the arch of the foot
was, the better it could be broken to achieve the desired
cleft in the foot between the front part of the foot and
the heel. This cleft was the third requirement for a perfectly
bound foot. At the age of 3 to 8 years, after a pedicure,
the toes would be bent back over the arch and a bandage
would be bound around the foot to keep the shape in place.
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A platform wedge, unusual on a Lotus shoe,
made walking even more of an ordeal for women with bound feet.
As
time went on the foot became so compressed that women usually
hobbled about with difficulty, or had to lean on a wall or another
person for support. This became especially severe among upper-class
women, who became more or less confined to their boudoirs. They
were physically prevented from moving about freely and unchaperoned,
and were thus rendered incapable from succumbing to infidelity.
A young girl from a wealthy family would often receive a body
servant at the time of her initial binding, to look after her
personal needs during wakeful nights of pain and carry her into
the garden when her feet were too painful to walk on.
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Within
the areas and classes in which footbinding was widely accepted,
a girl of marriageable age with natural feet had only limited
prospects for making a "good" marriage. Women with unbound
feet wore shoes on pedestals to imitate the mincing Lotus
foot step admired by Chinese men. Stilt-like bases were
made from sewn layers of starched cotton.
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One
of the primary allures of footbinding lay in its concealment.
To be acceptable a pair of small feet had to be covered
by binder, socks and shoes, doused in perfurne and scented
powder, and then hidden under layers of leggings and skirts.
Women also attended to their feet in the strictest privacy,
often washing their feet separately from the rest of their
body to shield themselves and others from contamination.
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Only those privileged to the utmost intimacy were allowed to view
the processes of cleansing and care, and women wore special bed
slippers even if otherwise nude.Very rarely would a Chinese man
ever see a bound foot without the white bandages covering it. He
might know what every other part of the woman's body looked like,
including the genitals: her body was very real to him, but the feet
were literally shrouded in mystery.
For Chinese men, bound feet were associated with higher-status love
and sex, carrying strong connotations of both modesty and lasciviousness.
Bound feet became a sexual fetish: according to Chinese connoisseurs
of the golden lotus, the mincing walk necessitated by the bound
foot contributed to creating a more voluptuous and sensitive sexual
anatomy, and tiny feet were celebrated in poetry and song.
The
more ornate and skillfully sewn the boot, the more highly regarded
the wearer. Rose motifs symbolised longevity; bamboo good luck and
narcissus renewal.
However
at the beginning of the 20th century due to increasing pressure
from the anti-footbinding reformers, foot binding was formally
outlawed in 1911. Educated Chinese people realised that it made
them appear barbaric to foreigners and social Darwinists argued
that it weakened the nation (for enfeebled women inevitably produced
weak sons), and feminists attacked it because it caused women
to suffer.
The
three steps of the campaign primarily involved modern education,
which explained that the rest of the world did not bind women's
feet and that China was losing face in the world, making it subject
to international ridicule. Secondly, they explained the advantages
of natural feet and the disadvantages of bound feet. Thirdly,
they formed natural-foot societies, whose members pledged not
to bind their daughter's feet nor to allow their sons to marry
women with bound feet. These three tactics effectively succeeded
in bringing footbinding to a quick end, eradicating in a single
generation a practice which had survived for a thousand years.
Young girls were thereafter spared the tortures of footbinding,
although older women with bound feet may still be seen in China
and Taiwan.
Extracts
taken from:
Marie Vento: One
Thousand Years of Chinese Footbinding: Its Origins, Popularity
and Demise
Splendid Slippers by Beverley Jackson : A
Thousand Years of an Erotic Tradition
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