The history of foot-binding of Han women can be traced back to the Song Dynasty. At the end of the Northern Song Dynasty, women's foot binding began to appear in the upper class of the nobility. In the Southern Song Dynasty, foot-binding gradually formed a popular culture and spread to all social strata. It is generally believed that there are several reasons for the rise of women's foot-binding culture in the Northern Song Dynasty.

First, the continuation of traditional aesthetics and the origin of Neo-Confucianism in Song and Ming Dynasties.

There is a saying in the Book of Songs: My Fair Lady, My Gentleman. The beauty of a lady is not only reflected in her appearance, but also in her figure. ? King Chu's waist is so thin, how hungry is his palace? It is a proof that the ancients pursued the beauty of women's figure.

But the development of Neo-Confucianism in Song and Ming Dynasties, especially Zhu? Defend justice and destroy human desire? However, this simple pursuit of female figure has been distorted into an abnormal aesthetic pursuit of female foot binding.

For this change in aesthetic pursuit, Mr. Lin Yutang explained that the appearance of foot binding made women walk more cautiously, so the Han women who were already thin became more fragile and had a unique weak beauty, which just satisfied the male instinct of the literati in the Song Dynasty.

Second, the rulers and literati in the Northern Song Dynasty highly praised it.

According to the history of Song Dynasty, women's foot-binding first appeared in the palace. In addition, the northern song literati also praised women's foot binding, for example, what did Su Shi, a great writer, say in Bodhisattva Man? It's hard to say it's subtle, but it depends on the palm of your hand? .

After the Song Dynasty, foot-binding culture continued to develop. While accepting the Han culture, the rulers of the Yuan Dynasty inherited and developed the bad habit of foot binding. During the Ming and Qing Dynasties, foot-binding culture gradually flourished. Even in the Ming dynasty? Three inches of golden lotus? Aesthetic orientation (women's feet must be less than three inches long and sometimes arched). ? Three inches of golden lotus? Is considered a symbol of civilization, but it grows naturally? Bigfoot? But it is regarded as a symbol of backwardness and barbarism. For example, what did Wang Hong, a member of Amin Dynasty, say gradually in The West Chamber and Yuefu? Beaver red soft shoes three inches? .

In sharp contrast to the bad foot-binding habits of Han women, Hakkas advocate women? Tianzu? .

According to the notes of missionaries who came to China in the middle and late19th century, Hakka women have no history of foot binding. Hakka women not only don't bind their feet, but sometimes they can walk barefoot. Different from Han women, Hakka women not only don't need to bind their feet when they are young, but also don't need to stay in the boudoir to raise silkworms and weave fabrics.

On the contrary, Hakka women often play the role of Han men. Going up and down the mountain, carrying water and washing clothes, they seem to be omnipotent. Hakka women's hard work and ability have won unanimous admiration from the outside world, so that western missionaries are also surprised at the degree of women's liberation in Hakka areas.

Then why didn't Hakka women with low civilization derive the dross culture of foot binding?

The author believes that the fundamental reason lies in the living environment in Hakka areas and the social role played by Hakka women. Different from the good land and agricultural environment in the Central Plains, South China has existed since ancient times? Barbarian land? It is said that in addition to the adverse effects of humid and foggy climate on human body, the mountainous and hilly terrain also makes the survival and life of Hakka people who moved here more difficult.

Especially in agriculture, the Hakkas living in South China have to work ten times harder than those in the Central Plains for the same harvest. The harsh agricultural environment in South China makes Hakka men have to go out to work to make a living, which means that women who stay at home should not only do their jobs well, but also temporarily play the role of men. Hakka women who work in agriculture, animal husbandry and child-rearing have become the main labor force of the whole family.

Under the demand of this high-intensity labor, Hakka women's foot-binding is tantamount to self-cocoon. In addition, the harsh living environment does not allow Hakka areas to breed special aesthetic requirements for women.

As a kind of cultural dross, foot-binding has proved that it will eventually die out.