Traditional Chinese aesthetics, a relatively independent system, is characterized by its Chinese cultural roots. It is influenced by traditional Chinese culture, and has a series of unique categories. The main categories related to Chinese cosmetology are yin-yang and the five phases, zhonghe (harmony and moderation), wenzhi ( wen: “appears”, zhi: “health and temperament”), and charm.

The idea of yin-yang and the five phases is the basis of Chinese philosophy and culture, and the most distinctive national feature. The original connotation of yin-yang depicts the sides of a mountain, the sunny side being yang and the shady side being yin.All things with dual aspects can be summarized by yin and yang, such as heaven and earth, the sun and moon, or water and fire. Lao Zi (a Chinese philosopher from the late Spring and Autumn Period, and founder of Taoism, 570-460 BC) took yin and yang as the two basic elements that composed the world, generating and transforming all things. The five phases are wood, fire, earth, metal, and water. Some ancient Chinese philosophers treated the five phases as the basic elements composing the world and generating all things through their interactions. At first, the theories of yin-yang and the five phases explained the beginning of the world, and existed independently. As the theories developed however, they complemented each other and united into one.

The idea of yin-yang and the five phases is widely reflected throughout Chinese culture. From the Spring and Autumn Period to the Warring States Period, the idea of yinyang and the five phases was applied to aesthetics. In the history of aesthetics, yin-yang and five phase theory was first referred to in the musical field. By the 6 ^th century BC, It is put forward that music follors the example of yin and yang of the heaven and earth,so its temperament reflects yin and yang. During the Warring States Period, the theory of yin-yang generating the six qi, which generate the five phases by internal interaction,was proposed by some scholars. Since the five tastes can be detected by the mouth, the five colors seen by the eyes, and five sounds heard by the ears, the conclusion that music was generated by yin and yang (composing the basic elements of the world) was reached.Thus music was explained through five phase theory. Yin-yang theory also applied to other art forms, such as writing, calligraphy, and painting.

The aesthetic significance of yin-yang theory is not just a theoretical foundation for the aforementioned arts, but also a huge influence on the Chinese aesthetic of natural beauty. The theory of yin-yang and the five phases is based on prolonged observation of nature and the conclusions drawn from this observation. It reflects the basic knowledge of the world through the eyes of the ancient Chinese. In ancient China, it was thought that the most beautiful music adhered closely to nature. The idea of the Tao, elaborated by Lao Zi (570 BC), embodied the idea of conforming to nature. He put forward that “the principle of the Tao is nature”, and valued original natural beauty while opposing overdecorated beauty. He once illustrated the theory of being natural without decoration with the phrase, “The great ingenious should be like the clumsy”, which is now a principle of aesthetics. Zhuang Zi (369-286 BC) carried on Lao Zi's theory and esteemed the natural as the pinnacle of beauty. He said that “natural beauty cannot be surpassed”, and “achieve beauty without the artificial”, meaning that while a successful artwork is artificial, it should look natural. The theory of yin-yang and the five phases originates from nature and contains the idea of adhering to nature. It has influenced Chinese aesthetics for thousands of years, and is one of the most basic characteristics of the system. Whenever beauty is gained, natural principles should be followed.

The aesthetic idea of adhering to nature as reflected in yin-yang and five phase theory has permeated Chinese cosmetology, so when physical beauty is pursued by practitioners,natural and innate beauty are always considered. Health preservation, popular since the Warring States Period, seeks to prolong life and retain good looks through qi gong,exercise, proper diet, self-cultivation through meditation, a balanced daily life, and proper sexual habits. According to traditional Chinese medicine, depleted qi and blood in the five zang organs may damage looks. Supplementation (including supplementing deficiency,either acquired or innate, or preventing premature senility) is a common way to achieve health and beauty. Sun Si-miao, a famous doctor from the Tang Dynasty, thought that to prolong life, people over forty need to take supplementing medicinals, and those above fifty cannot live without taking supplementing medicinals all year ( Important Formulas Worth a Thousand Gold Pieces for Emergency, Bèi Jí Qiān Jīn Yào Fāng, 备急千金要方). In the Song Dynasty, Comprehensive Recording of Divine Assistance ( Shèng Jì Zŏng Lù, 圣济总录) said, “Benefit the depleted, supplement the insufficient. By benefiting the qi, blood, and vessels, and strengthening the sinews and bones, the hair can be nourished and the looks can be retained”. The above quotes show that retaining good looks and beautifying can be achieved by supplementing. For health preservation or retain looks,the instruction idea is seeking for the root of beauty, achieving exteral or local beauty by internal or whole body regulation; thus the effect is natural beauty without excessive adornment.

The basic idea of zhonghe is harmony and moderation. The beauty of zhonghe,which is one of the most significant traditional aesthetic categories, is reflected in many art forms such as music, painting, poetry, and architecture. The idea of zhonghe is also reflected in the appreciation of physical beauty. For example, during the Warring States Period, the poet Song Yu described a beautiful woman, saying, “Plus one inch (in height)would be too tall, minus one inch would be too short. Face powder would look too white,and rouge would look too red”.

The idea of zhonghe is very important in Chinese medicine. According to zhonghe theory, daily life, diet, emotions, desires, and balance of work and rest should all be in moderation, rather than excessive or insufficient. Maintaining zhonghe, meaning to keep yin at peace and yang sound, and retaining harmony between qi and blood, can preserve the balance between yin and yang in the body and assure a long and healthy life. The Spiritual Pivot ( Líng Shū-Shī Zhuàn, 灵枢·师传) says, “Food should be neither too hot nor too cold”. The Guide to Disciplining Temperament and Prolonging Life ( Yǎng Xìng Yán Mìng Lù, 养性延命录) says, “the principle of health preservation is no excessive work or rest ”. Principles of Correct Diet ( Yĭn Shàn Zhèng Yào, 饮膳正要) says, “the chief principle of health preservation is to keep moderation, so diseases cannot occur”. The aforementioned health preservation principles are guiding ideas in Chinese cosmetology.

The idea of zhonghe is embodied in the treatment of disease, as the guiding ideology behind pattern differentiation. The Canon of Internal Medicine ( Nèi Jīng, 内经) states,“It is important to unblock the qi and blood in the five zang organs until moderation is achieved”. Basic Questions-Discussion on the Crucial ( Sù Wèn-Zhì Zhēn Yào Dà Lùn,素问·至真要大论) states , “For yin deficiency with yang hyperactivity, supplement yin and then drain yang, so that yin-yang can be balanced”. The idea of zhonghe should also be applied in Chinese cosmetology treatments, such as “treat cold with heat, treat heat with cold”, “treat yin to cure yang diseases, treat yang to cure yin diseases”, “treat excess patterns by drainage, treat deficiency patterns by supplementation”, “harmonize ying and wei”, “restrict earth and support wood”, “support earth to restrict water”, “assist metal to calm wood”, and “restore coordination between the heart and kidney”.

Originally, wen referred to literary grace and zhi referred to the essential without rhetoric. There are many expositions on wenzhi in the history of traditional Chinese aesthetics. When wen is seen as more important than zhi, artificial beauty esteemed above the natural. Someone as beautiful as Xi Shi, would be seen as unattractive without adornment; otherwise she can attract everyone. Ge Hong, a famous medical scientist during the Jin Dynasty, valued artificial beauty in his masterwork Bao Pu Zi.He believed that beautiful things and people could be made more beautiful by proper adornment, and ugly things or people should conceal their faults by adornment. Since Ge Hong gave so much importance to artificial beauty, he wrote many formulas to treat “face without smooth and moist skin, with dark speckles and wrinkles”, “dark skin,complexion, and a turbid face with thick, ugly-looking skin”, and “lusterless hair” in his book A Handbook of Prescriptions for Emergencies ( Zhǒu Hòu Fāng, 肘后方).

Others believe that zhi is more important than wen, and value intrinsic beauty. A jade stone is born with great beauty and does not need to be adorned by gold or silver. If something can be seen only with adornment, it is not beautiful by itself.

Others believe that wen and zhi are equally important. They emphasize the importance of zhi and value adornment. In the history of traditional Chinese aesthetics, allusions to wen and zhi are plentiful. Wen refers to external beauty including color, shape, language, and style of writing. Zhi refers to the beauty of the spirit and innate qualities rather than physical beauty. When wenzhi is discussed, all meanings are included.

When comparing wen and zhi in aesthetics, zhi is more important in Chinese cosmetology. Many internal cosmetic formulas can be found in ancient medical books,which encourage innate beauty by harmonizing the zang-fu organs, unblocking the channels, and supplementing qi and blood with Chinese medicine. The idea of pursuing innate beauty originates with Chinese cosmetology's idea of valuing natural beauty. The effects of pursuing zhi can be maintained long term, but it will take a few months to see results, while the effects of pursuing wen cannot be kept for long, but provide quick results. Since the wen approach to beauty can be achieved easily and can conceal faults, making the beautiful even more perfect,ancient Chinese medical scientists did not exclude adornment of physical beauty from their studies. Many formulas are provided to achieve wen beauty in ancient Chinese medical texts. The characteristics of Chinese medicine cosmetology combine zhi and wen while valuing zhi, interior and exterior while valuing interior, and long-term and short-term effects while valuing the long-term.

Zhi beauty includes the beauty of physicality and lofty character. In traditional Chinese aesthetics, the ideas of the true, the good, and the beautiful intermingle. Thus physical beauty and moral beauty cannot be separated. Most doctors in China value moral beauty. Ge Hong, while providing many methods to improve physical beauty,opposed judging beauty only by just the appearance. He believed that moral beauty was also important.

Charm signifies a natural elegance and manners, or vivid and lifelike features in paintings. Whether referring to features in paintings or the written word, charm is the spirit and internal beauty, as opposed to external beauty. After the Tang Dynasty,charm was embraced by many art forms and became the highest state of art works. It is important to appreciate the charm of literature, painting, and calligraphy, in order to “enjoy the essence beyond the work itself and feel the excellence beyond the words”.

For Chinese cosmetology, charm shows the vigor of life. Spirit is significant in Chinese medicine. In a broad sense, spirit means the external manifestation of vigor. In a narrow sense, spirit means the activities of vitality, consciousness, and thinking. In conclusion, spirit is a very pervasive conception. When one has smart thinking, clear speech, a nourished complexion, bright eyes, a sensitive response, flexible movement, and a free posture, one is recognized to have presence of spirit, showing health and beauty.According to the essential qi theory in Chinese medicine, the human body is composed of qi, which is in continuous movement. The human body is moving and living. Presence of spirit, in fact, is the external expression of vigorous life.

Between charm and physical beauty, Chinese cosmetology considers charm as more important, and pursues the beauty of essence, disposition, and vigor. However, the appearance is also pursued in Chinese cosmetology. The ideal beauty is the combination of charm and physical beauty. The pursuit of this combination is the most significant characteristic of Chinese cosmetology.

Recently, both doctors and beauty seekers tend to pursue physical beauty instead of charm, which is against traditional ideas of aesthetics. It is the duty of cosmetic workers to provide direction for beauty seekers to achieve the beauty of both appearance and spirit.