摘要

The aim of this study was to compare the painting portraits of beautiful women, femme fatales, and artists%26apos; mothers using anthropometry. %26lt;br%26gt;Portraits of each theme were selected in modern novels, essays and picture books, and categorized portraits. A total of 52 samples were collected, including 20 beautiful women, 20 femme fatales, and 12 artists%26apos; mothers. In 5 persons, 17 anthropometric ratios including the alae-alae/zygion-zygion ratio were compared in a 15-degree oblique view and in anteroposterior view photographs, and they were proved to not differ significantly. To distinguish oblique portraits less than 15 degrees, we measured the exocanthion-stomion-exocanthion (ESE) angle in photographs of 5 volunteers. The mean +/- SD of the ESE angle was 64.52 +/- 4.87 in the 15-degree angle view and 57.68 +/- 54.09 in the 30-degree angle view. Thereafter, if the ESE angle was greater than 65 degrees, we considered the portrait to have less than a 15-degree angle and included it in the samples. %26lt;br%26gt;The ratio did not differ significantly in 11 anthropometric proportions. However, the remaining 5 proportions were statistically significant. Beautiful women had wider noses (85% of the endocanthion-endocanthion width) than those of the femme fatale group (77%). Lips in the beautiful woman group are nicer and thicker (36% of lip%26apos;s width) compared with the artists%26apos; mother group (27%). Femme fatales were relatively similar to beautiful women such as those women with nice and thick lips. However, the femme fatale group had an attractive midface ratio (36% of the total face height) that has been mentioned in the older literature, and the noses of the femme fatale group were narrower and sharper (77% of the endocanthion-endocanthion width) than those of the beautiful women (85%). The artists%26apos; mother group has a relatively narrower upper face (29% of the total face height) and thinner lips (27% of the lip width) compared with the other 2 groups (36%). %26lt;br%26gt;Proportions from works of art are more ideal and attractive than clinically measured proportions. The ideal ratios measured from historical portraits might be useful in planning facial surgeries.