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In a Bronze Mirror: Eileen Chang’s Life and Literature Main Menu Eileen Chang's Life and Legacy LA Team: Yiwei, Helena and Jenny Chinese Life and Fashions Love in Fallen Cities Red Roses White Roses Motherhood and Marriage Historical Translations
and Cross-Cultural Futures About the Project

Eileen Chang with Xianglan Li, ca. 1943

37898 Eileen Chang with Xianglan Li, ca.1943. In 1943, I met the celebrity Li Xianglan(originally Japanese). I wanted to take a picture with her but I was too tall and it wouldn't have looked good so someone found a stool for me to sit down and she had to stand beside me. In the book "Yu Yun", it talks about this cloth. -- "Dui Zhao Ji", p. 065; 张爱玲和李香兰的照片, ca.1943。"一九四三年在园游会中遇见影星李香兰（原是日本人山口淑子），要合拍张照，我太高，并立会相映成趣，有人找了张椅子来让我坐下，只好委屈她侍立一旁。《余韵》书中提起我祖母的一张夹被的被面做的衣服，就是这一件。是我姑姑拆下来保存的。虽说[陈丝如烂草]，那裁缝居然不皱眉，一声不出拿了去，照炎樱的设计做了下来。米色薄绸上潵淡墨点，隐着暗紫凤凰，很有画意，别处没看见过类似的图案。"-- 对照记，p. 065

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Eileen Chang's Chinese Life & Fashions Jessica Lin
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1. Eileen Chang Fashion ca.1944 Eileen Chang, ca. 1944. In 1944, my friend Zhang had sent someone to take my picture and I wore this Chinese-style dress. After a few shots, I was asked to take different kinds of pictures and thus, I wore a robe on the outside of the dress. -- "Dui Zhao Ji", -- p 067; 张爱玲的照片, ca. 1944."一九四四年业余摄影家童世璋与他有同好的友人张君，名字一时记不起了，托人介绍来给我拍照，我就穿那件唯一的清装行头，大袄下穿着薄呢旗袍。拍了几张，要换个样子。单色呢旗袍不上照，就在旗袍外面加件浴衣，看得出颈项上有一圈旗袍领的阴影。（为求线条简洁，我把低矮的旗袍领改为连续的圈领）"-- 对照记，p. 067
2. Eileen Chang's grandmother and her mother, [s.d.] Eileen Chang's grandmother and her mother， [s.d.]. When my grandmother was 18 years old, she took this picture with her mother. It seems like she's baring a laugh. It's probably the Caucasian photographer under the black cloth. -- "Dui Zhao Ji", p 033; 张爱玲的祖母与她母亲的合照，[s.d.]. "我祖母十八岁的时候与她母亲合影。她仿佛忍着笑，也许是笑钻在黑布下的洋人摄影师。-- 对照记，p 033
3. Eileen Chang in qipao (2)
4. Eileen Chang with Xianglan Li, ca. 1943 Eileen Chang with Xianglan Li, ca.1943. In 1943, I met the celebrity Li Xianglan(originally Japanese). I wanted to take a picture with her but I was too tall and it wouldn't have looked good so someone found a stool for me to sit down and she had to stand beside me. In the book "Yu Yun", it talks about this cloth. -- "Dui Zhao Ji", p. 065; 张爱玲和李香兰的照片, ca.1943。"一九四三年在园游会中遇见影星李香兰（原是日本人山口淑子），要合拍张照，我太高，并立会相映成趣，有人找了张椅子来让我坐下，只好委屈她侍立一旁。《余韵》书中提起我祖母的一张夹被的被面做的衣服，就是这一件。是我姑姑拆下来保存的。虽说[陈丝如烂草]，那裁缝居然不皱眉，一声不出拿了去，照炎樱的设计做了下来。米色薄绸上潵淡墨点，隐着暗紫凤凰，很有画意，别处没看见过类似的图案。"-- 对照记，p. 065
5. Eileen Chang's grandmother and her daughter and son, [s.d.]
6. Cheongsam Dress with Snap Closure
7. Chinese Mud Silk Cheongsam Dress
8. Woman's Bordeaux Cheongsam Dress
9. Woman's Cheongsam Dress pink silk brocade
10. Eileen Chang with Ying Yan， ca. 1944

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Eileen Chang's Chinese Life & Fashions Curtis Fletcher
Contents of this tag:
1. Eileen Chang's grandmother and her mother, [s.d.] Eileen Chang's grandmother and her mother， [s.d.]. When my grandmother was 18 years old, she took this picture with her mother. It seems like she's baring a laugh. It's probably the Caucasian photographer under the black cloth. -- "Dui Zhao Ji", p 033; 张爱玲的祖母与她母亲的合照，[s.d.]. "我祖母十八岁的时候与她母亲合影。她仿佛忍着笑，也许是笑钻在黑布下的洋人摄影师。-- 对照记，p 033
2. Eileen Chang Fashion ca.1944 Eileen Chang, ca. 1944. In 1944, my friend Zhang had sent someone to take my picture and I wore this Chinese-style dress. After a few shots, I was asked to take different kinds of pictures and thus, I wore a robe on the outside of the dress. -- "Dui Zhao Ji", -- p 067; 张爱玲的照片, ca. 1944."一九四四年业余摄影家童世璋与他有同好的友人张君，名字一时记不起了，托人介绍来给我拍照，我就穿那件唯一的清装行头，大袄下穿着薄呢旗袍。拍了几张，要换个样子。单色呢旗袍不上照，就在旗袍外面加件浴衣，看得出颈项上有一圈旗袍领的阴影。（为求线条简洁，我把低矮的旗袍领改为连续的圈领）"-- 对照记，p. 067
3. Eileen Chang in qipao (2)
4. Eileen Chang with Xianglan Li, ca. 1943 Eileen Chang with Xianglan Li, ca.1943. In 1943, I met the celebrity Li Xianglan(originally Japanese). I wanted to take a picture with her but I was too tall and it wouldn't have looked good so someone found a stool for me to sit down and she had to stand beside me. In the book "Yu Yun", it talks about this cloth. -- "Dui Zhao Ji", p. 065; 张爱玲和李香兰的照片, ca.1943。"一九四三年在园游会中遇见影星李香兰（原是日本人山口淑子），要合拍张照，我太高，并立会相映成趣，有人找了张椅子来让我坐下，只好委屈她侍立一旁。《余韵》书中提起我祖母的一张夹被的被面做的衣服，就是这一件。是我姑姑拆下来保存的。虽说[陈丝如烂草]，那裁缝居然不皱眉，一声不出拿了去，照炎樱的设计做了下来。米色薄绸上潵淡墨点，隐着暗紫凤凰，很有画意，别处没看见过类似的图案。"-- 对照记，p. 065
5. Eileen Chang's grandmother and her daughter and son, [s.d.]

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Red Roses White Roses In 1944, Eileen Chang published Red Rose and White Rose (紅玫瑰與白玫瑰), a novella resonating with the writer’s perspectives on love, gender, and sexuality. The female protagonists – one bound to Chinese tradition and the other modern and independent – symbolize the primary gender stereotypes of Republican China. Red Rose and White Rose explores how men construct these gender stereotypes, while seeking to control women who embody them. Simultaneously, Chang’s pairing of complex female characters and treatment of their shared encounters moves beyond simplistic binaries to reveal a multilayered feminist perspective on male-dominated society. A half century following the publication of Red Rose and White Rose, director Stanley Kwan adapted the novella into an acclaimed film. Published four years after Red Rose and White Rose, Chang’s Half a Lifelong Romance (半生緣) ruminates on ill-fated romance and the inescapable fate of women in the 1940s China. The story follows the plight of women, who do not get to choose who they marry. In a correspondence with Professor C.T. Hsia, Chang suggests Eighteen Springs would be suitable for film adaptation because of its dramatic turns and envisions one leading actress playing the two leading sisters. After Chang’s death, in 1997, Ann Hui directed a film version of Half a Lifelong Romance entitled Eighteen Springs. Chang’s Rouge of The North (怨女) of 1967 expands upon her earlier works’ considerations of love and marriage. Rouge of the North portrays a woman’s twisted transformation following her marriage to the blind, bedridden son of a rich family. The couple’s unsatisfying family life and the exacting dictates of the woman’s mother-in-law leaves her hopeless. After her demanding mother-in-law dies, the woman moves out of the big house with her son. When her son gets married, she, in turn, becomes a perverted mother-in-law, inflicting pain on others. Chang narrates this cyclical abuse and ensuing tragedies across generations, critiquing the conventions of marriage. Evident in Chang’s stories and correspondences, she maintained a disbelief in marriage and yearning for true love.
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