Based on Merleau-Ponty's body phenomenology and drawing on Bifei Cao's three-dimensional framework of "carrier, field, homogeneity", this paper systematically explores the narrative construction of contemporary fashion silhouettes. The research shows that: in the carrier dimension, fashion silhouettes become media of bodily perception and carriers of spiritual extension through perceptual intervention and cognitive reconstruction, realizing the narrative sublimation from individual perception to the spirit of the times; in the field dimension, silhouettes coexist dynamically in the fields of brand, exhibition and socio-culture, intertwining to form a temporal-spatial narrative system; in the homogeneity dimension, relying on embodied design and digital media, silhouettes break the boundary between clothing and body, and realize the symbiotic shift from external attachment to bodily extension. As a composite visual medium of bodily perception, spatial narrative and cultural spirit, contemporary narrative silhouettes provide theoretical perspectives and practical paths for the contemporary translation of traditional aesthetics and the construction of local design culture.

This paper examines how tragic aesthetics is reshaped through a culturally embedded sense of beauty. Drawing on the classical theory of paradox and on the insights of scholars such as Qiu Zihua, it explores the ways in which the tragic spirit is absorbed into, and transformed by, a broader aesthetic tradition. Taking Farewell My Concubine as its case study, the paper focuses on how the film uses Peking opera not merely as a visual or narrative device, but as a medium through which restraint, harmony, resilience, and inner tension are brought into contact with the tragic subject's pursuit of freedom and resistance. In doing so, the paper argues that the work offers a meaningful reference for contemporary artistic creation.