By Cho Kyo
Whereas a narrow physique is a prerequisite for good looks at the present time, plump girls have been thought of perfect in Tang Dynasty China and Heian-period Japan. beginning round the Southern track interval in China, certain ft symbolized the popularity of ladies. yet in Japan, shaved eyebrows and blackened tooth lengthy have been markers of loveliness.
For centuries, jap tradition was once profoundly formed through China, yet in advanced ways in which are just now turning into obvious. during this first complete comparative background of the topic, Cho Kyo explores altering criteria of female attractiveness in China and Japan during the last millennia. Drawing on a wealthy array of literary and inventive resources accrued over a decade of analysis, he considers which chinese language representations have been rejected or approved and reworked in Japan. He then strains the advent of Western aesthetics into Japan beginning within the Meiji period, resulting in slowly constructing yet radical adjustments in representations of attractiveness. via fiction, poetry, paintings, ads, and pictures, the writer vividly demonstrates how standards of attractiveness vary significantly by way of period and tradition and the way aesthetic feel replaced during prolonged cultural modifications that have been prompted via either China and the West.
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Extra info for The Search for the Beautiful Woman: A Cultural History of Japanese and Chinese Beauty (Asia/Pacific/Perspectives)
The Faculty: Diarmuid Costello (University of Warwick), Eve Meltzer (New York University), Hal Foster (Princeton University), Jay Bernstein (New School for Social Research), and James Elkins (School of the Art Institute of Chicago). John University), Karen Busk-Jepsen (PhD candidate, University of Copenhagen), Harper Montgomery (PhD candidate, University of Chicago), Joana Cunha Leal (Universidade Nova de Lisboa, Portugal), Nadja Millner-Larsen (PhD candidate, New York University), Martin Sundberg (Postdoctoral Fellow, Eikones, Basel), Gretchen Bakke (Wesleyan University), Stéphanie Benzaquen (PhD candidate, Erasmus University, Rotterdam), and Beáta Hock (Central European University, Budapest).
So there were fairly specific things that the anti-aesthetic was working against. James Elkins: Yes. I was talking about the later reception, up to the present, and the wider readership and uses of the book. Diarmuid Costello: What do you mean by saying that if you pose the question of aesthetics and criticality in that form, they’re unanswerable? James Elkins: Whatever we mean by criticality seems to require some identification with positions we are thinking of as anti-aesthetic or postmodern.
7. ” Owens, “Allegorical Impulse,” 80, quoting Barthes from Image, Music, Text. 40 Beyond the Aesthetic and the Anti-Aesthetic There is in Owens’s essay a rather simplistic understanding of the opposition between Modernism and historicism, which appears to be the organizing principle of the text. Historicism is not the same as traditionalism. With its insistence on presence and present, historicism is in a sense the opposite of the fixation on the past that we commonly associate with traditionalism.