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Universitas Islam Lamongan The Use of Hyperbolic Figures of Speech () in Online Shopping Advertisements on Taobao: A Thematic Analysis of the Shift in Chinese Beauty Standards from AoAo to AouaAo Iffa MarAoatus Shohibul Birri1.
Subandi2.
Dzun Nun Septin Renda Rabbani3.
Rokhishotul Amaliyah4.
Ren Huiling5.
Lin Xinyue6 Universitas Negeri Surabaya.
Surabaya.
Indonesia1,2,3,4 Central China Normal University.
Wuhan.
China5 iffabirri@unesa.
id1, subandi@unesa.
id2, dzunrabbani@unesa.
rokhishotulamaliyah@unesa.
id4, 1980427218@qq.
com5, veronica1210@gmail.
* is Corresponding Author Abstract Submitted:
October 10.
Accepted:
October 29.
Revised:
November 23.
Published:
December 25.
This study examines the use of hyperbole () in online shopping advertisements on the Taobao platform, with particular attention to how these expressions construct and represent the shift in Chinese beauty standards from the traditional ideal of oo .
hite, thin, youthfu.
to the emerging aesthetic trend ua (Chinese national-style Using a qualitative approach supported by multimodal discourse analysis of 40 Taobao advertisements .
0Ae2.
, this study identifies key patterns in linguistic hyperbole, visual design, and embedded cultural meanings.
The findings show that hyperbole in oo-themed advertisements predominantly amplifies extreme and unrealistic beauty ideals.
Meanwhile, hyperbole in ua themed advertisements emphasizes natural beauty, cultural symbolism, and national pride through expressions such as so stunning it leaves people breathless or instant oriental charm.
These forms celebrate diversity and promote culturally rooted aesthetic values.
Overall, the study demonstrates that hyperbole in Taobao advertisements serves not only as a persuasive rhetorical device but also as a cultural marker that reflects shifting beauty ideologies and growing cultural confidence in modern Chinese society.
The research contributes to the fields of digital media linguistics.
Chinese popular culture, and rhetorical strategies in online marketing.
Keywords: Hyperbole.
Taobao advertisements.
Chinese beauty standards.
linguistics, multimodal discourse.
INTRODUCTION
Over the past decade, beauty standards in China have undergone a highly significant and multidimensional transformation.
While from 2000 to 2015 the AuidealAy female image was dominated by the influence of K-pop culture.
Western aesthetics, and urban popular culture promoting the concept of oo .
air-skinned, thin, and youthfu.
, since 2018 a marked shift has occurred toward a nationally inspired aesthetic embodied in the phenomenon of ua.
This shift not only reflects changes in public aesthetic preferences but is also rooted in the rise of nNUnN .
ultural confidenc.
, which has become a central focus in contemporary Chinese cultural discourse.
Xu Jilin .
n, 2.
asserts that cultural confidence provides a crucial foundation for modern Chinese society to sustain, negotiate, and express its cultural identity amid globalization.
Within this framework, u is E-Link Journal.
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Universitas Islam Lamongan understood as a direct manifestation of national identity revivalAian integration of traditional Chinese values with modern consumer culture.
The role of e-commerce platforms such as Taobao has become highly significant in shaping this evolving beauty discourse.
As a competitive digital promotional space.
Taobao advertisements rely on concise, expressive, hyperbolic, and emotionally intensified language to capture user attention within a short span of time.
Hyperbole () is one of the most dominant linguistic strategies employed to construct strong impressions of product superiority while simultaneously shaping consumer perceptions of ideal beauty.
In this study, hyperbole is understood not only as a stylistic device of exaggeration but as a strategic rhetorical resource that intensifies meaning, reinforces product claims, and contributes to the construction of beauty ideals in the Chinese digital marketplace.
Meanwhile, the dynamic shift in Chinese beauty standards has become a focal point of scholarly inquiry in recent years.
Zhang Meng .
U, 2.
argues that the oo aesthetic emerged as a consequence of OOa .
he aesthetics of consumeris.
, which positions the female body particularly pale skin and thinnessAias a visually marketable commodity.
This standard has been reinforced by advertising and entertainment industries, generating strong social pressure on young However, with the rise of the u phenomenon, a redefinition of beauty has emerged among Chinese youth.
According to Li Xueping .
auas, 2.
, beauty in contemporary China is no longer limited to fairness and thinness, but is understood as an expression of canNUna .
ational cultural symbol.
, including the use of traditional Chinese colors.
Asian facial features, classical oriental makeup styles, and traditional aesthetics such as Hanfu.
This transformation in aesthetic values is also closely connected to cultural semiotics .
NUna ), which views advertising as a system of cultural signs that negotiates national identity, aesthetic values, and social representation (Jia Yuxin, 2.
In the context of ua, hyperbole in advertisements not only amplifies product advantages but also reinforces Chinese cultural symbolism embedded in visual elements .
olor palettes, traditional clothing, classical motif.
and linguistic forms .
riental metaphors, classical idioms, aesthetic phrasin.
Previous research has highlighted the important role of hyperbole in Chinese beauty advertising.
Li .
found that hyperbolic style increases IOINOu .
isual shock effec.
, while Wang .
revealed that expressions such as oOacIO .
o white it glow.
and oOaAeIO .
hin like a beam of ligh.
construct fantasies of rapid transformation.
More recently.
Liu Fang .
, 2.
notes that u themed advertisements use hyperbole to emphasize authenticity, character strength, and una i .
riental aesthetic temperamen.
However, despite these valuable contributions, previous studies have not examined how hyperbole functions specifically within the aesthetic transition from oo to ua, nor how multimodal elements in Taobao advertisements jointly construct this shift.
Existing research tends to focus either on beauty standards or on hyperbolic expressions in isolation, leaving a gap in understanding their interrelationship within digital commercial discourse.
Accordingly, this study addresses this gap by integrating Western and Chinese rhetorical theory, aesthetic studies, and cultural semiotics to analyze how hyperbole in Taobao advertisements constructs and represents the transition from oo to ua.
By examining both linguistic and visual modes, this research offers a more comprehensive understanding of the dynamics of beauty representation in ChinaAos digital consumer culture and contributes to broader discussions in media linguistics and popular culture studies.
This theoretical framework presents the conceptual foundation underlying the analysis of the use of hyperbole () in online shopping advertisements on the Taobao platform, particularly within E-Link Journal.
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Universitas Islam Lamongan the context of the shift in Chinese beauty standards from oo to ua.
The use of hyperbole in advertising cannot be understood merely as a linguistic phenomenon, but rather as a cultural, cognitive, and multimodal practice that reflects the aesthetic dynamics and identity construction of modern Chinese society.
Therefore, the theoretical discussion integrates multiple perspectives, including Western and Mandarin rhetorical theory.
Chinese beauty aesthetics, cultural semiotics, multimodal discourse analysis, and digital consumer behavior theory.
In Western rhetorical tradition, hyperbole is regarded as a figurative device that exaggerates reality to produce persuasive and emotional effects.
Aristotle, in Rhetoric, explains that hyperbole constitutes a rhetorical strategy that heightens the intensity of meaning so that the audience receives a strong impression of the message being conveyed.
Keraf .
reinforces this view by asserting that hyperbole is not intended to falsify facts, but to emphasize meaning through amplified expression.
The cognitive perspective introduced by Lakoff and Johnson .
demonstrates that hyperbole forms part of a conceptual mapping process that enables individuals to perceive the attributes of an object with greater intensity.
McCarthy and Carter .
identify several key characteristics of hyperbole, such as intensification, striking contrast between reality and expression, and its function in constructing persuasion across different text types, including advertising.
The Mandarin rhetorical tradition offers a distinct depth to the concept of hyperbole.
Chen Wangdao .
OuuAe, 1.
, in Xicyxuy FAfyn AOacNAU, emphasizes that is not falsehood, but an artistic intensification used to reflect truth by expanding, diminishing, or transcending normal boundaries of expression.
Chen categorizes hyperbole into three principal forms: O .
, a .
, and IO .
ranscendence of logi.
Meanwhile.
Wang Dechun .
Uou, 2.
develops a modern rhetorical perspective, asserting that hyperbole in media operates through three essential functions: strengthening verbal messages, eliciting emotional resonance in audiences, and guiding consumer actions.
These functions are highly relevant to Taobao advertisements, which employ hyperbole strategically to maximize message appeal.
Within the context of Chinese beauty aesthetics, two dominant concepts influence advertising message construction: oo and ua.
The oo aesthetic, which developed between 2000Ae 2015, emerged from OOa .
he aesthetics of consumeris.
, in which fair skin, thin bodies, and youthful facial features were regarded as idealized beauty standards.
Zhang Meng .
U, 2.
explains that this aesthetic was shaped by the convergence of Korean pop culture.
Western beauty norms, and social media trends that emphasized pale and cute visual styles.
Beauty advertisements during this period frequently employed extreme hyperbole such as oOasIO .
o white it reflects ligh.
and oOaON .
o thin like pape.
, reflecting unrealistic standards that imposed social pressure on In contrast, ua emerged as an aesthetic and cultural phenomenon representing the rise of nNUnN .
ultural confidenc.
among Chinese society.
Li Xueping .
auas, 2.
notes that ua is a modernized expression of traditional Chinese aesthetics, characterized by the use of iconic color palettes such as Guofeng Red and Camellia Red, oriental-inspired makeup, natural Asian facial features, and cultural symbols such as Hanfu.
This beauty standard emphasizes authenticity, strength of character, and cultural refinement, marking a clear ideological departure from the white, thin, young Cultural semiotics provides an important theoretical lens to understand the role of symbolism in Taobao advertising.
According to Jia Yuxin .
On, 2.
, digital media functions as a system of cultural signs that produces and negotiates meaning through visual and verbal symbols.
Within this context, oo hyperbole operates as a symbol of globalization-driven extreme aesthetics, whereas E-Link Journal.
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Universitas Islam Lamongan ua hyperbole constructs beauty symbols rooted in cultural pride.
Oriental red tones and traditional motifs function as symbolic representations that reinforce visual messaging and supply cultural context within advertisements.
Multimodal analysis expands the understanding of how meaning is constructed through the interaction of multiple semiotic modes.
Kress and van Leeuwen .
explain that text, visuals, color, typography, and composition operate simultaneously in producing meaning within digital media.
Taobao advertisements, linguistic hyperbole such as AeEOO .
tunning in one secon.
and eaoo u .
nstantly transformed into a fair.
is reinforced by visuals featuring bright lighting, fair skin, goldred color schemes, or traditional ornaments that create an oriental aesthetic effect.
This interplay between text and imagery strengthens the persuasive force of hyperbole.
In Chinese digital consumer behavior theory, hyperbole is also understood as a persuasive technique within the attention economy.
Wang Xiaoming .
Uoeoa, 2.
explains that digital advertising operates amid intense competition for extremely brief user attention spans, making hyperbole a trigger for attention, curiosity, and impulsive action.
Furthermore, inductive text theory in Chinese digital marketing illustrates that hyperbolic expressions are designed to provoke emotional responses such as admiration or a desire for instant transformation, as seen in expressions like aO sAu .
o beautiful one cannot look awa.
or siuEoioo .
thereal beauty without photo editin.
Based on these theoretical perspectives, it can be concluded that hyperbole () in Taobao advertising constitutes a multidimensional phenomenon.
It functions not only as a stylistic device, but also as an instrument for constructing beauty perception, shaping cultural identity, and enabling multimodal communication strategies.
The use of hyperbole reflects a shift in beauty representation from the globalized aesthetics of oo toward the national aesthetics of ua, while demonstrating how advertising actively shapes cultural understanding and consumption practices in modern China.
Building upon the background and research gap identified earlier, this study aims to examine in depth how hyperbolic expressions () in Taobao advertisements construct and represent the aesthetic transition from the globalized beauty ideal of oo to the culturally grounded aesthetic of ua.
This research objective involves not only analyzing the linguistic forms of hyperbole but also investigating how multimodal elementsAisuch as visuals, color schemes, typography, composition, and culturally embedded symbolsAiwork together to reinforce hyperbolic meaning.
Guided by this aim, the study addresses several key questions: how linguistic hyperbole is constructed in advertisements representing the aesthetics of oo and ua.
how multimodal resources such as images, layouts, and color palettes interact with textual hyperbole.
how verbal and visual modes collectively represent shifting beauty standards.
and what cultural or ideological meanings emerge from the use of hyperbole in the context of contemporary Chinese beauty discourse.
A descriptive qualitative approach is employed because the phenomenon under investigation is interpretive, culturally situated, and not reducible to numerical measurement.
The study adopts Multimodal Discourse Analysis (MDA) to uncover how language, imagery, and visual design operate simultaneously in shaping advertising messages, while cultural semiotics provides a conceptual lens to explain how symbols and representations negotiate cultural identity and aesthetic values within the This methodological choice allows for a comprehensive exploration of the complex interplay between language, culture, and visual communication in TaobaoAos beauty advertising.
Consequently, this research fills the existing scholarly gap where previous studies have tended to analyze hyperbole and beauty standards separately by offering an integrated perspective that contributes to media linguistics.
Chinese cultural aesthetics, and digital representation studies.
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Universitas Islam Lamongan METHOD This study employs a descriptive qualitative design to investigate linguistic and visual patterns of hyperbole in Taobao beauty advertisements.
The research procedures were carried out through several systematic steps to ensure clarity in unit selection, coding, and multimodal categorization.
First, data were collected from 40 online shopping advertisements published on the Taobao platform between 2020 and 2024.
The advertisements were selected using purposive sampling based on three criteria: .
the presence of linguistic or visual hyperbole, .
representation of oo or ua aesthetic features, and .
classification within beauty or fashion product categories.
Store credibility .
atings above 4.
served as an additional filter to ensure the selection of widely consumed and competitively marketed advertisements.
Second, all advertisement materials including headline text, descriptive captions, images, visual layouts, color palettes, typography styles, and symbolic elements were downloaded and documented in digital format.
These components formed the units of analysis, representing multiple semiotic layers within the multimodal dataset.
The collected data were organized into two primary categories:
advertisements reflecting oo aesthetics and those reflecting ua aesthetics.
Each advertisement was coded and labeled according to its aesthetic theme and dominant hyperbolic Third, the analysis employed Multimodal Discourse Analysis (MDA) to examine how verbal and visual components interact in constructing beauty meanings.
The analytical procedure consisted of three stages .
Linguistic analysis: identifying hyperbolic expressions, sentence patterns, modifiers, and intensification strategies.
Visual analysis : examining composition, color palette, spatial arrangement, typography, symbolism, and aesthetic cues.
Multimodal categorization : mapping the interaction between linguistic and visual hyperbole and determining how these modes collectively construct the aesthetics of oo and ua.
To manage the complexity of multimodal data, a coding framework was applied.
Hyperbolic elements were categorized into .
Linguistic hyperbole .
exical exaggeration, metaphorical intensification, evaluative adjective.
Visual hyperbole .
rightness exaggeration, feature enhancement, symbolic overemphasi.
Cultural hyperbole .
ationalist symbolism, traditional aesthetic amplificatio.
This model allowed systematic comparison between the two aesthetic Fourth, data validity was ensured through procedural triangulation.
Repeated coding checks were conducted, interpretations were compared across analytic categories, and peer debriefing sessions were used to verify coding consistency and strengthen interpretive reliability.
Finally, findings were presented in thematic categories describing types of hyperbole associated with each aesthetic style, supported by representative textual excerpts, visual examples, and multimodal descriptions.
This structured methodological approach provides transparency and rigor in analyzing how hyperbolic language and visual design jointly construct beauty ideologies in contemporary Chinese digital RESULT The analysis shows that a number of hyperbolic expressions recur across the oo-themed For example, several ads emphasize instantaneous transformation through phrases such as Aoinstantly white with one swipe.
Ao This pattern of repetition reflects the functions of hyperbole as described by Wang Dechun .
, namely qiynghuyxyng gsngnyng (UnAOE, intensifying functio.
and yyudaoxyng gsngnyng (AOE, persuasive functio.
Thus, hyperbole functions not merely as a linguistic ornament but as a rhetorical mechanism that constructs a particular beauty reality one centered on extreme whiteness, instant results, and visual perfection which is ideologically reproduced through these advertisements.
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Universitas Islam Lamongan The findings of this study were derived from an analysis of 40 online shopping advertisements from the Taobao platform published between 2020 and 2024.
Twenty advertisements represent the oo .
air, thin, youthfu.
aesthetic, while the remaining twenty reflect the ua .
ationalstyle/Guochao beaut.
The data were analyzed using Multimodal Discourse Analysis (Kress & van Leeuwen, 2.
Mandarin rhetorical theory (Chen Wangdao, 1932.
Wang Dechun, 2.
Chinese beauty aesthetics (Zhang Meng, 2021.
Li Xueping, 2.
, and cultural semiotics (Jia Yuxin.
Overall, the findings reveal a distinct contrast in the deployment of hyperbole () between the two aesthetic regimes, observable at the linguistic, visual, and ideologicalAeaesthetic levels.
In examining the oo corpus, the analysis indicates that hyperbolic expressions appear repeatedly across the dataset.
For example, several advertisements emphasize instantaneous transformation through phrases such as Auinstantly white with one swipe.
Ay These recurring expressions illustrate the intensifying and persuasive functions of hyperbole as described by Wang Dechun .
In this context, hyperbole operates not merely as stylistic ornamentation but as a rhetorical mechanism that constructs and normalizes an aesthetic reality centered on extreme whiteness, rapid transformation, and visual perfection an ideal that is ideologically reproduced through commercial Patterns of Linguistic Hyperbole in Taobao Advertisements From a linguistic perspective, the study finds that hyperbole () is systematically employed to construct particular beauty ideals.
Within the oo-themed advertisements, a range of recurring hyperbolic expressions was identified.
The presence of these multiple instances used here as qualitative indicators rather than statistical measures helps illustrate the rhetorical patterns that repeatedly characterize this aesthetic.
Examples of such expressions include.
No.
Table 1.
Hyperbolic Expressions in oo-Themed Advertisements Hyperbolic Expression Meaning Category Explanation Finding it Bodily Depicts the skin as a oOacIOA light modification glowing surface.
oOaOuuCUA White like milk Metaphorical Uses the softness of milk as a metaphor for ideal oauAOA Two shades Instant whiter in three transformation Unrealistic promise of rapid whitening.
oOaasEyA White a Bodily reflector board modification Exaggerates the effect of reflected light.
AO oUaA AuaocuA oEaOyuA One swipe reveals instant whiteness Become a young girl overnight White like the first Frames instantly attainable.
Reinforces Uses natural imagery to Instant Instant Metaphorical E-Link Journal.
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Universitas Islam Lamongan oOsuA oOaouCUA uEOsUA coicoA OncAcaoA oEaOeAA So white it looks Transcendent Skin as white as a Radiantly bright Savior for dark Dark spots fade in 3 days, whitening in 1 week White as if under a spotlight Mythic Natural radiance Persuasive Instant Metaphorical uEacA oOaiuiOuA iuooA Whiter than snow Metaphorical oEaacIOeA AOOa18AA Bodily Instant oasIOiuEOeA oCOAsaA White luminous object One application makes the skin as soft as at age 18 Even the mirror is jealous of the So bright it cannot be concealed A bare face that Natural radiance still glows White like a filter Metaphorical Personification Bodily evoke purity.
Describes a condition Links beauty to mythical Shapes perceptions of natural beauty.
Overstates the productAos corrective power.
Classic Overstates lighting-like Emphasizes without cosmetic aid.
Associates skin with A common extreme comparison in East Asian Describes skin as a glowing entity.
Extreme youth-ideal Hyperbolic Emphasizes In the 20 oo themed advertisements, hyperbole is used to emphasize excessively white skin, bodies that are excessively thin, and faces that appear excessively youthful.
Expressions such as oOacIOA.
o white it radiates ligh.
, oOaOuuCUA.
hite like milk ski.
, oauAO A .
wo shades whiter in just three day.
AuaocuA.
ecome a young girl overnigh.
, and iuo oA .
hiter than sno.
represent examples of O.
agnifying hyperbol.
as defined by Chen Wangdao.
Attributes of fair skin, which are relatively subjective in reality, are amplified as though they emit light, reflect brightness, or surpass the whiteness of snow.
This aligns with the characteristics of hyperbole identified by Keraf .
and McCarthy & Carter .
, namely the presence of an extreme gap between reality and expression for persuasive effect.
Furthermore, several hyperbolic expressions such as oOsuA.
o white it looks E-Link Journal.
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Universitas Islam Lamongan unrea.
, oasIOiuEOeA.
ven a mirror envies the whitenes.
, and oEaacIOeA .
s white as a luminous objec.
may be categorized as IO .
yperbole that transcends logi.
, as they deliberately position skin conditions outside the limits of natural possibility.
Promises of instant transformation are also prominently featured, as seen in expressions such as OncAcao A .
ark spots fade in three days, whitening in one wee.
AO oUaA.
gentle swipe reveals instant whitenes.
, and AOOa18AA.
ne application makes you as delicate as .
These patterns correspond to UnAOE .
he intensifying functio.
and AOE .
he persuasive functio.
proposed by Wang Dechun .
, wherein hyperbole is used to convince consumers that products can induce rapid and dramatic physical transformation.
In contrast, in the 20 ua-themed advertisements, a qualitatively different pattern of linguistic hyperbole is observed.
Hyperbolic expressions no longer center on whiteness, thinness, youthfulness, but instead highlight oriental charm, character strength, and cultural pride.
There are 20 instances of hyperbole identified in ua-themed advertisements, including the following:
No.
Table 2.
Hyperbolic Expressions in ua-Themed Advertisements Hyperbolic Meaning Category Explanation Expression Finding A single swipe reveals CulturalAe Refers to traditional uOoAOsa Chinese aesthetic Chinese A Aura so strong it can be Character Exaggerates the modelAos iuOOnE felt from three meters enhancement EEaOA Oriental charm Cultural Highlights unAcNyuI aesthetic qualities A Red as bright as Mythic Ties beauty to mythic EauuyA Guochao mythology One swipe reveals Bodily Suggests AOoUiA heroic charm enhancement of facial Takes you back to Cultural Nostalgia-focused AeOua ancient times in one time-travel aOEaaiNUAN OaUIuA AuEOA Beautiful like stepping Artistic/mythic out of a painting Connects classical art.
A red so strong it dominates the whole A single glance leaves a stunning impact Oriental beauty aura at full level Dominance Emphasizes Instant Cultural pride Evokes immediate visual Celebrates East Asian E-Link Journal.
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Universitas Islam Lamongan oAUsnUao Oou Graceful not Moralized excessive, beauty in beauty perfect balance Reflects Confucian moral aesthetics.
NuaiuA Comes with a built-in Metaphorical traditional aesthetic Combines digital cultural imagery.
EaaiuA AeOoEuI Red like the cheeks of ancient noblewomen Guochao charm that overwhelms instantly Links beauty to historical Depicts OuA iNi IA aOEaAIIOA uAOiNu! unuAiAC uaUOUI uECA Cultural Instant Beauty rivaling Mythic classical legends Elevates legendary levels.
Charisma so strong it Character cannot be ignored Strengthens personaAos presence.
So beautiful it seems divinely illuminated One stroke of Guochao red dominates the Oriental instantly captures the Guochao aesthetics at maximum, becoming the center of attention Adds spiritual undertones to beauty.
Establishes through color.
Sacred Dominance Mythic/spiritual Suggests enchantmentlike charisma.
Cultural pride Naturalizes Expressions such as aOEOAuA .
o beautiful it captivates at first glanc.
, unAc A uooA .
riental charm that is unforgettable at first sigh.
AeoEA .
nstant eleganc.
, ua I uEuiA .
ationalAestyle makeup, beauty surpassing a paintin.
, and aEaaiNUANyu A .
o beautiful as if stepping out of an ancient paintin.
demonstrate that hyperbole is directed toward reinforcing oriental aesthetic values and cultural confidence.
Here, hyperbolic expression no longer emphasizes extreme physical transformation, but highlights the aura and i .
nner temperament/charism.
associated with oriental facial features.
Several expressions such as unEooA .
n oriental face is inherently high-clas.
, u nauIaAEA.
ll oriental aesthetics gathered in one fac.
, and uaiUO100% A (Guochao elegance at 100%) indicate an ideological function behind hyperbole namely, asserting Asian facial features as aesthetically superior.
This aligns with Li XuepingAos .
argument that u a represents a manifestation of nNUnN .
ultural confidenc.
, wherein classical Chinese aesthetics are modernized and used as the primary basis for beauty valuation.
Thus, while hyperbole in oo advertisements reinforces consumerist and globalized beauty standards, hyperbole in u E-Link Journal.
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Universitas Islam Lamongan a advertisements functions to affirm national aesthetics and cultural identity.
Visual and Multimodal Patterns in Beauty Representation Beyond textual elements, this study also reveals that hyperbole is reinforced through distinctive visual patterns.
In oo themed advertisements, the entire visual composition is oriented toward highlighting pale skin and a thin physique.
Models are presented with extreme white lighting, porcelain-skin filters, poreless cheeks, and cool blue tonal palettes.
Bodies appear extremely slim, legs look elongated and narrow, and facial features are digitally modified such as enlarged eyes, sharper chins, and flattened cheekbones thereby reinforcing imagery of being cute, fragile, and youthful.
Allwhite clothing, white sparkle effects, and monochrome white backgrounds further direct visual focus toward whiteness as the central aesthetic.
Within the framework of Multimodal Discourse Analysis (Kress & van Leeuwen, 2.
, the combination of hyperbolic text such as oOacIOA with visuals of extremely pale skin and whitening filters creates a consistent intersemiotic meaning: whiteness is the singular indicator of ideal beauty.
Thus, linguistic hyperbole does not stand alone, but is supported by color choice, composition, lighting, and visual editing.
This aligns with Kress & van LeeuwenAos premise that meaning in digital media is constructed through the interaction of multiple reinforcing modes .
ext, imagery, color, typograph.
Meanwhile, in ua themed advertisements, visual patterns shift significantly.
Instead of extreme paleness, models are shown with natural and healthy skin tones, flushed cheeks, and visible skin texture.
The dominant colors are no longer white and cool blue, but traditional red, gold, peach, and tea-red hues associated with luck, nobility, and elegance in Chinese aesthetic theory (Li Xueping.
Models wear Hanfu or Guochao fashion with peony motifs, auspicious cloud patterns, and traditional artistic elements.
Hairstyles mimic classical styles, backgrounds feature ancient architecture or ink-painting motifs, and warm lantern-like lighting creates a composition rich in cultural symbolism.
The presence of hyperbolic text such as uaI uEuiA, aEaaiNUANyuA, and a EauOUoEoaA is combined with visual storytelling themed around legends, traditional painting aesthetics, and classical ornamentation.
From the perspective of cultural semiotics .
NUna ) proposed by Jia Yuxin .
, these visual and textual elements function as a cultural sign system representing a modern Chinese identity that embraces pride in its aesthetic heritage.
Thus, while multimodality in oo advertisements serves global consumerist aesthetics, multimodality in u a advertisements visualizes national aesthetics rooted in local culture.
Ideological and Aesthetic Patterns: from Consumerism to Cultural Confidence The third dimension of this study concerns the ideological foundations underlying the aesthetic contrast between oo and ua.
Analysis of the 20 oo advertisements shows that the female body is treated as an object of consumption .
onsumer body projec.
A thin body is positioned as the only ideal form, fair skin is presented as a marker of social status and success, and youthfulness becomes the primary indicator of beauty.
Hyperbolic expressions such as AuaocuA .
AOOa18AA, and oOaONA reflect the cult of youth and obsession with extreme thinness.
Ideologically, this aligns with the concept of OOa (Zhang Meng, 2.
, wherein the body is commodified for consumption and womenAos self-worth is measured by proximity to the whiteAethinAe young standard.
Additionally, findings reveal a strong colorist bias: darker skin is constructed as a problem requiring radical cosmetic intervention, as seen in expressions such as coicoA .
avior for dark This suggests a whitening ideology that associates fairness with status and success, while implicitly positioning darker skin as inferior.
Combined with heavily edited visuals, oo beauty E-Link Journal.
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Conversely, analysis of the 20 ua advertisements reveals an aesthetic ideology grounded in cultural pride .
NUnN) and acceptance of Asian identity.
Hyperbolic expressions such as unE ooA, unauIaAEA, uaiUO100%A, and uAa yaA position Asian facial features, oriental-style makeup, and traditional colors as the center of high-class beauty.
Ay This aligns with Xu JilinAos notion of cultural confidence, referring to modern Chinese societyAos belief in the value of its own aesthetics and cultural identity.
In this framework, beauty is no longer dependent on extreme youth, skin tone, or thinness.
healthy body is valued over an excessively thin one.
diversity in Asian facial features is embraced.
women are depicted as strong and self-assured subjects rather than passive objects of consumption.
Visuals depicting adult women with firm postures and confident gazes reinforce the interpretation that ua promotes female agency.
Thus, hyperbole in ua advertisements not only embellishes beauty, but articulates a new ideology in which beauty becomes an expression of cultural identity, character, and national pride.
DISCUSSION
Based on the three analytical dimensions linguistic, visual, and ideological it can be concluded that the use of hyperbole () in Taobao advertisements evolves from a mere rhetorical device into a complex cultural instrument.
In the oo aesthetic, hyperbole reinforces beauty standards that are globalized, consumerist, and unrealistic, whereby the female body is constructed as a project continually requiring modification through beauty product consumption.
Meanwhile, within the u a aesthetic, hyperbole functions to articulate cultural confidence, revive traditional Chinese aesthetics, and reposition the Asian face as the center of beauty.
Theoretically, these findings confirm the views of Chen Wangdao and Wang Dechun that in modern discourse is not merely ornamental, but carries intensifying, affective, and persuasive functions within media contexts.
The findings also extend Kress & van LeeuwenAos .
theory by demonstrating that in the case of Taobao advertising, textAevisual interaction concerns not only design, but also the negotiation of national aesthetic identity.
Additionally, from the standpoint of cultural semiotics (Jia Yuxin, 2.
, the results indicate that digital advertising serves as a key arena for the transformation of beauty symbolism from OOa toward ua, which is more deeply rooted in local cultural values.
Accordingly, the findings and discussion affirm that Taobao advertisements do not simply sell products, but also sell ways of perceiving the body, beauty, and modern Chinese identityAiand hyperbole () is one of the central mechanisms enabling this process.
The analysis of 40 Taobao beauty advertisements 20 representing the oo .
hite, thin, youthfu.
aesthetic and 20 representing the ua (Guochao/national-styl.
aesthetic reveals distinct patterns in how hyperbole is used to construct beauty imagery.
The data demonstrate that hyperbole operates not merely as an exaggeration device but as a powerful tool for shaping ideals of appearance, cultural identity, and consumer aspiration.
These patterns emerge consistently across linguistic, visual, and ideological dimensions, providing a clear distinction between the two dominant beauty paradigms in contemporary Chinese digital advertising.
In the oo-themed advertisements, hyperbole intensifies the portrayal of extremely white skin, visibly thin body shapes, and youthful facial features.
Expressions such as so white it radiates light.
E-Link Journal.
Vol.
No.
Dec, 2025 P-ISSN:2085-1383.
E-ISSN: 2621-4156
English Education Department.
Universitas Islam Lamongan white like milk, two shades whiter in three days, and become a young girl overnight, exaggerate the desired result to a degree far beyond natural possibility.
These phrases repeatedly construct fairness as something luminous, transformative, and instantly achievable.
The emphasis on drastic improvement and instant youthful appearance reflects a consumerist beauty ideology that pressures women to pursue unattainable perfection.
Hyperbole in this category not only promises rapid transformation but frames whiteness as the central standard of attractiveness, creating a narrative in which beauty is dependent on constant enhancement through commercial products.
In contrast, the ua-themed advertisements employ hyperbole to highlight oriental charm, cultural elegance, and inner charisma rather than bodily modification.
Phrases like so beautiful it captivates at first glance, unforgettable oriental charm, instant elegance, and as if stepping out of an ancient painting, reveal a shift from physical transformation to cultural expression.
These expressions celebrate natural Asian features and associate beauty with qualities such as temperament, heritage, and artistic refinement.
Hyperbole here amplifies emotional and cultural resonance rather than biological alteration.
Instead of promoting unrealistic bodily change, the language elevates cultural identity and frames beauty as something inherently tied to national aesthetics.
Visual analysis reinforces these linguistic patterns.
Advertisements in the oo category consistently feature models with exceptionally pale skin, bright white lighting, porcelain-like filters, elongated limbs, and digitally modified facial proportions that accentuate youthfulness.
Cool-toned backgrounds white, silver, and blue help concentrate attention on whiteness as the dominant visual The overall effect is a coordinated multimodal strategy that positions fair, thin, and youthful appearance as the only acceptable beauty standard.
Meanwhile, ua advertisements present a distinctly different visual narrative.
Models appear with natural skin tones, warm lighting, and minimal digital alteration, highlighting authenticity rather than artificiality.
Traditional Chinese color palettes red, gold, peach, and tea red are prominently used, along with Hanfu garments, floral motifs, ink-painting elements, and architectural backdrops.
These visuals create a sense of cultural depth and aesthetic richness.
Hyperbolic expressions describing legendary beauty or classical elegance are supported by imagery that references traditional artistry, mythology, and national symbolism.
The multimodal alignment emphasizes cultural pride, not physical Ideologically, the two beauty paradigms represent opposing value systems.
The oo aesthetic constructs beauty as a problem requiring correction whitening, thinning, and rejuvenation thus reinforcing a consumer-driven cycle in which women are encouraged to modify their bodies.
Hyperbole amplifies insecurities by depicting darker skin or natural aging as deficiencies that must be In contrast, the ua aesthetic positions beauty as an inherent quality grounded in cultural identity, confidence, and character.
Hyperbole in this category elevates Asian facial features and frames them as sophisticated, high-class, and aesthetically superior.
This shift in emphasis reflects a broader cultural transition in which Chinese consumers increasingly embrace traditional aesthetics and derive pride from cultural heritage.
Taken together, these findings demonstrate that hyperbole in Taobao advertising functions not simply as a stylistic flourish, but as a mechanism for constructing and reinforcing evolving beauty ideologies in China.
While oo advertisements promote globalized and consumerist beauty norms demanding constant modification, ua advertisements highlight a more localized and culturally confident conception of beauty.
The contrast between these two forms of hyperbole illustrates how digital advertising participates in shaping broader social meanings about the body, identity, and aesthetic values in contemporary China.
E-Link Journal.
Vol.
No.
Dec, 2025 P-ISSN:2085-1383.
E-ISSN: 2621-4156
English Education Department.
Universitas Islam Lamongan CONCLUSION This study affirms that hyperbole () in Taobao online advertisements functions not only as a persuasive stylistic device but also as a cultural mechanism that shapes and redirects contemporary Chinese beauty ideology.
Rather than merely embellishing product claims, hyperbole contributes to the construction of two distinct aesthetic imaginaries: the consumer-driven, appearance-focused oo .
air, thin, youthfu.
ideal and the culturally grounded, identity-oriented ua .
ational-style beaut.
The contrast between these two aesthetic regimes reflects a broader sociocultural While oo reinforces consumerist expectations of whiteness, youthfulness, and rapid bodily transformation, ua embodies the rise of nNUnN .
ultural confidenc.
, reframing beauty as an expression of cultural identity rather than an imitation of imported standards.
Hyperbole within ua elevates traditional motifs.
Asian facial features, and culturally embedded values, signalling a movement away from globalized homogeneity toward nationally rooted aesthetic pride.
Synthesizing these findings, the study concludes that hyperbole functions as both a rhetorical strategy and an ideological instrument in digital advertising.
It simultaneously enhances persuasive appeal and encodes cultural meaning, influencing how beauty and identity are collectively imagined in modern China.
The shift from oo to ua indicates a reorientation of visual identity one that privileges authenticity, cultural heritage, and localized aesthetic values over externally derived norms.
Importantly, these findings directly address the research questions by demonstrating .
how hyperbole is linguistically and visually constructed in each aesthetic, and .
how these constructions reflect and reinforce contrasting ideological orientations.
These insights highlight the central role of digital advertising in shaping public perceptions of beauty and cultural identity.
By revealing how hyperbole and multimodal design contribute to ideological production, this study positions digital media as a discursive arena in which aesthetic norms and cultural identities are continuously negotiated.
Future research may expand this inquiry by examining other advertising genres, different digital platforms, or the evolving intersections between digital rhetoric and sociocultural change in contemporary China.
REFERENCES