the semotics of the face in japanese art (or why Radical Edward doesn't always have a nose)
http://www.sacred-texts.com/bud/gbf/gbf06.htm
I'm going to come up for air to show you this interesting excerpt from Lafcadio Hearn's 1897 book Gleanings in Buddha-Fields. Hearn (also known as Koizumi Yakumo after gaining japanese citizenship) was one of the early commentators to bring japanese art and culture to the west.
The excerpt is interesting in that a lot of his observations on the semiotics of the face still seem to hold true in anime such as Fullmetal Alchemist or even the heavily CG dependent and cell shaded Ghost in the Shell.
Most interestingly, anime-inspired works such as Teen Titans, Kung Fu Jimmy Chow and Avatar the last airbender all depart subtly from the japanese drawing style described here, using many more lines to draw the youthful characters' faces, and using American body language.
Of Course, the most interesting thing is that Cowboy bebop uses american style faces, and heavily references american culture. Wait. I just had a better look at the art.
A few general remarks about the treatment of faces in ordinary Japanese drawing may help to the understanding of what that treatment teaches.
Youth is indicated by the absence of all but essential touches, and by the clean, smooth curves of the face and neck. Excepting the touches which suggest eyes, nose, and mouth, there are no lines. The curves speak sufficiently of fullness, smoothness, ripeness. For story-illustration it is not necessary to elaborate feature, as the age or condition is indicated by the style of the coiffure and the fashion of the dress. In female figures, the absence of eyebrows indicates the wife or
{p. 111}
widow; a straggling tress signifies grief; troubled thought is shown by an unmistakable pose or gesture. Hair, costume, and attitude are indeed enough to explain almost everything. But the Japanese artist knows how, by means of extremely delicate variations in the direction and position of the half dozen touches indicating feature, to give some hint of character, whether sympathetic or unsympathetic; and this hint is seldom lost upon a Japanese eye.[1] Again, an almost imperceptible hardening or softening of these touches has moral significance. Still, this is never
{p. 112}
individual: it is only the hint of a physiognomical law. In the case of immature youth (boy and girl faces), there is merely a general indication of softness and gentleness,--the abstract rather than the concrete charm of childhood.
In the portrayal of maturer types the lines are more numerous and more accentuated,--illustrating the fact that character necessarily becomes more marked in middle age, as the facial muscles begin to show. But there. is only the suggestion of this change, not any study of individualism.
In the representation of old age, the Japanese artist gives us all the wrinkles, the hollows, the shrinking of tissues, the "crow's feet," the gray hairs, the change in the line of the face following upon loss of teeth. His old men and women show character. They delight us by a certain worn sweetness of expression, a look of benevolent resignation; or they repel us by an aspect of hardened cunning, avarice, or envy. There are many types of old age; but they are types of human conditions, not of personality. The picture is not drawn from a model; it is not the reflection
{p. 113}
of an individual existence: its value is made by the recognition which it exhibits of a general physiognomical or biological law.
Here it is worth while to notice that the reserves of Japanese art in the matter of facial expression accord with the ethics of Oriental society. For ages the rule of conduct has been to mask all personal feeling as far as possible,--to hide pain and passion under an exterior semblance of smiling amiability or of impassive resignation. One key to the enigmas of Japanese art is Buddhism.
[1. In modem Japanese newspaper illustrations (I refer particularly to the admirable woodcuts illustrating the feuilletons of the Ôsaka Asahi Shimbun) these indications are quite visible even to a practiced foreign eye. The artist of the Asahi Shimbun is a woman.
I am here reminded of a curious fact which I do not remember having seen mention of in any book about Japan. The newly arrived Westerner often complains of his inability to distinguish one Japanese from another, and attributes this difficulty to the absence of strongly marked physiognomy in the race. He does not imagine that our more sharply accentuated Occidental physiognomy produces the very same effect upon the Japanese. Many and many a one has said to me, "For a long time I found it very bard to tell one foreigner from another: they all seemed to me alike."]
I'm going to come up for air to show you this interesting excerpt from Lafcadio Hearn's 1897 book Gleanings in Buddha-Fields. Hearn (also known as Koizumi Yakumo after gaining japanese citizenship) was one of the early commentators to bring japanese art and culture to the west.
The excerpt is interesting in that a lot of his observations on the semiotics of the face still seem to hold true in anime such as Fullmetal Alchemist or even the heavily CG dependent and cell shaded Ghost in the Shell.
Most interestingly, anime-inspired works such as Teen Titans, Kung Fu Jimmy Chow and Avatar the last airbender all depart subtly from the japanese drawing style described here, using many more lines to draw the youthful characters' faces, and using American body language.
Of Course, the most interesting thing is that Cowboy bebop uses american style faces, and heavily references american culture. Wait. I just had a better look at the art.
A few general remarks about the treatment of faces in ordinary Japanese drawing may help to the understanding of what that treatment teaches.
Youth is indicated by the absence of all but essential touches, and by the clean, smooth curves of the face and neck. Excepting the touches which suggest eyes, nose, and mouth, there are no lines. The curves speak sufficiently of fullness, smoothness, ripeness. For story-illustration it is not necessary to elaborate feature, as the age or condition is indicated by the style of the coiffure and the fashion of the dress. In female figures, the absence of eyebrows indicates the wife or
{p. 111}
widow; a straggling tress signifies grief; troubled thought is shown by an unmistakable pose or gesture. Hair, costume, and attitude are indeed enough to explain almost everything. But the Japanese artist knows how, by means of extremely delicate variations in the direction and position of the half dozen touches indicating feature, to give some hint of character, whether sympathetic or unsympathetic; and this hint is seldom lost upon a Japanese eye.[1] Again, an almost imperceptible hardening or softening of these touches has moral significance. Still, this is never
{p. 112}
individual: it is only the hint of a physiognomical law. In the case of immature youth (boy and girl faces), there is merely a general indication of softness and gentleness,--the abstract rather than the concrete charm of childhood.
In the portrayal of maturer types the lines are more numerous and more accentuated,--illustrating the fact that character necessarily becomes more marked in middle age, as the facial muscles begin to show. But there. is only the suggestion of this change, not any study of individualism.
In the representation of old age, the Japanese artist gives us all the wrinkles, the hollows, the shrinking of tissues, the "crow's feet," the gray hairs, the change in the line of the face following upon loss of teeth. His old men and women show character. They delight us by a certain worn sweetness of expression, a look of benevolent resignation; or they repel us by an aspect of hardened cunning, avarice, or envy. There are many types of old age; but they are types of human conditions, not of personality. The picture is not drawn from a model; it is not the reflection
{p. 113}
of an individual existence: its value is made by the recognition which it exhibits of a general physiognomical or biological law.
Here it is worth while to notice that the reserves of Japanese art in the matter of facial expression accord with the ethics of Oriental society. For ages the rule of conduct has been to mask all personal feeling as far as possible,--to hide pain and passion under an exterior semblance of smiling amiability or of impassive resignation. One key to the enigmas of Japanese art is Buddhism.
[1. In modem Japanese newspaper illustrations (I refer particularly to the admirable woodcuts illustrating the feuilletons of the Ôsaka Asahi Shimbun) these indications are quite visible even to a practiced foreign eye. The artist of the Asahi Shimbun is a woman.
I am here reminded of a curious fact which I do not remember having seen mention of in any book about Japan. The newly arrived Westerner often complains of his inability to distinguish one Japanese from another, and attributes this difficulty to the absence of strongly marked physiognomy in the race. He does not imagine that our more sharply accentuated Occidental physiognomy produces the very same effect upon the Japanese. Many and many a one has said to me, "For a long time I found it very bard to tell one foreigner from another: they all seemed to me alike."]