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Roman Arenas. The story of Carol Park

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Mihai Cernea priveste cu drag spre coloanele in stil doric ce strajuiesc cele 3.100 de scaune rosii din amfiteatru. Ochii migdalati scruteaza, din spatele ochelarilor rotunzi, stalpii inalti si subtiri, manjiti parca de creta. In centru, loja de protocol pe care a renovat-o si vopsit-o de curand. Deasupra, acoperisul caramiziu pe care l-a refacut tigla cu tigla acum un an.
De opt ani, Cernea se ingrijeste de cele mai mici detalii. De la vopsirea tablei in ton cu tigla de pe-acoperis, pana la reconstruirea migaloasa a motivelor geometrice de pe parapeturi. A devenit administratorul Arenelor Romane in 2001 si tot de atunci, au inceput investitiile in cladirea adapostita de mai bine de un secol sub copacii umbrosi din Parcul Carol. Firma sa a castigat licitatia organizata de stat, iar, de-atunci, Arenele Romane sunt ca propriul sau copil. Un copil pe care-l va veghea timp de 25 de ani.

Anuntul a aparut in presa. Statul roman, prin Sala Polivalenta si Ministerul Tineretului si Sportului, oferea spre concesionare teatrul de vara din Parcul Carol, unic in Europa de Est ca stil de arhitectura. Cernea, lider al formatiei Sfinx Experience, a raspuns prompt la apel si a intocmit caietul de sarcini. Reusita o pune pe seama pretului bun pe care l-a oferit si a notorietatii de care se bucura la vremea respectiva. Pe atunci, in incinta Arenelor functionau o fabrica de ciorapi, un depozit de medicamente si o croitorie. In birourile care azi sunt ale administratiei erau 40 de masini de cusut, iar vizavi se crosetau si se vopseau ciorapi. Textilele erau puse la uscat pe sarme impanzite in tot amfiteatrul, iar Arenele functionau ca orice, mai putin ca sala de spectacole. Erau intr-o stare avansata de degradare si nimeni nu depuneau niciun efort pentru a le ingriji. In 2001, Arenele au intrat in reparatii. Pentru fiecare lucrare a fost nevoie de bani si numeroase aprobari, iar la refacerea teatrului au lucrat doi muncitori a caror activitate a fost dirijata de insusi Mihai Cernea, la baza inginer constructor. S-a reparat toaletele, culisele, ornamentele, s-a vopsit, s-a tencuit, dar fatada istorica nu a fost atinsa de unelte. Pentru ca Arenele sa-si pastreze farmecul de-un veac, modificarile de amploare se fac doar de firmele specializate, ale caror servicii nu sunt deloc ieftine. Odata cu preluarea Arenelor, Cernea si-a redescoperit pasiunea pentru istorie si a inceput sa colectioneze fotografii, scheme si carti vechi ce-i deapana povestea nespusa a teatrului ascuns in Parcul Carol. Fruntea-i larga se-nsenineaza de cate ori descopera o noua poveste despre locul pe care de opt ani il numeste a doua casa si, din cand in cand, da la o parte colbul din beci in cautare de izvoare istorice.


In dulapul crem din biroul lui, stau pitite intr-un dosar zeci de poze vechi ce ilustreaza trecutul glorios al unui Bucuresti uitat. Din hartia-ngalbenita, rasuna, parca, un cantec romanesc intonat de flacaii si domnitele-n costume populare. Se aud si rotile subtiri ale trasurii negre care a rascolit iarba scurta din fata scenei. De pe aceeasi scena, Regele Carol I si Regina Elisabeta saluta romanii veniti din toate colturile tarii sa asiste la marea sarbatoare nationala inaugurata la Arenele Romane, Expozitia Generala Romana. Pe 6 iunie 1906, peste 5.000 de barbati in costum, cu floare alba-n piept si femei cochete adapostite sub umbrelele de soare paseau pe poarta monumentala in forma de arc de cerc, ce separa Piata Elisabeta (astazi strada 11 iunie) de parcul recent amenajat. Plateau biletul si-si faceau loc printre sutele de constructii ale oraselului omagial ridicat pe Campul de la Filaret.

Pavilioanele, atent oranduite dupa tematica pe cele 36 de hectare ale terenului, imbratisau de-o parte si de alta aleea principala si lacul: pe stanga, Primaria Capitalei, Camera de Comert din tara, pavilionul industriei, geniului civil, pavilionul regal si geniului militar, pe dreapta pavilioanele regiei monopolului statului, agriculturii, industriei caznice, a minelor si carierelor. Se implineau 40 de ani de glorioasa domnie a regelui Carol I, 1.800 de ani de cand armata lui Traian cucerise Dacia si 25 de ani de cand Romania devenise regat. Se auzeau salve de tun, iar de la ferestre se aruncau flori. Bucurestiul, tot, sarbatorea. Take Ionescu, membru al Partidului Conservator si personalitate influenta pe scena politica antebelica, propusese organizarea unei sarbatori nationale care sa culmineze cu o expozitie a tuturor realizarilor Romaniei sub domnia lui Carol I, de la prima cale ferata la obtinerea independetei in 1877. Expozitia avea sa se desfasoare pe Campul de la Filaret, un teren mlastinos din sud-vestul Capitalei, asanat cu greu de trupele de geniu. Comisar al Expozitiei fusese ales reputatul chimist si academician roman C.I Istrati, iar proiectul general al Expozitiei era conceput de arhitectul francez Edouard Redont. Pavilioanele si constructiile, insa, erau operele arhitectilor romani.


In doar 11 luni, la Filaret se ridicase un adevarat oras. Se construisera 40.000 de metri patrati de pavilioane si palate, 39.200 de metri patrati de drumuri si sosele si 71.360 de metri patrati de alei si poteci. Se plantasera 4.206 arbori mari, 5.933 de coniferi si alte cateva zeci de mii de arbusti si plante. Exista un casino, cinema, chiar si un garaj auto petru posesorii de masini. Inaugurarea Expozitiei Jubiliare a avut loc la Arenele Romane, situate in partea de sud-vest a Parcului Expozitiei. Teatrul de vara, construit dupa model roman si inchinat latinitatii poporului roman, fusese ridicat de arhitectul Leonida Negrescu, colaborator la proiectul Ateneului Roman, si de inginerul Elie Radu, cel care demonstrase valoarea inginerilor romani in vremea cand la mare cautare erau constructorii straini. Acelasi Elie Radu coordonase si lucrarile de alimentare cu apa a Bucurestilor. Frumos decorate, impodobite cu flori, steaguri si stergare, Arenele asteaptau ca rand pe rand, fiecare oaspete sa ia loc pe bancile de lemn si sa-si indrepte privirile spre scena larga, flancata de doi piloni inalti de 20 de metri.

La ceremonie, au fost prezenti membrii Casei Regale a Romaniei in frunte cu Regele Carol I si Regina Elisabeta, membrii guvernului si cultelor, personalitati din domeniul artistic, precum compozitorul George Enescu, si reprezentati ai statelor straine, printre care primarul Vienei, doctoral Lueger, si cel al Romei, Contele de San Martino. Nu au lipsit nici reprezentantii breslelor de muncitori care ridicasera constructiile Expozitiei. Orchestra compusa din studenti la Conservator a cantat "Marsului solemnal Jubileului", iar cei doi mitropoliti ai tarii si soborul de preoti au oficiat un serviciu religios. Multimea adunata a ascultat cuvantarile ministrului Domeniilor Ion Lahovari si comisarului Istrati, care multumeau regelui Carol pentru glorioasele-i realizari si-si aratau recunostinta fata de cei care contribuisera la organizarea Expozitiei Jubiliare. "Astazi, dupa 40 de ani de domnie a Maiestatii Voastre, intorcandu-ne privirile indarat, vazand de unde am plecat si unde am ajuns, putem privi trecutul cu mandrie si viitorul cu incredere", rasuna vocea lui Lahovari. Constantin Istrati amintea de raspunderea fata de neam, ca motivatia care ii mobilizase pe cei ce realizasera Expozitia Generala Romana, multumindu-le totodata pentru efortul depus.


Apoi, insusi regele Carol a luat cuvantul si a salutat Expozitia si oamenii de stat care adusesera in Romania prosperitatea. "Cu o adanca bucurie si stima salut deci intaia noastra expozitie nationala, adevarata sarbatoare a muncii romanesti. (...) Dar sa nu uitam sa adresam prinosul nostru de recunostinta barbatilor de stat cari au condus poporul roman pe aceasta cale rodnica, desfasurand, de asemenea, pe terenul economic, falnica deviza a coroanei de otel "Prin noi insine"". Inaugurarea s-a incheiat cu spectacolul "Povestea Neamului", de Vasile Leonescu si T Dutescu-Dutu, care prezenta intreaga istorie a neamului romanesc, de la intrarea lui Traian in Dacia, pana la Razboiul de Independenta. Arenele Romane isi pecetluiau, astfel, statutul de loc unde s-a scris povestea unui Bucuresti modern, gazda a realizarilor Romaniei sub conducerea primului sau rege. De atunci, la Arene s-au organizat mereu jocuri, concursuri si spectacole. Teatrul roman din Parcul Carol a fost martorul unor manifestari culturale care au adus romanii mai aproape prin speranta si voie buna. In august 1906, cu prilejul sosirii fratilor de peste hotare la Expozitie, mii de romani din Regat, Peninsula Balcanica, Transilvania, Banat si Bucovina au facut sa rasune amfiteatrul antic de cantece de libertate. S-a cantat in cor "Desteapta-te romane!", melodie ce-a insotit Romania in numeroase perioade de conflict. "A fost parca divina prefata maretiei istorice de la 1918" (Constantin Bacalbasa).

Expozitia Generala Romana a ramas deschisa pana pe 23 noiembrie.


Arenele Romane au cunoscut un nou moment de glorie cu ocazia Lunii Bucurestilor, prima expozitie urbanistica inaugurata in cinstea Capitalei la 9 mai 1935. Pe aceeasi scena s-au organizat concursuri si competitii sportive care au incantat spectatorii. Comunistii, ajunsi la putere dupa al Doilea Razboi Mondial, au scris o alta pagina din istoria Arenelor. Din 1966, timp de doi ani, Arenele Romane au intrat intr-un process de restaurare si modificare. Amfiteatrul a fost inchis, iar scena inaltata si acoperita. Se vad si acum crapaturile simetrice, de-o parte si de alta a scenei, ce separa tribunele noi de cele vechi. Peste gazon s-a turnat ciment, iar in spatele scenei s-au construit birouri pentru personalul administrativ. Partea noua a porticului a fost inchisa cu geamuri mari, in timp ce loja regala a fost marita de la patru la sase incaperi. Acum, putea adaposti 50 de scaune fata de cele 10 din 1906. Acoperisul lojei a fost refacut, iar sub terasa acesteia amenajata o camera de proiectii pentru film.


Orice insemn sau ornament care aducea aminte de perioada monarhica a fost inlaturat. La fel si constructiile Expozitiei de la 1906, daramate una cate una de comunisti pentru a sterge amintirea unui trecut glorios. Au scapat Castelul lui Tepes, Biserica Cutitul de Argint si Fantana Cantacuzino, situate in apropierea Arenelor. Parcul Expozitiei, denumit Carol la inchiderea manifestatiei, si-a pastrat numele de Parcul Libertatii, dobandit in 1918. La Arenele Romane se tineau, acum, concerte folclorice, spectacole de teatru sau se organizau vizionari de filme, precum "Pe aripile vantului". Tot aici s-au desfasurat si cateva concerte din cadrul festivalului "Cantarea Romaniei". Dupa Revolutie, Arenele au fost uitate, iar functiunea lor de loc de amuzament si recreere inlocuita de stat cu una mai practica, de confectionare si depozitare de textile. Teatrul de vara a fost mult timp inchis pentru public. Acum, teatrul functioneaza sase luni pe an, in sezonul cald, si organizeaza trei-patru spectacole mari in fiecare luna. Arenele Romane aduc venituri si din inchirierea spatiului pentru reclame sau productii cinematografice.


O mare parte din profit se cheltuie, insa, pe investitiile in reparatii si reabilitari. Pentru ca proiectul sa fie rentabil, e nevoie ca Arenele sa intoarca profit tot timpul anului. De aceea, pe lista de cheltuieli, e trecuta construirea unui sistem de acoperire automatizat care sa permita desfasurarea spectacolelor si pe timp anevoios. Costurile unui asemenea proiect depasesc milionul de euro, iar cheltuielile nu pot fi suportate exclusiv de firma administratoare. E nevoie de bani. Multi. De la stat. Teatrul de vara din Parcul Carol a adapostit, deopotriva, cantareti, lei, gladiatori, mafioti, nuntasi si copii curiosi. Din cand in cand, la portile ruginite sosesc tineri dornici sa descopere ce se afla in spatele zidurilor groase. Portarul ii organizeaza in grupuri si le arata locul care a pecetluit 40 de ani de domnie glorioasa a regelui Carol I. Asa i-a venit lui Cernea ideea de a pune la punct o expozitie cu toate fotografiile si materialele stranse de-a lungul anilor. Administratorul Arenelor spera si ca teatrul de vara sa-si gaseasca locul, cat de curand, pe lista monumentelor istorice de vizitat intr-un circuit turistic.



Cernea vrea ca Arenele lui sa fie vizitate de cat mai multi oameni care sa-si puna intrebari despre istoria unui regat uitat si care sa fie ajutati sa gaseasca raspunsuri privind ilustratiile ingalbenite. Intrebat cum vede Arenele Romane la sfarsitul celor 25 de ani de administrare, Cernea zambeste visator si-si pleaca fruntea senina. Ochelarii rotunzi cu rama neagra-i aluneca usor pe nas, iar ochii-i sclipesc vioi. "Ca la 1906".

Dsc00843 - imagine / foto - Diverse - Hiboox

Dsc00843 - imagine / foto - Diverse - Hiboox

Dsc00843 - imagine / foto - Diverse - Hiboox

Dsc00843 - imagine / foto - Diverse - Hiboox

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Mancarea si sanatatea

Ce ne face bine? Ce ne dauneaza?

Aceasta carte nu trebuie sa lipseasca din casa nici unei familii care isi doreste o viata sanatoasa. Usor de inteles si de consultat datorita ordonarii de la A la Z a afectiunilor si a alimentelor, acest ghid pretios iti ofera sugestii utile, avand girul specialistilor in nutritie. Volumul prezinta atat remedii traditionale, cat si naturiste; el ofera informatii obiective, lamurind confuzia creata de afirmatii contradictorii si aratand ca unele se bazeaza mai mult pe mituri decat pe fapte. A fost special conceputa pentru a-ti permite sa afli care alimente au un efect benefic asupra ta si te vor ajuta sa te mentii in forma zi de zi si care risca sa iti faca rau.

Bazata pe sfaturile a peste 300 de experti in nutritie, dar si in medicina clasica sau naturista, cartea te va ajuta sa-ti alcatuiesti un regim alimentar adaptat nevoilor si particularitatilor organismului tau. Poti afla, spre exemplu, ca pentru a pastra cantitatea de vitamina C din cartofi trebuie sa-i cureti dupa fierbere, ca pentru a dormi bine trebuie sa consumi amidon (paine, paste, orez sau cartofi) la cina sau ca, daca ai hipertensiune, trebuie sa eviti sarea si sa mananci multa ceapa.

Aceast ghid al sfaturilor de specialitate care te vor ajuta sa traiesti mai mult, sa te simti si sa arati mai bine poate fi al tau si poti alege sa il achizitionezi in 2 rate lunare consecutive, fara dobanda, fiecare in valoare de 24,9 RON, sau achitand suma de 49,9 RON intr-o singura transa. Indiferent de optiune, la aceasta suma se vor adauga 14,9 RON, taxe postale si de ambalare.

Renunta

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InfoNews: When beauty is suffering

InfoNews: When beauty is suffering:

Symmetry? Harmonious proportions - but that is harmonious, it is the same for people of all cultures?A smooth skin? An inner glow, ineffable and mysterious? Nothing is more subjective and therefore difficult to rigorous criteria included in, rather than beauty. Although they could find - with toil - some common points, confirming, for our peace, that people are the same everywhere and always, they have the same conception of beauty, historical reality shows that, over time, and along and across the globe, human beauty was seen in different ways from one culture to another.

"Beauty is the manifestation of secret laws of nature, laws which otherwise would have remained forever hidden to us", said to Goethe, but sees the job that he thought any landscape or the beauty of flowers, not the people. Laws of nature? Perhaps the culture, because there are many examples in world history as the man tried to "correct" nature, the way arduous and bizarre results. The natural beauty was not always fashionable, on the contrary: efforts to make a man made to look different than nature had dressed sometimes extreme forms. Drastically changing "features" basic anatomy, natural form of body parts, gained millions of years of evolution, prove that beauty is often what we want to be at a time. Fashion, convention and only here and there some "memories of the Stone Age" - criteria for physiological realities and showing that long ago, sometime in childhood of mankind, "beautiful" was what served individual and species survival - they define beauty today.

But it can be even worse: as proof, here are some strange ideas about the aesthetic appearance of human ideas, over time, have been implemented by the profound transformation of the body, forming what went sometimes to true mutilation, shocking and brutal, which seemed committed to a true art of cruelty. All in the name of beauty.

One of the most popular - and cruelest - is tying the legs , long practiced in China for almost a millennium. Attested in the tenth century, not only just disappeared mid-twentieth century and this millennium, millions of women have suffered atrocious tortures from this strange definition of beauty legs.

"Lotus feet", such as deformed feet were called, were the result of a torment for years, and physical and mental health effects of women were not negligible.

Torture began at the age of 2-5 years before the canopy is fully formed foot: girl's feet were bent to breaking bones, fingers were bent at base, with dislocated joints and feet were bound with linen bandages wet, that gathered by drying, gathering and leg in a vice.

Every day or two to three times a week, the legs were washed, and then folded again and bandaged, bandages were tightened more and more, and after each "session" girls were forced to stand or walk, because weight to and more fingers to press foot and to help shape the change. What this may mean walking feet, subject to terrible pain, it's hard to imagine. Initial binding and subsequent care were usually left to the professionals of this practice, was discouraged participation mother face, for fear that it would have been moved by the sufferings let her daughter and would not be strong enough tight bandages. The result of this process, which last year was a profound change in foot anatomy, was considered successful when, in adolescence, after the growth process, the foot measure 7-9 inches in length.

However curious it may seem, these tiny feet, so little natural-looking, were assessed in terms of aesthetic and erotic attraction considered. (However, "sexology manuals" men of the time recommended not to try to see the lotus feet shod differently, because otherwise they would have lost all charm. No wonder not - for the deformed anatomy could not produce any attraction .) shod in miniature shoes, no longer than 10 inches, Chinese women who suffered the torture of beauty could not walk so than small steps, with a waddle, disproportionately small for the size of the feet and toes that go on affected balance movements. And this "lotus gait" was, say some authors, which gave, in fact, charming girls with bound feet and erotic attraction associated phenomenon.

The practice began to be abandoned until the early twentieth century, when most educated Chinese women began to realize that the West, though fascinated, to some extent, the originality of this custom exotic, were still inclined to consider it torture and an interference with freedom of women.That's not what China wanted to show the world, so slowly, practically disappeared. Chinese feminists have contributed to giving up the habit, which, however interesting, was not less painful and degrading.

Imperial edicts which had failed in the early data of the twentieth century, which tried to abolish this practice, the ban failed communist regime after taking power in 1949: the practice of foot binding is prohibited and today.

Cranial deformation was practiced by different populations, based on their criteria of appreciation of beauty: people with some form of the head were more valued, considered more attractive, smarter or more noble than others. (Some experts believe that these deformations would also act to signify membership of a particular group). The effects are visible in many skulls found by archaeologists: drastic deformation of the skull.

Known since prehistory - the fossil evidence - and attested in ancient skull deformation was practiced deliberate and later: the Huns, and Pacific Island populations of Australian Aborigines, as well as Native Americans.

Pre-Columbian cultures like the Incas and Mayans, and Native North American populations such as Chinook and Choctaw, used to shape children's skulls or teşindu their forehead, crown them be sharp or blunt head sideways so that the skull to grow in above, oblong-is more.

They use a variety of binding and clamping devices, and the process was done in infancy, when the skull - the joint between bones unconsolidated yet - could be easily deformed.

Skulls strange - with forms reminiscent sometimes of pointed ends of the alien in comedy Coneheads - were unearthed in many American archaeological sites, and custom skull deformation was practiced in the Americas until the modern era, show drawings, paintings and photographs depicting the babies' put the model "and adult outcome of this process which is visible beauty.

Female giraffes belong to a tribe called Burmese Kayan Lahwi, living in mostly in Myanmar (a small number of its members migrated to Thailand) and became known for their long necks surrounded by spiral brass necklaces. These ornaments are placed around the neck at the age of about five years and are replaced progressively with increasingly long spiral.

Anthropologists have sought various explanations for understanding the origin of this custom. One hypothesis suggests that wearing necklaces and subsequent deformation would have protected women become slaves, making them look less attractive in the eyes of other tribes, to which there is the practice (an argument in favor of the idea that "beauty "Much depends on cultural conventions within a group.) Another hypothesis would be protected colanele femeiele the fatal bites of tigers (perhaps symbolic rather than in reality). Kayan women say, however, that they wear "beauty", according to accepted canons of beauty in the traditional culture of the tribe.

Thought long and was told that this practice had the effect of lengthening the spine and neck region in both muscle weakness that these women would never have survived without it advocated colanele cervical spine, long neck for fragile and broke under the weight would be the head, causing their death.

In reality, this is not so, a situation that proved more and more women - especially young - also refuses to wear necklaces, revolt against this practice (even if traditional) and, especially, against the idea of become subject to the tourists and indiscreet curiosities to be exploited for this purpose by the owners of tourist business, as it happens especially in Thailand, where many of these women have become a kind of exhibits, attractions within real gardens human zoo .

That does not mean that the heavy brass collars do not cause actual deformation of the body. Not elongate neck by stretching the spine, as believed, but pressed with their weight, collarbones and chest, pushing them down, making it seem much longer neck. (See animation below as it happens.)

If it seems that these habits of human beings struggling in the name of beauty, body deformându intended them to suit some aesthetic canons arbitare, somehow preserve of exotic populations of other continents should look and yard and remember our European practice and the like.

One of the most famous was wearing corsets . Designed to emphasize thinness waist, these parts of the female wardrobe was, in their extreme discomfort some generating devices that produce, in time, and anatomical deformities were not devoid of danger.

If a corset made of canvas and related only lace waist and a moderately strong shaking emphasized without, however, too hard to bear, while "corsets with the whale" (reinforced with whalebone or steel wire) , arrived in vogue in the nineteenth century, the time when the beautiful weather that had a waist circumference ideal of only 40-45 cm, were, for many women, almost like torture instruments for many years of their lives.

The phenomenon reached its peak during the fashion was so-called "wasp waist" in the second half of the nineteenth century.

These corsets, drafted worked with body arching forms that emphasized female curves and stiffened by whale, press the abdominal organs, pushing them up. Constant media gathering corset liver and can cause changes in its shape. Over time, chest deformation, narrowing to the bottom. Moreover, the corset was to gather long-term, lasting just this change the figure.

Often, ladies, cooking tips could breathe only with the lungs (upper parts), while the lower portions of lung tissue from mucus to accumulate that affect respiratory function, producing a slight cough, but persistent. The stifling atmosphere, a strong woman in corset may faint due to insufficient oxygenation. No inherent fragility of the "weak sex" was to blame, in such cases, the woman was, literally, a victim of fashion.

Curious though - or maybe not, given how many things women do to look good - many of these women not only comply voluntarily tightening the corset, but their achievements and feel proud of.

That's because the waist is made progressively decrease following a workout that lasted for years.Mothers considered their duty to shape through the bodice daughters, because they have later fashionable silhouette. Girls were made to wear a corset from the age of 12-13 years, sometimes - if some mothers had more "extremist" - earlier, even at 7 years. The bodice was gradually raised so that the body gradually get used to feeling and to adapt. Little girls wearing corset even at night, you were allowed to extend 2-3 inches, then during the day, was raised again. Some schools even organized girls competitions among students to encourage them to wear a corset. Day after day, year after year, tight bodice gave him all the hottest young girls her age in world output, much-coveted wasp-waisted silhouette, a woman's pride and one of its great attractions, where aesthetic canons of the time.

A true battle of opinion arose in Europe - contaminating and the U.S. - around this practice, a fierce controversy that lasted for years and has remained in history as the "controversy over the bodice." In the 1860s, hundreds of articles published in dozens of publications - from wide-reading The Times by specialized Lancet , the prestigious British medical journal - the debate, the voices of doctors, traders, and the voices consumatoarelor (women) pros and against raising the corset.

Doctors argued that this practice leads to deformation and even cracking ribs, producing a dangerous pressure on the abdominal organs and chest muscles weaken, adversely affect posture and thus spine and creates health problems related to pregnancy and birth.

Many women, however, claimed to be attached to this custom, saying that even after a period - difficult - training, accustomed to the bodice, arrived to enjoy the pleasure of wearing. Perhaps the idea of ​​being fashionable, the satisfaction to receive the tribute of admiration of others, feeling successful after a long struggle contributed to this state of contentment.

Slim waist and hourglass silhouette are now fashionable, but exaggerations in corset collection gone - yet. But who knows what next?

After all, shoes with high heels, that women have a special relationship, seem to be the modern equivalent of bodice strangled in the need of training, pain and limitation of freedom of movement products. In other words, it changes from time to time, only the body concerned, not the basic concept: " You pour être belle souffrir faute "(ie, the French, got to suffer to be beautiful ).

InfoNews: Why we love women?

InfoNews: Why we love women?:

Looking at the portraits of some of the most beautiful women in history and reading about how impressed they were men and how popular they were, we came pretty hard sometimes to understand why.

Perhaps these women were charismatic, or that the definition of beauty was not the same as our guiding us today. If we think of today looks like a beautiful woman that you consider and compare it quickly with Mary Stuart, who became queen of Scotland in 1542, we will understand more easily how related concepts of beauty have changed over time, can also be do a review of the standards imposed by society.

They say that the theory that women should be beautiful and powerful men is the result of several centuries of evolution.

Designed Beginnings Wellness

In ancient times, the most important aspect in choosing partner was health . Men to cope with hunting and to support the family, had to be tall and have a large muscle mass. Women, on the other hand, to be able to lead a task to complete and to cope with childbirth, wide hips and needed big tits.Therefore, in a time when the patient has little chance of survival, beauty is a healthy body, able to meet vital needs.

By the century of Pericles, fifth century BC when Athens became the center of development knowing a great cultural, political and economic fabric of all Greece, there was no clear definition of beauty.Before painting and sculpture to develop massive beauty was attributed to other virtues such as truth, loyalty, harmony . However, when artists began to paint or write, began to outline some features that, if a person or an object you have, you deserve to be called "beautiful".

Greek philosophers were the first people who asked what makes a person beautiful. Plato, who sawbeauty as a result of symmetry and harmony , created the "golden proportion" in which, among other things, the ideal image width was considered as representing two thirds of its length, and must be perfectly symmetrical face. Now, after more than 2,000 years, scientists have tested the theory of philosopher and concluded that it was right: we are attracted to symmetry.

But the Greeks were not just obsessed with symmetry, but also long blond hair that is associated with youth and fertility.

The Romans borrowed many elements from Greek, especially in culture. Therefore worship and they find women with long blond hair. To discolor hair, women in Rome used a mixture of beech ash, goat fat, vinegar, pigeon droppings and saffron. In many cases, the use of this solution led to total loss of hair.

The beauty takes shape

In the Middle Ages female beauty has become a more complex in western Europe. In an era where women were seen as "predators" who are just waiting to win a man to dominate their concerns to fashion were classified as living proof of carnal challenge. Most criticism came from the clergy, who opposed women's habit of wearing jewelry.

Women, once married, were obliged to conceal their hair so as not to arouse desires in the minds of other men. Only virgins were allowed to wear their hair disheveled. In addition, blond hair was not appreciated, considering the collective mentality that sends hair color to debauchery. So the women began to close their blonde hair color with lye.

Only at the end of the Middle Ages, with the Renaissance, artists began to rebel against moral and religious ideas imposed by the clergy and seek pleasure in the imagination. Renaissance discovers, through painting, two concepts that strong shaking thinking artist: technical perspective and the human body.

We are dealing with a past valuation principles. Purity and youth are valued and artists, beautiful regain his canons of ancient Greek period.

Renaissance art is its own appearance in a new obsession, namely the breasts. Nudity gets even religious images or the mother . One of the most popular ideas is that of the Virgin nursing the Child. Although Mary is painted with dezgolt chest, her only once adulthood is that it became a mother, remained untouched, a symbol of beauty.

The idea of ​​being able to see a woman's breasts or cleavage was much more accepted now. Instead, she was criticized if they knowingly exposed ankles or shoulders.

Pale skin , distinctive element that heighten the sense of purity, was also easily removed in the Renaissance. Until then, cheeks reddened and riots were a sign of sin.

However, white cheeks has not exhausted its charm. Although the time has lost meaning, pale face was in vogue until the twentieth century as a sign of beauty and good taste.

The Tudor period in England, although women should be both beautiful and healthy, fulfilled , can give rise to heirs, men prefer women with small breasts. Most evident proof of this are dresses that keep women tied down.

Supporter of the skin was pale and Elizabeth I, daughter of Henry VIII. Although his father have mixed tastes in women, Elizabeth wanted to restore the image of the Virgin Queen and and managed. Also, Elizabeth brought back into light body proportionality and made ​​beautiful women to be judged by the thickness of the ankle .

If in the seventeenth century Puritans makeup and dresses decorated labeled as sinful, supporting women's rounded forms, the century that followed was one in which the emphasis is on pleasure and bodily, women are considered as a kind of beautiful. A century later, matrix changes and beauty.Beautiful women are neither weak nor fat, with a very thin waist. The hair becomes and the more valuable accessory, being worn in large buns, oversized and powdered . It caught up with ribbons, bows and feathers, and the height and volume bun family wealth was evidence that the woman fired.

In the Victorian era, pale face is again highly valued, so that guards fire at the fireplace fireside or become popular. They are designed to prevent her cheeks reddening ladies who sit near the stove.

However, the element of beauty in the Victorian era was the size .

Underlined the bodice, which help women to get appreciated hourglass, size must have, on average, 40 centimeters . In this case, many women suffer from a respiratory failure or malfunction of some internal organs.

Even more dangerous than the bodice was a tool of iron was used to shape the nose.

Venus in exile, changing canons of beauty

The twentieth century brought more and more rapid changes in the concept of beauty, keeping many of the customs of the Victorian era, but creating new ones, even more painful or more bizarre than the previous ones.

In the '20s, women's curves are no longer fashionable. linen correction , and burtierele is an important accessory that no woman should be in the wardrobe. So somewhere down the line waist hips.

The most visible element that makes women to be beautiful was the haircut. Hair was straight and cut to the ears, both as a sign of beauty and as an expression of desire for equality between the sexes.

In the '30s bob haircut and hair disappears stretched and loose bearing and loops arranged briantină. Then in the next decade, with the dawn of the Second World War, the fashion capital moves from Paris to New York. The period of austerity required to support the war, made the naturalness to be assessed, and the feature was long hair female.

Early 1960s is a dummy symbol Twiggy, who has two defining features: height 1.67 m and a weight of 48 kg . This is the first time that beauty is not defined as health, but by sexuality and fame. Hence, cosmetic and plastic surgery are "tools" main woman in his way to the ideal.

XXI century beauty is taken to extremes, where everything is allowed and nothing is shameful. The hair may be left behind, trapped in bun or even absent, as an important link to the concept of beauty is now attitude.

Throughout history, the concept of beauty has revealed the company, the way she thought and action. Always there was an interdependence between how cultural ideals of beauty and was seen in society.

Now, scientists in Hong Kong say that men beauty cataloged according to volume-height index .

The index is calculated by dividing the square of body volume height (distance from chin to heel) and assume that it indicates not only the attractiveness of the female sex, but also health and fertility.

Therefore, in future it is possible that cultural ideals about beauty canons to limit the parameters calculated based on the role of establishing the degree of sexual attraction and that of fertility.

In such conditions, it is not surprising that recent studies argue that women are more attractive and increasingly more likely to give rise to a large number of children who reached maturity and are themselves beautiful .

Tags: Beauty | Woman | proportional | symmetry | body