Creating Double Eyelids in the Japanese Colonial Era of Korea (1910-1945).

The aim of this study was to analyze the origins of the double-eyelid procedure in Korea during the Japanese colonial era. Through Google (www.google.com) and Naver (www.naver.com), the archives of newspapers and magazines were searched. The following topics were identified: ideal eyes in the Japanese colonial era, creating double eyelids using a non-surgical method, the first case of a double-eyelid operation in a Korean woman, and the presumed first case of a double-eyelid operation in Korea. By 1935, possessing double eyelids had come to be recognized as a symbol of modern beauty. An article suggested that women with small eyes consider surgery to transform their "single eyelid" into a "double-eyelid." It endorsed plastic surgery as a marker of "worldly progress." In 1939, a magazine featured an advertisement for Aihon tape, which was promoted to create "double eyelids." Oh Yeop-ju, the first Korean hairdresser, underwent double-eyelid surgery at an Ophthalmology Clinic in Japan, sometime between 1927 and 1932. She is celebrated as a beauty icon who broadened the beauty horizons of Korean women. After returning in 1933 with a "very beautiful" appearance resulting from successful double-eyelid surgery, she received a special invitation to the Kong Eye Center in Seoul, which opened in 1937. Upon hearing her detailed account and examining her eyelids, the clinic began offering double-eyelid surgery. The technique for double-eyelid surgery was introduced from Japan and disseminated through a medical journal and to patients who had undergone the procedure in Japan.

Features of Ugly but Capable Women of Ancient China.

The aim of this study was to analyze the appearance of women viewed as "ugly but capable" in ancient China. A Google search was conducted for the "Four Great Ugly Women." Information on 3 women was collected from Lienüzhuana, a collection of biographies of eminent women compiled by the Former Han period. With the addition of 1 (Huang Yueying), 7 "ugly but capable" women were analyzed. The manifestations of their ugliness in the texts were recorded. Among the 7 women, 5 exhibited physical manifestations, whereas the remaining 2 were simply described as "ugly" without specific characteristics. Among the discernible body characteristics of the 5 women deemed unattractive, the most common feature was dark skin (80%), followed by body shape (60%). Other frequently observed traits included sparse or yellow hair, an upturned or overly large nose, a convex forehead, and an unattractive neck (each at 40%), with the latter potentially exhibiting a protruding Adam's apple, a thick neck, or a neck mass. Less common features were sunken eyes, a large head, and a masculine skeleton, each occurring in 20% of cases. Based on the depiction of women considered unattractive, the authors can infer that dark skin, a fat body, a large or upturned nose, sparse hair, a protruding forehead, a thick neck, deep-set eyes, and a large head were elements associated with ugliness. Through the description of the ugly woman, authors can infer the standards of ugliness in ancient China.

The Psychology of Patients With Oral-Facial Clefts: A Review of Victor Hugo's The Man Who Laughs (L'homme qui rit).

In Victor Hugo's The Man Who Laughs, the protagonist has a facial cleft. The authors aimed to comprehend the psychological experience of a patient with a facial cleft by analyzing this novel. The novel concerns the life of a young nobleman, Gwynplaine, disfigured as a child, who travels with his protector and companion, the vagabond philosopher Ursus, and Dea, a baby girl he rescued. During the oppressive rule of the king, one of his adversaries was Lord Linnaeus Clancharlie, who had taken refuge in Switzerland. The tyrannical monarch ordered the execution of Gwynplaine's father and commissioned a surgeon, Dr Hardquannone, to carve the boy's face into a perpetual grin. The king declared that he should "laugh forever at his fool of a father." Subsequently, the king sold the boy to a group who specialized in the mutilation and disfigurement of children. On the psychology of a boy with an appearance giving the impression of laughing, Hugo wrote: "By laughing Gwynplaine made people laugh. However, he wasn't laughing. His face laughed, his thoughts did not." When Ursus met Gwynplaine, Ursus asked the boy: "What are you laughing at?" The boy replied: I'm not laughing. Ursus: Then you are terrible. Gwynplaine's unnatural laughter, which stems from an artificial deformation of the muscles, is a silent form of laughter. It represents the eternal laughter of those who do not truly laugh, signifying emotional emptiness and an accompanying sense of indifference. Plastic surgeons can restore an "unnatural laughing face" to a "natural smiling face."

Perceptions of Nasal Profile and Augmentation Rhinoplasty in the Japanese Colonial Era of Korea (1910-1945).

The aim of this study was to analyze perceptions of nasal profiles and the origins of augmentation rhinoplasty in Korea during the Japanese colonial era. Through (www.google.com) and (www.naver.com), the archives of newspapers and magazines were searched for references to "nasal augmentation." The following topics were identified: the ideal nasal profile in the corresponding era, nasal augmentation by nonsurgical methods, camouflage makeup for noses with a low profile, the earliest literature on augmentation rhinoplasty in Japan, a case of augmentation rhinoplasty in a Korean woman, an estimate of the year when augmentation rhinoplasty was first performed in Korea, and augmentation rhinoplasty by injection. In 1922, the Nose Lifter (nose uplifting clip) was already commercially available to Korean women. The following year, in 1923, Nishihata and Yoshida published their work on augmentation rhinoplasty using ivory in Japan. By 1925, some hospitals had performed augmentation rhinoplasty, but the procedure had not yet gained popularity among Koreans. In 1927, a Japanese author emphasized the importance of an ideal nasal profile harmonizing with the lips, chin, and neck. Also, in 1927, rhinoplasty gained popularity and was performed at various ENT clinics throughout Korea using various methods. In 1929, a 3-dimensional makeup method was introduced to camouflage a low-profile nose. By 1935, there was a belief that augmentation by injection was not harmful. The authors believe that augmentation rhinoplasty began in 1925 and gained popularity among Koreans by 1927. It was not until 1935 that the complications associated with injectable augmentation were recognized.

Lifestyle of Cleft Lip/Palate Patients in Korea Before the Introduction of the Millard Technique.

The authors introduce a short story about the lifestyle of a cleft lip woman in Korea, published in 1936, about 2 decades before Dr Millard operated on his first patient in Korea. A short story entitled "Ugly Thing," written by Yao-hsieh Chu, analyzed by Eonnyeon, a girl born in a rural area with a cleft lip and palate who excelled at household tasks such as sewing. Her forehead was bulging, and her eyes were protruding. She had a low-profile nose with wide nostrils. She had a left unilateral complete primary cleft, including an alveolar cleft. There was midface retraction, accompanied by a relatively prominent chin. Her voice exhibited hypernasality. People often laugh when they see Eonnyeon eating her food, exclaiming, "She's eating like a rabbit!" However, she married a young man who deserted her on their wedding night because of her appearance. Subsequently, she moved to an urban area and found work as a housemaid. One day, she was raped by a middle-aged water delivery man, who then fled. Ten months later, she gave birth to a girl who also had a cleft lip. In a moment of despair, Eonnyeon attempted to smother her baby with a pillow but stopped herself. She resolved to raise her daughter despite the challenges ahead. The mockery directed at her could be viewed as an expression of the latent sadism inherent in human nature. It is remarkable to consider the progress made since Millard performed his first cleft lip surgery in Korea in 1954.

Beauty Pageants in the Japanese Colonial Era of Korea (1931 and 1940).

The aim of this study was to analyze the beauty pageants that were held in Korea during the Japanese colonial era (1931, 1940). Through searches of www.google.com and www.naver.com, 3 pageants were found: (1) 1931, Miss Korea, organized by Samchunli (a magazine): Any Korean woman, with the exception of Korean geishas, could apply by submitting her photographs. The number of candidates was 326. Nine Korean judges evaluated the photos of the candidates. Among them, the victor was an 18-year-old Korean woman. (2) 1931 (Oct), Miss Joseon, organized by Osaka Mainichi Shimbun: The candidates were categorized into 2 groups: 10 "internals" (Japanese) and 10 Koreans. Their heights and weights, along with their photographs, were provided for the readers' reference. The winners were determined based on the readers' votes. The Japanese victor was a 21-year-old student with a height of 150 cm and a weight of 52 kg (body mass index [BMI] 23.11 kg/m2). The Korean winner was a 19-year-old student standing at 157 cm and weighing 53 kg (BMI 21.50 kg/m2). (3) 1940, Venus of the Peninsula, organized by Modern Japan (a magazine): The candidates were Korean women residing in Japan or Korea. The panel of judges evaluated the photographs of the candidates. The victor was a 20-year-old Korean geisha. Her winning photograph was featured in the Korean edition of the magazine Modern Japan. She stood at 157 cm in height and weighed 45 kg (BMI 18.25 kg/m2). As beauty standards evolved over time, the beauty standards of the 1930s were markedly different from those of today.

Anthropometric Analysis of the Faces of Chinese Women in Leadership Roles.

The aim of this study was to investigate the appearance of the faces of Chinese women in leadership positions through an anthropometric analysis of Women of China from 1949 to 2022. Photographs of cover women of Women of China were gathered and a total of 380 frontal and 101 lateral photographs were collected. The photographs were divided into 3 time phases: phase I (1949-1978): from the launch of Women of China magazine, up until the time of reform and opening; phase II (1978-2010): from the time of reform and opening until when Google China was blocked; and phase III (2010-2022): to the present. The horizontal corneal diameter (11.52 mm) was set as the reference value for the frontal face. The anthropometric results showed the width of the face, midface, and lower face decreased over time. The women at phase I had larger and round faces, smaller and narrower eyes, wider noses, and thicker lips; relatively masculine and hard-working woman image, as the occupations of women were mainly described as workers, farmers, and civil servants. Phase II showed smaller but still round faces, relatively wide-set round eyes, narrower noses, and smaller lips than in phase I; neutral features as skilled workers, engineers, entrepreneurs, civil servants, and researchers. Phase III showed oval faces, almond eyes, narrower noses, smaller full lips, and wider chins, reflecting a process of feminization; working in entertainment, sports, and science. The data from this study might serve as the recommended aesthetic proportions when performing plastic surgical procedures for talented woman.

Aging-Related Changes of the Historical Japanese Beauty, Ono no Komachi (, 825-900 AD).

The aim of this study was to determine how the aging-related changes of a beautiful woman were described in Japanese literature. A poem written by Ono no Komachi was reviewed. Images of her were also searched through Google search. Komachi's poem in Hyakunin Isshu reads: "How the color has faded from the flowers. As I gaze in reverie at the falling rain, I find my beauty, too, has fallen in this world's esteem." Tamatsukuri Komachiko's Death Book describes: "She became thin and looked tired. Her hair looks like a lotus with frost. Her skin resembles a frozen pear. Her bones stick out and her tendons are visible. Her face is dark, and her teeth are yellow". Color woodblock print shows an old woman: She retains her intelligence and beauty even in her advanced years. Her posture was stooped, with a pronounced forward curvature of the spine, resulting as "turtle neck." Her hair was long and gray. Visible signs of aging included forehead wrinkles, crow's feet, deepened nasolabial folds, and marionette lines. Her upper jaw appeared retracted, a "witch's chin." She exhibited neck wrinkles as well as on her hands and wrists, which grasped a bamboo walking stick. Her eyes were sunken, accompanied by a drooping of the upper eyelids. We think that the narrative of her transformation into an ugly and poor woman was intended to convey to men the fleeting nature of women's beauty, and to women that the power of beauty is not ultimately of major significance.

"All Women of Nagoya are Beautiful": Travel Records of a Korean Diplomat in 1764.

The aim of this study is to ascertain how women of that era looked to a Korean diplomat who visited Japan in the 18th century. During 1763-1764, the "Documents on Joseon Tongsinsa (diplomatic mission)" contain 10 records of Korea and 2 records of Japan. Among them, "The Song of a Grand Trip to Japan" (), a Joseon gasa, was reviewed. In the diary entries dated February 2 and 3, 1764, when he was in Nagoya, the author (Kim Ingyeom) described the physical appearance of Japanese women in the city. The peoples of here are bright and beautiful/ All the women are peerless beauties. With eyes like stars and cinnabar-red lips / A clear complexion like white jade, eyebrows like butterflies,/ Hands like budding sprouts, forehead like a cicada. They look like carved ice and as if lumped together with snow. How are they so beautiful despite having the flesh and blood of a human being? Though Zhao Feiyan and Yang Guifei (queens of China) are called the eternal beauties,/ They would look less beautiful compared to women here. If they dressed in Korean costumes and were decorated with jewels,/ We would forget ourselves and mistaken them as goddesses. He highlighted features such as prominent foreheads, eyebrows shaped like butterflies, star-like eyes, red lips, slender hands, and pale skin. He portrayed Japanese women as having a superior appearance compared to Chinese or Korean women. This record suggests that a diplomat admired the appearance of Japanese women during the Meiwa Era (1764-1772).

Hand of the 42-armed Avalokitesvara Holding A Skull Rod.

The skull most commonly symbolizes death, mortality, and the unachievable nature of immortality. However, in Korean Buddhist art, skulls are rarely found. The aim of this study was to explore the image and meaning of the skull in the Joseon dynasty (1392 to 1910) of Korea. The terms [Buddhist] and [painting] and [Korea] were used to search Google (www.google.com), and the Research Information Sharing Service of Korea (https://www-riss-kr-ssl.openlink), was also searched for [Buddhism] () and [art] () and [skull] (). This study focused on paintings or statues of Avalokitesvara because Avalokitesvara was often depicted holding various items in the hands, especially the multiarmed Avalokitesvara. The corresponding Buddhist texts were searched on "Archives of Buddhist Culture" (http://kabc.dongguk.edu). In the paintings and statues of the 42-armed Sahasra-bhuja Avalokitesvara, one of the hands was holding a skull rod. In the royal version of the "Five Great Dharanis Collection ()," which was published in 1458, a skull was found in a rod held by a 42-armed Avalokitesvara. This corresponds to one of the verses of the "42-Hand Mantras" (Om dhuna vajra ha). The purpose of the mantra was to communicate with and manipulate ghosts. The meaning in the original Susiddhikara Sutra is quite different from the 42-Hand Mantras in the Joseon dynasty of Korea. The reason for this difference is thought to be the merger of esoteric Buddhism with the folk religions of China and Korea.

Anthropometric analysis of the faces of Chinese beauty pageant winners, from the early 20th century to the present.

The aim of this study was to investigate the aesthetic characteristics of Chinese beauty through an anthropometric analysis of beauty pageant winners from 1952 to 2021. Photographs from 5 renowned Chinese beauty pageants (Miss World Pageant, Miss Earth Pageant, Miss Universe Pageant, Miss International Pageant, and Miss Chinese Cosmos Pageant) were gathered and a total of 294 frontal and 31 lateral photographs were collected. The photos were divided into 3 time phases: phase I (1952-1977): from the first time when Chinese girls participated in beauty pageants, up until the time of reform and opening; phase II (1978-2002): from reform and opening to the re-opening of the Miss Chinese Cosmos Pageant; phase III (2003-2021): to the present. The horizontal corneal diameter (11.52 mm) was set as the reference value for the frontal face. Among the 35 anthropometric items of frontal faces (26 distances and 9 angles) and 41 anthropometric items of lateral faces (33 distances and 8 angles), 21 anthropometric items (16 distances and 5 angles) and 8 proportional indices of frontal faces showed significant differences. On lateral pictures, 2 angles showed significant differences among the 3 phases. Regarding the anthropometric measurements that decreased across the 3 phases, the width of the face, midface, and lower face exhibited the greatest changes. The lower face width showed the most striking changes, with a decrease from 128.5 to 112.0 mm. The quadratic regression revealed a significant turning point after 1978, coinciding with the period of Chinese reform and opening, which had a profound impact on aesthetics.

Freeing and Stretching the Palatine Vessels From the Greater Palatine Foramen in Palatoplasty.

The aim of this paper is to present how to free and stretch the palatine vessels from the greater palatine foramen in palatoplasty. After a mucoperiosteal flap is raised, periosteal elevator is passed behind the palatine vessels to detach the periosteum around the vessels. Then, a blunt right-angle instrument is placed behind the palatine vessels, and the vessels are pulled from the foramen in the superior aspect, slightly forward (63 degrees) and medially (19 degrees) according to the direction to the greater palatine canal (GPC). The nasal mucosa is also released from the hard palate and from the lateral pharyngeal wall. After dividing the palatal aponeurosis and elevating the anterior flap, the first suture is inserted through the nasal layer of the mucosa at the level of the posterior border of the hard palate (A suture). The nasal layer is approximated and sutured. After the closure of the buccal layer, the 2 posterior flaps are joined to the small anterior flap. Finally, A suture is tied. In 60 cases of pushback palatoplasty, the palatine vessels were stretched from the greater palatine foramen. In literatures, the length of GPC is 26.97 mm. Anteroposterior diameter of the upper opening of GPC is 3.88 mm. The angle between the vertical plane and the axis of GPC is 19.09 degrees. The angle between the transverse plane and the axis of GPC is 62.63 degrees. Probably, this information is the values obtained in adults. As a matter of fact, similar values were obtained in our study on this subject.

Ultrashort echo time pulse sequences for visualization of deep peripheral fasciae and epimysium in porcine models with histologic correlations.

Background: The deep peripheral fascia and epimysium are vital for muscle and tendon support, but their tight proton composition results in hypointense signals in conventional spin echo sequences. Ultrashort echo time (UTE) magnetic resonance imaging (MRI), using microsecond TE values, may visualize these structures. The purpose of this study was to evaluate whether UTE pulse sequence with a three-dimensional cone trajectory (3D UTE), with or without fat suppression (FS), can be used to visualize the fascia and epimysium using porcine lower legs as an example. Methods: The anterior soft tissues of porcine lower legs were dissected and partially separated into distinct layers to expose the deep peripheral fascia, epimysium, and muscle. Axial 3D UTE and 3D UTE FS imaging using dual-echo acquisition and echo subtraction were performed both before and after dissection. Prior to dissection, the thickness, signal-to-noise ratios (SNRs), and contrast-to-noise ratios (CNRs) of structures believed to be deep peripheral fascia and epimysium were measured in both 3D UTE and 3D UTE FS. Post-dissection images were also analyzed to measure the SNRs and CNRs for the deep peripheral fascia and epimysium. Histological evaluations were carried out to verify the identities of the deep peripheral fascia and epimysium, as well as their thickness, and these measurements were compared to imaging findings. Results: In pre-dissection images obtained with 3D UTE and 3D UTE FS, both the deep peripheral fascia and epimysium exhibited high signal intensity. In the subtraction images, the mean thickness of the deep fascia was 0.87 mm, and that of the epimysium was 0.80 mm when imaged with 3D UTE. This is compared to measurements of 0.77 and 0.22 mm in 3D UTE FS, respectively. Histological analyses confirmed the thickness of the deep peripheral fascia and epimysium as 0.65 and 0.14 mm, respectively. In the post-dissection images, the deep fascia continued to display high signal intensity when compared with adjacent soft tissues, consistent with the histological findings. Meanwhile, the epimysium showed very low CNRs. Conclusions: 3D UTE and 3D UTE FS can be used to visualize the deep peripheral fascia with high signal intensity and contrast but are insufficient to show signal intensity in the epimysium.