Images of Modern Beauties in the Japanese Colonial Era of Korea (1910-1945).

This study aimed to analyze images of the modern beauty of Korea during the Japanese colonial era. Searches were conducted on Google ( www.google.com ) and Naver ( www.naver.com ) for archives of newspapers and magazines that contained images of beauty. Beauty of the face and neck (the early 1920s): an article (1922) detailed the contemporary beauty standards. It specifies the desired characteristics of the eyes, nose, and mouth and dictates that "the cheeks ought to be plump enough to obscure the cheekbones" and "the neck and shoulders should also be full, concealing the collarbones." Images of beauty showing balance and proportion (the late 1920s): in 1928, a magazine article introduced the concept of "the world's beauty from a scientific perspective," which represented Western esthetics as reflected in the "Canon" of body proportions and Vitruvian Man. From the face to the body (from the late 1920s to 1930s): in 1927, a daily newspaper established the standard for global beauty. During this period, there was an increased emphasis on maintaining the body, rather than just the face, as a crucial aspect of beauty. From the mid-1930s, the concept of a "streamlined" female body shape gained popularity. Male gaze, which fragmented and objectified women's bodies, had been visualized and mass-produced. It is essential to understand how preferences have evolved and to possess skilled hands capable of improving the face and body. To properly sculpt the face and body, keen eyes and adept hands are needed.

Aconite-Induced Metamorphosis From Beauty to Ugliness in a Japanese Tale.

The authors present a narrative that details the cause and process of a woman's transformation from beauty to ugliness in a Japanese tale. In " Tokaido Yotsuya Kaidan ," the metamorphosis from a beauty to an ugly woman is analyzed. After taking medication to recover from childbirth, Oiwa's face became disfigured and grotesque. Oiwa: It seems to be good for my blood, but when I drink it, it causes fraying and breakdown, causing sudden pain. I feel a numbing dullness. When she looked at herself in the mirror, she was shocked. Oiwa: What's wrong with my face? I hate this, it's such a disgusting thing. Neighbor: It was a lie that the medicine you drank was a helpful medicine that protects the appearance of people's faces. Your face is that of a wicked woman (). Oiwa: Is it really me? Why does she have the face of an evil woman? Her hair falls out in a gruesome combing scene, driving her mad. The poison Oiwa took was aconite, which grows wild in Japan. Both aconite tincture and raw aconite roots contain high concentrations of Aconitum alkaloids, which can penetrate the stratum corneum following the diffusion gradient. As her hair fell out during a horrific combing session, she abandoned her maternal role and sought revenge, having lost what she considered a symbol of her femininity. In treating female patients with facial disfigurement, it is important to be mindful of their psychological state, akin to that of Oiwa, who became disfigured through no fault of her own.

What Did the Ideal Beauty of the 15th Century Look Like? An Anthropometric Analysis of Botticelli Portraits.

The aim of this study was to conduct an anthropometric analysis of the 5 portraits painted by Botticelli that depict Simonetta Vespucci. Five images in the Simonetta series by Botticelli workshop were measured. The anthropometric measurements of the face included 22 parameters on the lateral view (in 4 portraits; 18 distances and 4 angles) and 17 distances on the frontal view (in one portrait), which were measured using Adobe Photoshop. The absolute distances were calculated relative to the vertical corneal diameter (10.6 mm), which was calculated by multiplying the distance from the pupil's center to the lower margin of the iris. In the lateral faces, the nasofrontal angle (g-n-prn) was 157.6±2.4 degrees, and the nasal tip angle (n-prn-sn) was 99.7±3.4 degrees. The nasolabial angle (prn-sn-ls) was 125.7±4.9 degrees, and the labiomental angle (li-sl-pg) was 131.6±4.4 degrees. The ratio of the upper lip height to the lower lip height (sn-sto/sto-sl) was 85.4±9.0%. The ratio of the upper lip vermillion to the upper lip height (ls-sto/sn-sto) was 27.7±3.9%. The ratio of the lower lip vermillion to the lower lip height (sto-li/sto-sl) was 47.2±6.6%. Comparing the data with 21st-century Italian females, forehead II height (tr-n), physiognomical face height (tr-gn), and morphologic face height (n-gn) of the beauties of the 15th century were significantly greater than those of 21st-century Italian females. However, there were no significant differences in lower face height (sn-gn) and nose height (n-sn). Considering the ongoing cultural relevance of Renaissance art, the esthetic proportions from this study may have reflection to the present day plastic surgery.

Rejuvenation: From the Fictional Dr Heidegger (1837) to Pioneering Modern Plastic Surgeons (1901-1912).

This study aims to identify criticisms of rejuvenation and cosmetic surgery through an analysis of "Dr Heidegger's Experiment" (1837), written by Nathaniel Hawthorne. Dr Heidegger an eccentric, aged scientist, invites 4 elderly friends to be his subjects of study. The guests drink the water from the "fountain of Youth." As their youth is restored, they revert to the foolish behaviors of their younger days. The 3 men soon start vying for the affection of the now youthful and attractive widow. In the midst of their rivalry over the widow, the vase is shattered, and miraculous water spills out. The guests revert to their elderly states. To regain their lost youth, they journey in search of the fountain. Hawthorne viewed rejuvenation procedures as consumptive and physically destructive transformations. His novel captures the modern anxiety surrounding rejuvenation and cosmetic surgery through the lens of literary fantasy. Observing the transformation of the 4 guests, Dr Heidegger understands that youth is too meager a prize to trade for the wisdom that comes with old age. Advancements in medical science have alleviated modern individuals' concerns regarding rejuvenation and cosmetic surgery. Eugen Holländer and Erich Lexer independently performed a facelift in Germany (1901). Charles Conrad Miller first described the blepharoplasty technique in the United States (1906). Suzanne Noël performed a rhytidectomy in France (1912). For the plastic surgeon, it is important to sculpt the face in a way that reflects the patient's virtues, such as wisdom and dignity-qualities that Hawthorne highlighted through the character of Dr Heidegger.

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.

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.

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.

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.

Nodular scalp mass as the first presentation of pulmonary large cell neuroendocrine carcinoma: a case report.

Metastasis of lung cancer to the skin is uncommon, presenting in 0.22% to 12% of lung cancer patients, and it is extremely rare for skin metastasis to be the first clinical manifestation of lung cancer. In the few cases where skin metastasis has been reported as the first sign of lung cancer, the patients were typically heavy smokers or had preexisting respiratory diseases and symptoms. This prompted clinicians to consider skin metastasis of a pulmonary malignancy. Large cell neuroendocrine carcinoma (LCNEC) is a rare type of lung cancer that accounts for approximately 3% of lung cancers. LCNEC mainly metastasizes to visceral organs, such as the liver, bone, and brain, and it only shows metastasis to the skin in very rare cases. Herein, we report an unusual case of a metastatic skin lesion as the first sign of primary pulmonary LCNEC, in a 63-year-old woman with no pulmonary symptoms or personal history of smoking or pulmonary disease.

Diagnosis of split fractures of the mandible in adults.

BACKGROUND: Mandibular split fractures, in which the fracture occurs exclusively in the posterior wall, are uncommon. This study aimed to enhance clinicians' understanding of mandibular split fractures and offer insights for future research. METHODS: This study included six patients who visited our hospital between January 2020 and June 2023 and were diagnosed with mandibular split fractures. We retrospectively collected data from patients' medical records on their age, sex, symptoms, mechanism, impact site, associated injuries, and treatment method, as well as the location, pattern, and number of fractures observed on computed tomography (CT) and panoramic images. The frequency of split fractures among all mandibular fractures was calculated. RESULTS: The six patients included three men (50%) and three women (50%), ranging in age from 20 to 71 years (mean age, 49.8 years). The split fractures were located in the symphysis in one patient (16.7%), symphysis to parasymphysis in two patients (33.3%), parasymphysis in one patient (16.7%), and parasymphysis to the body in two patients (33.3%). Four patients (66.7%) had condylar head fractures, while two patients (33.3%) had single split fractures. The mechanism of trauma was a slip-down incident in four cases (66.7%), while two cases (33.3%) were caused by motorcycle traffic accidents. Four patients (67%) underwent intermaxillary fixation, while two patients (33%) improved with conservative treatment. Split fractures were diagnosed in all six patients on CT, whereas the fracture line was not clearly visible on panoramic images. Mandibular split fractures accounted for 5.6% of all mandibular fractures. CONCLUSION: This study provides insights into the clinical characteristics of rare mandibular split fractures and the diagnostic imaging findings. Furthermore, CT scans and three-dimensional image synthesis-instead of panoramic images-may be essential for accurately diagnosing mandibular fractures, including mandibular split fractures, in the future.

Comparison of the outcomes of nasal bone reduction using serial imaging.

BACKGROUND: Nasal bone fractures are frequently encountered in clinical practice. Although fracture reduction is simple and correction requires a short operative time, low patient satisfaction and relatively high complication rates remain issues for many surgeons. These challenges may result from inaccuracies in fracture recognition and assessment or inappropriate surgical planning. Findings from immediate postoperative computed tomography (CT) scans and those performed at 4 to 6 weeks postoperatively were compared to evaluate the accuracy and outcomes of nasal fracture reduction. METHODS: This retrospective study included patients diagnosed with nasal bone fractures at our department who underwent closed reduction surgery. Patients who did not undergo additional CT scans were excluded from the study. Clinical examinations, patient records, and radiographic images were evaluated in 20 patients with nasal bone fractures. RESULTS: CT findings from immediately after surgery and a 1month follow-up were compared in 20 patients. Satisfactory nasal projection and aesthetically acceptable results were observed in patients with accurate correction or mild overcorrection, while undercorrection was associated with unfavorable results. CONCLUSION: Closed reduction surgery for correcting nasal bone fractures usually provides acceptable outcomes with relatively few complications. If available, immediate postoperative CT scans are recommended to guide surgeons in the choice of whether to perform secondary adjustments if the initial results are unsatisfactory. Based on photogrammetric data, nasal bone reduction with accurate correction or mild overcorrection achieved acceptable and stable outcomes at 1 month postoperatively. Therefore, when upward dislocation is observed on postoperative CT, one can simply observe without a subsequent intervention.

Superficial angiomyxoma of the posterior neck.

Superficial angiomyxoma (SA) is a rare, benign, cutaneous soft tissue tumor. It is composed of myxoid matrix and blood vessels. Herein, we report a case of a solitary SA on the posterior neck of a 6-year-old boy. An analysis of the biopsied specimen showed a prominent myxoid stroma with thin-walled, branching blood vessels, revealing the presence of an SA. SA especially that originating in the posterior neck, is rarely seen and should be considered as a differential diagnosis for a solitary mass in the posterior neck.

Hidden Transection of Follicular Unit Extraction in Donor Site.

BACKGROUND: When calculating the transection rate in follicular unit extraction (FUE), many surgeons did not consider damages that may arise in the donor site through FUE punching. OBJECTIVE: The authors investigated what changes and/or damages are happened to the hair follicles surrounding a punched hole. MATERIALS AND METHODS: Two to 4 study boxes were marked on the donor strip and 8 follicular units were harvested using FUE from each study box. Follicular unit extraction was performed by the expert for 10 patients and by the beginner for 10 patients. After the strip harvesting, each study box was separated. Then, the 2 cross sections along the punched line and follicular units obtained from each study box were analyzed under a 20-power digital microscope. RESULTS: The authors found various transections through this analysis. Among them, some transections were hidden under the scalp surface, keeping the shaft alignment. The authors named this occurrence "hidden transection." Although 2 surgeons harvested with similar transection rate, there was a significant difference in hidden transection rate: 2% for the expert and 8% for the beginner. CONCLUSION: The main finding of this study is that a correct way to calculate the real-transection rate in FUE is to consider both extracted follicular transection and hidden transection.