Radiant Lady of Qi
The graceful lady, adorned in exquisite silk and embroidered garments, is the beloved daughter of the Duke of Qi, the new bride of the Duke of Wei, the sister of the Crown Prince, and the aunt of the Duke of Xing. Her brother-in-law is the Duke of Tan. Her hands are soft and delicate like spring catkins, her skin as white and smooth as congealed fat, her neck graceful like the white worm, and her teeth neat and even like the seeds of a gourd. Her forehead is full, her eyebrows long and slender, and her smile enchanting, capturing hearts with a glance.
This splendid lady steps off a luxurious chariot that has paused by the fields. The four strong horses, adorned with red silk, pull the grand chariot towards the court. The ministers have already finished their morning assembly, making way for the lady’s grand entrance. The waters of the Yellow River flow northwards into the sea, creating a grand spectacle. The fishing nets create a bustling noise, the fish playfully swimming, while the reeds on both banks grow tall and thick. The accompanying maidens are tall and graceful, and the accompanying men are handsome and dignified.
This poem, “Shuo Ren,” from the “Book of Songs,” is a celebration of Zhuang Jiang, the daughter of Duke Zhuang of Qi and the wife of Duke Zhuang of Wei. The lines “Her charming smile and beautiful eyes” have eternally captured the elegant image of this classical Chinese beauty, earning widespread admiration through the ages.
The poem extensively employs descriptive techniques, praising various aspects of this “radiant lady.” The first stanza primarily discusses her noble lineage—her connections to prominent figures among the feudal lords of the time, emphasizing her distinguished status. The third and fourth stanzas describe the grandeur and splendor of her wedding, especially the fourth stanza, which uses repetitive phrasing to emphasize the magnificence. The flowing waters of the Yellow River, the sounds of casting nets, the splashing fish, and the lush reeds all serve to highlight the grand and beautiful scene of her wedding procession. These descriptions, from her noble background to the grand ceremony, all subtly underscore her innate beauty.
Direct descriptions of her beauty are found mainly in the second stanza, where seven vivid metaphors, akin to film close-ups or detailed brushstrokes in a painting, meticulously depict her unmatched appearance—soft hands, fair skin, graceful neck, neat teeth, and well-formed brows. However, the most impactful lines are “Her charming smile and beautiful eyes,” which capture her essence more profoundly than the detailed physical descriptions.
This poem initiated the tradition of using elaborate metaphors to describe beauties in later works, consistently receiving high praise. Sun Lian-kui’s “Commentary on the Book of Songs” highlights the excellence of the lines “Her charming smile and beautiful eyes.” He believes that while detailed descriptions like “hands like soft catkins” depict the beauty’s form, “charming smile” and “beautiful eyes” convey her spirit. In aesthetic art, spirit surpasses form, and dynamic descriptions are more compelling than static ones. The portrayal of form and static elements is essential, serving as the foundation for the beauty’s dynamic charm and spirited nature.
A beautiful appearance might leave a lasting impression, but a charming smile and enchanting eyes resonate deeply, often entering the dreams of a lovestruck young admirer. In this poem, the lines “Her charming smile and beautiful eyes” are particularly evocative. The ancient interpretation of “charming” as “beautiful mouth” and “beautiful” as “moving eyes” emphasizes the enchanting smile and captivating gaze, evoking a thousand captivating charms.
Despite the passing of thousands of years, the noble lineage praised in the poem has become a relic of history, and comparisons like “soft catkins” and “congealed fat” may no longer appeal, yet “Her charming smile and beautiful eyes” remain vivid and fresh, continuing to inspire beautiful imaginations and associations.
“To capture the spirit and essence” was a principle articulated by Six Dynasties painters, applicable to all artistic creations. The eyes are considered the windows to the soul, and portraying the eyes best captures a person’s essence. However, “eyes” can be broadly interpreted to include all elements closely connected to a person’s inner world, spirit, and essence, such as the “charming smile” in this poem. Leonardo da Vinci’s “Mona Lisa” also captivates with its “eternal smile,” showcasing the enduring charm of capturing the essence in art. Thus, any artistic creation should strive to capture and express the key essence, as one essential detail can outweigh many non-essential ones.