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This study examines American japonisme, manifested in American art and popular culture between 1876 to 1914, the era of the West’s expansion into East Asia, with special attention to the image of women. American japonisme has been studied mainly from a Western perspective, while focusing on historical documentation and formalistic analysis. Following an interdisciplinary approach and avoiding a one-sided point of view, this article reevaluate American japonisme in the light of race/gender issues and cultural politics of the period. A close analysis of contemporary materials reveals that the phenomenon was much more closely associated with political and economic relations between the two countries than art historians have suggested.
It was fostered not only by America’s expansionism and nostalgic Orientalist romanticism toward Japan, but also by Japan’s nationalist efforts to challenge the economic and cultural supremacy of the Western powers, while presenting the West with an idealized prescriptive image of Japan. This situation owes much to the masterful steps the Japanese government took in using art and culture as part of its foreign policy to advance its political and economic interests. As a result, American attitudes towards Japan, as a racial and cultural other, were significantly enhanced, shifting from the “primitive,” to the exotic and romantic, and to the ideal and civilized.
In Victorian Americans’s construction of an idyllic, timeless, ideal Japan, serious economic and social turmoil that Japan was fa챠ng was conveniently overlooked. Moreover, as Japanese art and artifacts held ideal connotations and were believed to possess moral and spiritual qualities, they became desirable to the point of becoming necessities in American households. Just as an ethnically and financially unified group of patrons recognized Japanese objects as the perfect instruments to demonstrate their sophisticated taste to their peers and signify their class, so many artists produced aestheticized portrayals of American females in an Asian idiom: American women of leisure, often wearing kimonos, are depicted in, and as part of, interior settings decorated with Asian objects. Regardless of individual differences between the sitters, the painters portrayed their subjects with a certain sameness and with generalized features.
This study explores various reasons why artists and patrons preferred serene images of women in interiors during this period of the women’s liberation and suffrage movement, and also the underlying meanings implied by the Japanese idiom that has found its way into these paintings. In examining these works as a group within the socio-cultural contexts of the Japan craze, I concentrate on a selection of artists from the New England and New Yolk areas. Rather than merely embodying the Japan craze, as has generally been suggested, these artists often had other motives. These female figures display stereotypical characteristics similar to those assigned to Asian women-in particular, the popular image in the U.S. of Japanese females as dependent, quiet, submissive, and often incapable of action.
My research reveals that, as part of the reaction against the movement towards women’s independence and the image of the dynamic liberated ‘New Woman,’ artists and patrons in the conservative Northeast wished to preserve masculine power over women’s lives and to recreate the image of the American feminine ideal: they responded to the pervasive image of the subservient Japanese maiden as the ideal woman. Through countless sources, including fiction and non-fiction, operas, paintings, prints, photographs, and advertisements, the American audience became infatuated with the illusionary images of Japanese females. Much of this idealized view of the Japanese female was based not on the majority of Japanese women who were at that time actively involved in the rapid process of industrialization, but on a certain group of courtesans of which Madame Butterfly became the prototypical example. The popularity of this stereotype of Japanese women even led many American women to emulate it in their fashions or in their own ideals of femininity. My analysis points out some striking similarities between American paintings and Japanese visual sources with which the artists clearly were familiar. This article shows that these portrayals of American women related to the American fascination with Japan as well as with the idealized image of Japanese females during this time of shifting American gender roles.
It was fostered not only by America’s expansionism and nostalgic Orientalist romanticism toward Japan, but also by Japan’s nationalist efforts to challenge the economic and cultural supremacy of the Western powers, while presenting the West with an idealized prescriptive image of Japan. This situation owes much to the masterful steps the Japanese government took in using art and culture as part of its foreign policy to advance its political and economic interests. As a result, American attitudes towards Japan, as a racial and cultural other, were significantly enhanced, shifting from the “primitive,” to the exotic and romantic, and to the ideal and civilized.
In Victorian Americans’s construction of an idyllic, timeless, ideal Japan, serious economic and social turmoil that Japan was fa챠ng was conveniently overlooked. Moreover, as Japanese art and artifacts held ideal connotations and were believed to possess moral and spiritual qualities, they became desirable to the point of becoming necessities in American households. Just as an ethnically and financially unified group of patrons recognized Japanese objects as the perfect instruments to demonstrate their sophisticated taste to their peers and signify their class, so many artists produced aestheticized portrayals of American females in an Asian idiom: American women of leisure, often wearing kimonos, are depicted in, and as part of, interior settings decorated with Asian objects. Regardless of individual differences between the sitters, the painters portrayed their subjects with a certain sameness and with generalized features.
This study explores various reasons why artists and patrons preferred serene images of women in interiors during this period of the women’s liberation and suffrage movement, and also the underlying meanings implied by the Japanese idiom that has found its way into these paintings. In examining these works as a group within the socio-cultural contexts of the Japan craze, I concentrate on a selection of artists from the New England and New Yolk areas. Rather than merely embodying the Japan craze, as has generally been suggested, these artists often had other motives. These female figures display stereotypical characteristics similar to those assigned to Asian women-in particular, the popular image in the U.S. of Japanese females as dependent, quiet, submissive, and often incapable of action.
My research reveals that, as part of the reaction against the movement towards women’s independence and the image of the dynamic liberated ‘New Woman,’ artists and patrons in the conservative Northeast wished to preserve masculine power over women’s lives and to recreate the image of the American feminine ideal: they responded to the pervasive image of the subservient Japanese maiden as the ideal woman. Through countless sources, including fiction and non-fiction, operas, paintings, prints, photographs, and advertisements, the American audience became infatuated with the illusionary images of Japanese females. Much of this idealized view of the Japanese female was based not on the majority of Japanese women who were at that time actively involved in the rapid process of industrialization, but on a certain group of courtesans of which Madame Butterfly became the prototypical example. The popularity of this stereotype of Japanese women even led many American women to emulate it in their fashions or in their own ideals of femininity. My analysis points out some striking similarities between American paintings and Japanese visual sources with which the artists clearly were familiar. This article shows that these portrayals of American women related to the American fascination with Japan as well as with the idealized image of Japanese females during this time of shifting American gender roles.
목차
Ⅰ. 미국의 자포니즘(Japonisme)의 배경
Ⅱ. 일본의 이상화
Ⅲ. 실내공간에서의 여성이미지
Ⅳ. 새로운 미국여성 이상형 만들기
Ⅴ. 일본여성 이미지의 수용
Ⅵ. 미국과 일본여성 이미지의 만남
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