تحلیل آثار هنرمندان نسل پنجم گرافیک ژاپن بر اساس زیبایی شناسی فمینیستی کرولین کورسمایر
آرشیو
چکیده
بیان مسئله زیبایی شناسی فمینیسم، همانند سایر شاخه های این مکتب، مفروضات بنیادین و سنتی غرب را به دلیل تکیه بر پیش فرض ها و نظریات متعصبانه و جنسیت زده، مورد انتقاد قرار داده و این مفروضات را عامل اساسی در شکل گیری و عملکرد زیبایی شناسی می داند. این رویکرد معتقد است که در حوزه هنر و زیبایی شناسی، تبعیض جنسیتی مانع رشد نبوغ، استعداد و خلاقیت زنان در تولید آثار هنری شده است. زیبایی شناسی فمینیستی با بهره گیری از مطالعات میان رشته ای به تحلیل دستاوردهای حوزه های فلسفه، جامعه شناسی و تاریخ هنر می پردازد. هدف پژوه ش: هدف این مقاله، ارزیابی زیبایی شناسی فمینیستی بر اساس نظریات کارولین کورسمایر در پوسترهای منتخب از هنرمندان معاصر ژاپن است. سؤال پژوه ش تفسیر تصاویر استفاده شده در پوسترهای گرافیکی معاصر ژاپن از دیدگاه فمینیسم چیست؟ روش پژوهش در این پژوهش، از رویکرد و چارچوب نظری کارولین کورسمایر، منتقد فمینیست و استاد دانشگاه در ایالات متحده، برای تحلیل آثار استفاده شده است. شش مؤلفه مهم در نظریه ی او، با توجه به ویژگی های تصویری هنر پوستر ژاپنی، تبیین و تحلیل شده اند. تمرکز پژوهش بر تحلیل نحوه عملکرد هنرمندان مرد ژاپنی در استفاده از تصاویر به کاررفته در آثار پوستر ایشان با رویکرد فمینیستی است. نتیجه گیری نتایج پژوهش نشان می دهد که محیط اجتماعی، تحولات سیاسی، تاریخی، فرهنگی و رسانه ای تأثیر بصری قابل توجهی بر آثار هنرمندان معاصر ژاپنی گذاشته است. بر اساس یافته ها، سه نفر از هشت هنرمند نسل پنجم گرافیک ژاپن درصد بالایی از ایده های زیبایی شناختی فمینیستی کارولین کورسمایر را در آثار خود منعکس کرده اند.Analysis of the Works of the Fifth Generation of Japanese Graphic Artists based on Carolyn Korsmeyer's Feminist Aesthetics
Analysis of the Works of the Fifth-Generation Japanese Graphic Artists Based on Carolyn Korsmeyer’s Feminist Aesthetics
Hanieh Pazireh M.A. in Visual Communication, Faculty of Art, Soore University, Tehran, Iran
Somayeh Ramezanmahi * (Corresponding Author)Assistant Professor, Department of Visual Communication, Faculty of Art, Soore University, Tehran, Iran
This article is derived from a Master's thesis at Soore University, entitled An Analysis of Female Imagery in the Posters of Contemporary Japanese Artists from the Perspective of Carolyn Korsmeyer , conducted under the supervision of the corresponding author.
Problem Statement
The poster is a branch of graphic art used since ancient times for information dissemination, advertising, and cultural messaging. Over the years and across historical periods in various societies, this art form has undergone numerous transformations. However, not only has its significance in graphic design not diminished, but it has also experienced substantial growth across various media platforms. Typically, a poster contains both images and text to convey an idea or information to the public. Therefore, a poster can be considered a complete and modern example of paintings from different historical periods. Through its analysis and study, one can gather information about the historical era, political conditions, artists, and societal viewpoints within specific periods of graphic art history.
Japan is among the countries renowned globally in the field of graphic design, particularly in poster art. While preserving its indigenous art and authenticity and bringing prominent designers onto the international stage, it has drawn the attention of numerous scholars. Contemporary Japanese artists have officially established the school of modern Japanese poster design. Notable figures of this era include Ikko Tanaka, Shigeo Fukuda, Makoto Nakamura, Kiyoshi Awazu, Tadanori Yokoo, Kazumasa Nagai, and Mitsuo Katsui. These artists, building on traditional Japanese poster art and merging it with Western poster aesthetics, paved the way for their contemporaries and future generations, contributing valuable models for study in Japanese poster schools from the 1940s to the late 1990s. This time frame closely aligns with the emergence and evolution of the feminist movement, which began in the 1970s.
Considering the deep-rooted traditions and ancient culture of Japan and their direct influence on visual arts and poster creation by Japanese artists, these works can be analyzed through the lens of Carolyn Korsmeyer’s feminist aesthetics. In her approach, culture, tradition, and society are of paramount importance. She presents feminist aesthetic principles in a manner that positions the field of fine arts as a significant center within feminist scholarly discourse, reshaping all conventional understandings of art. The most richly critiqued historical concept in the feminist philosophy of art is the notion of "fine art," which is reflected in visual works. Therefore, by studying the imagery employed in the posters of the fifth generation of Japanese graphic artists—one of the most significant generations in the history of graphic art in Japan and globally—valuable insights can be gained in the realms of graphic design and philosophy.
In today's modern world, shifting perceptions of gender roles have prompted critics like Carolyn Korsmeyer to offer analytical and critical perspectives on artistic works. Her six key ideas critically evaluate the influence of male artists on Japanese society regarding their ideologies thought structures, and perspectives on gender equality and women's issues. Thus, by applying Korsmeyer’s theories to modern Japanese poster art, useful knowledge can be acquired regarding poster design and feminist aesthetics in Eastern and Japanese visual arts.
Research Objective
This article aims to assess feminist aesthetics based on Carolyn Korsmeyer’s theories as applied to selected posters by contemporary Japanese artists.
Research Question
How can the imagery used in contemporary Japanese graphic posters be interpreted from a feminist perspective?
Research Methodology
This study is descriptive-analytical and falls within the domain of qualitative research. After establishing the theoretical framework of feminist aesthetics, the views of Carolyn Korsmeyer will be extracted and analyzed. Based on these perspectives, visual analyses of poster artworks by fifth-generation Japanese graphic artists will be conducted. This will uncover the nature of Japanese poster art and the fundamental cultural, artistic, and intellectual differences between Eastern/Japanese and Western feminist aesthetics. Additionally, the findings will contribute to understanding the aesthetic perspectives of male artists, their engagement with the feminist movement, and how these are reflected in their works.
Conclusion
Although the title of this study indicates a focus on "the analysis of images of women," the analysis of the posters includes both female and male imagery to uphold the feminist principle of equality rather than superiority. Based on the data and findings, the works of Shigeo Fukuda align most closely with Carolyn Korsmeyer’s framework. In other words, his balanced use of male and female imagery, avoidance of using women solely to attract attention or for sexual arousal, and his departure from the problematic tradition of bijinga (images of beautiful women) highlight his success. Therefore, in terms of modern artistic approach and execution, his works score the highest, and in terms of adherence to or deviation from traditional Japanese visual norms, his works demonstrate a distinct departure. His scores on key feminist indicators range from over 60% to 100%.
The works of Kiyoshi Awazu also align well with Korsmeyer’s framework. Firstly, he considers form, color, and aesthetic elements; secondly, he successfully employs balanced imagery of men and women. Although his style is more traditional than Fukuda's and less simplified, his works can still be classified as successful examples of feminist aesthetic adherence.
According to the theoretical framework, the posters of Ikko Tanaka score lowest in the realm of feminist aesthetics. While his works exhibit creativity, they fall short of a feminist aesthetic perspective. The influence of the bijinga painting tradition is evident in his works. He may be considered a traditional Japanese artist who did not significantly engage with modern themes or ideas.
Artists such as Tadanori Yokoo, Makoto Nakamura, and Kazumasa Nagai received moderate scores, as they succeeded in some areas while performing less effectively in others. In some works, they adhered to traditional Japanese visual poster aesthetics, while in others, they adopted different approaches—occasionally using female imagery to attract audience attention.
For which types of advertisements were posters featuring images of women predominantly used?
Based on the collected data, such posters were most commonly used in advertisements for cosmetics, clothing, traditional performances, beer, and cigarettes. However, feminine imagery can also be found in some cultural posters. For instance, Kazumasa Nagai’s environmental poster features feminine images and elements.
Are the depictions of women in contemporary Japanese graphic posters derived from Western models or rooted in local culture and tradition?
In ancient Japan, women played significant roles in mythology. However, after the introduction of Chinese traditions, Japanese society gradually embraced patriarchy, which slowly permeated its traditions and culture. Thus, the origins of patriarchal thought in Japan can be traced back to China. Over the years, Japan’s interaction with Western society also influenced its advertising practices. The use of beautiful female imagery in Western and European advertisements was introduced into Japanese poster design. While Japan had its tradition of using beautiful women in bijinga paintings, the adoption of Western models incorporated this aesthetic into modern poster art. Therefore, although the tradition exists within Japanese culture, its contemporary form has been shaped by external influences.
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