Bishōnen

(; also transliterated ) is a Japanese term literally meaning "beautiful youth (boy)" and describes an aesthetic that can be found in disparate areas in East Asia: a young man of androgynous beauty. This word originated from the Tang dynasty poem ''Eight Immortals of the Wine Cup'' by Du Fu. It has always shown the strongest manifestation in Japanese pop culture, gaining in popularity due to the androgynous glam rock bands of the 1970s, but it has roots in ancient Japanese literature, the androsocial and androerotic ideals of the medieval Chinese imperial court and intellectuals, and Indian aesthetic concepts carried over from Hinduism, imported with Buddhism to China. Today, are very popular among girls and women in Japan. Reasons for this social phenomenon may include the unique male and female social relationships found within the genre. Some have theorized that provide a non-traditional outlet for gender relations. Moreover, it breaks down stereotypes surrounding feminine male characters. These are often depicted with very strong martial arts abilities, sports talent, high intelligence, dandy fashion, or comedic flair, traits that are usually assigned to the hero/protagonist.

Origin

The prefix ''bi'' ( 美) more often than not refers to feminine beauty, and ''bijin'', literally "beautiful person", is usually, though not always, used to refer to beautiful women. means "beautiful middle-aged man". ''Biseinen'' is to be distinguished from ''bishōnen'' as is used to describe men who are of age, including those who have entered or completed tertiary education. The term ''shōnen'' is used to describe boys of middle and high school age. Last, ''bishota'' can be used to refer to a beautiful, pre-pubescent male child or a childlike male. Outside Japan, ''bishōnen'' is the most well-known of the three terms, and has become a generic term for all beautiful boys and young men.

The aesthetic of the ''bishōnen'' began as an ideal of a young lover, originally embodied in the , or adolescent boy, and was influenced by the effeminate male actors who played female characters in kabuki theater. The term arose in the Meiji era, in part to replace the by then obsolete erotic meaning of the older term ''wakashū'', whose general meaning of "adolescent boy" had by this point been supplanted by the new term shōnen. The ''bishōnen'' was conceived of as "aesthetically different from both women and men ..both the antithesis and the antecedent of adult masculinity".

The ''bishōnen'' is typically slender, with clear skin, stylish hair, and distinctly feminine facial features (such as high cheekbones), but simultaneously retains a male body. This androgynous appearance is akin to the depiction of angels in Western renaissance art, with similar social roots for this aesthetic.

Minamoto no Yoshitsune and Amakusa Shirō have been identified as historical ''bishōnen''. Ian Buruma notes that Yoshitsune was considered by contemporaries to be not physically prepossessing, but that his legend later grew and due to this, he became depicted with good looks. Abe no Seimei was depicted according to the standards of a Heian-era middle-aged man, but since 1989 he has been depicted as a modern-style ''bishōnen''.

Kyokutei Bakin wrote many works with ''nanshoku'' undertones featuring ''bishōnen'' characters, and in 1848 he used the term ''bishōnen'' in the title of a work about the younger ''wakashu'' partner in the ''nanshoku'' relationship.

The ''bishōnen'' aesthetic is continued today in anime and manga, especially '' shōjo'' and ''yaoi''.

Usage

Some non-Japanese, especially American, anime and manga fans use the term to refer to any handsome male character regardless of age, or any homosexual character.Beauty Up: Exploring Contemporary Japanese Body Aesthetics. Laura Miller. University of California Press, 2006. In the original Japanese, however, ''bishōnen'' applies only to boys under 18. For those older, the word is used. In the place of ''bishōnen'', some fans prefer to use the slightly more sexually neutral or the Anglicized slang term "bishie" (also spelled "bishi"), but these terms remain less common. The term ''binanshi'' was popular in the 1980s. ''Bishōnen'' is occasionally used to describe some androgynous female characters, such as Takarazuka actors, Lady Oscar in ''The Rose of Versailles'', or any women with traits stereotypical to ''bishōnen''.

Scottish pop singer Momus notably used the term in his song "Bishonen" from the '' Tender Pervert'' album (released on Creation Records). Almost 8 minutes long, the song is an epic tale of a young boy raised to die young by an eccentric stepfather.

Popular culture

The enduring preference for ''bishōnen'' males can clearly be seen in Japan and throughout parts of East Asia to this day.

In particular, Japan's largest male talent agency, Johnny & Associates Entertainment Company, specializes only in producing male Tarento idols. Accepted into Johnny & Associates in their early teens, these boys, collectively known as 'Johnnys', are trained and promoted to become the next leading singing-acting-commercially successful hit sensations. Almost all can be classified as ''bishōnen'', exhibiting the same physically feminine features combined with a sometimes deliberately ambivalent sexuality or at the very least, a lack of any hint of a relationship to maintain their popular availability.

Current ''bishōnen'' examples from the same agency include Tomohisa Yamashita of J-pop group NEWS, Jin Akanishi and Kazuya Kamenashi of KAT-TUN, Takuya Kimura of SMAP, Ryosuke Yamada and Kei Inoo of Hey! Say! JUMP and Jun Matsumoto of Arashi, all of whom are phenomenally successful throughout East Asia by appealing to both younger and older women and whose widely praised, gender-incongruous physical beauty is often deliberately manipulated in terms of role-playing and, most commonly, fanservice.

Art

Besides being a character type, ''bishōnen'' is also a distinct art style not usually forgotten in books about drawing manga. In art, ''bishōnen'' are usually drawn delicately, with long limbs, silky or flowing hair, and slender eyes with long eyelashes that can sometimes extend beyond the face. The character's "sex appeal" is highlighted through introducing the character by using an "eroticized" full page spread.Wood, Andrea. (Spring 2006). "Straight" Women, Queer Texts: Boy-Love Manga and the Rise of a Global Counterpublic. '' WSQ: Women's Studies Quarterly'', 34 (1/2), pp. 394-414. Characters with "bulging muscles" are rarely considered ''bishōnen'', as they are too masculine.

It is said that Björn Andrésen's appearance as Tadzio in the film ''Death in Venice'' inspired many Japanese anime artists, such as Keiko Takemiya, who became known for their depictions of young, effeminate men.

Bishōnen characters are fairly common in shōjo manga and anime. Many of the male characters show subtle signs of the ''bishōnen'' style, such as slender eyes or a feminine face.

Some manga are completely drawn in the ''bishōnen'' style, such as ''Saint Seiya''. ''bishōnen'' manga are generally shōjo manga (girls' comics) or yaoi (girls' comics focused on homosexual relationships between beautiful boys), however shōnen manga (boy's comics) may use casts of ''bishōnen'' characters for crossover appeal to female readers. Mainstream shounen and seinen fare also often uses such characters as rivals for a traditional masculine protagonist, with some degree of comic relief, or for the blander everyman, whether as the embodiment of his insecurities in a grittier realism, or as a more lighthearted constant reminder of his less than advantageous social status and the constraints thereof. Comics for younger boys tend to use arrogant ''bishōnen'' in the role of the recurring minor rivals readers love to hate, though their effeminate good looks there will often appear older, bigger, stronger, and thus in fact more masculine than the commonly shorter and less mature protagonists.

''Bishōnen'' and ''bishōjo''

''Bishōjo'' ('beautiful girl') is often mistakenly considered a parallel of ''bishōnen'', because of the similar construction of the terms. There are major differences between the two aesthetics. The ''bishōjo'' aesthetic is aimed at a male audience, and is typically centered on young girls, drawn in a cute, pretty style; ''bishōnen'' is aimed at a female audience, centered on teenage boys, and drawn elegantly. Another common mistake is assuming that the female characters in ''bishōnen'' manga and anime are ''bishōjo''. In truth, female characters in ''bishōnen'' manga are very different from those in ''bishōjo''; ''bishōjo'' females are usually more petite and drawn in a style that is cute rather than beautiful, whereas ''bishōnen'' females exhibit the long limbs and elegance of the ''bishōnen'' themselves.

Critical attention

Several cultural anthropologists and authors have raised the multifaceted aspect of what ''bishōnen'' represents and what it is interpreted as, mostly to fit a particular external viewpoint. Ian Buruma noted that although Western comics for girls also included "impossibly beautiful men" who are clearly masculine and always get the girl in the end, the ''bishōnen'' are "more ambivalent" and sometimes get each other.

For Sandra Buckley, ''bishōnen'' narratives champion "the imagined potentialities of alternative enderdifferentiations"Buckley, Sandra (1991) "'Penguin in Bondage': A Graphic Tale of Japanese Comic Books", pp. 163-196, In ''Technoculture''. C. Penley and A. Ross, eds. Minneapolis: University of Minnesota James Welker describes the ''bishōnen'' as being "queer", as the ''bishōnen'' is an androgynous aesthete with a feminine soul "who lives and loves outside of the heteropatriarchal world".

Jonathan D. Mackintosh believes that the ''bishōnen'' is a "traditional representation of youth", being "interstitial" between both childhood and adulthood and between being male and being female, regardless of the sexual issues.

Ishida Hitoshi makes the case that the image of the ''bishōnen'' is more about a grounding in sexuality than a transcendence of it, drawing on the idea of the image as being a refuge for alternative methods of looking at sexual natures, and sexual realities, at least since the 1960s, rather than the elegiac aesthetics of usages in an earlier era.

Representations of men in manga by and for men show "an idealized man being ultramasculine and phallic", ''bishōnen'' are conversely drawn to "emphasize their beauty and sensuality", and female artists have been said to react against the ultramasculine representation by showing androgynous and "aesthetically beautiful" men.

Ian Buruma, writing in 1984, considered the "bishonen in distress" to be a recurring motif in popular manga. The ''bishōnen'' in distress is always rescued by an older, protective, mentor. This scenario has an "unmistakably homoerotic" atmosphere. He also notes that ''bishōnen'' must either grow up, or die beautifully. He considers the "worship" of the ''bishōnen'' to be the same as that of the sakura, and notes that "death is the only pure and thus fitting end to the perfection of youth."

See also

* ''Bijinga''
* ''Bishōjo''
* Dandy
* ''Ephebos''
* Himbo
* ''Ikemen''
* ''Kkonminam''
* Metrosexual
* '' Shōnen''
* ''Yaoi''

References

{{DEFAULTSORT:Bishonen
Androgyny
Japanese culture
Japanese words and phrases
Japanese sex terms
Male beauty
Male stock characters in anime and manga