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Gackt, a Japanese singer-songwriter, is considered to be one of the living manifestations of the Bishōnen phenomenon. [1] [2]Bishōnen (美少年, IPA: [bʲiɕo̞ꜜːnẽ̞ɴ] ⓘ; also transliterated bishounen) 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.
An Italian study published in 2008 analyzed the positions of the 50 soft-tissue landmarks of the faces of 324 white Northern Italian adolescent boys and girls to compare the features of a group of 93 "beautiful" individuals selected by a commercial casting agency with those of a reference group with normal dentofacial dimensions and proportions.
The book contains some 200 pictures of boys through the ages, and is a history of boys in Western art and classical mythology. [2] [10] [11] This includes an analysis of Classical, Neoclassical, and Renaissance art. [12] Pictures and discussions range from Cupid to Elvis, Boy George, Kurt Cobain, and Jim Morrison. [2]
The painting gained attention among contemporary French art critics, and remains one of Flandrin's best-known works, despite being produced relatively early in his career. The subject is an unidentified youth, an "ephebe", [1] who sits nude on a rock with his arms wrapped around his legs and his head resting on his knees, eyes closed. There is ...
Because masculine beauty standards are subjective, they change significantly based on location. A professor of anthropology at the University of Edinburgh, Alexander Edmonds, states that in Western Europe and other colonial societies (Australia, and North and South America), the legacies of slavery and colonialism have resulted in images of beautiful men being "very white."
Andrew Bass (designer, art director, 1989–95): Each of the magazines had their own aesthetic. Mandate was the Esquire—the content was things that were cerebral, literary stuff, lifestyle ...
Illustrations by Kashō Takabatake in the shōnen manga (boys' comics) magazine Nihon Shōnen formed the foundation of what would become the aesthetic of bishōnen: boys and young men, often in homosocial or homoerotic contexts, who are defined by their "ambivalent passivity, fragility, ephemerality, and softness."
In the late 1990s, Kkonminam images became notable in the Korean entertainment industry, glorifying "pretty" boys with smooth, fair skin, silky hair, and a feminine manner. These new images replaced the previous ones of tough and aggressive Korean men in television commercials, dramas, and on billboards. [ 3 ]