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Self-identification of Japanese in the relations with the West and methods of overcoming national complexes



a. N. MESHCHERYAKOV

SELF-IDENTIFICATION of JAPANESE IN the RELATIONS WITH the WEST AND METHODS of OVERCOMING NATIONAL COMPLEXES

After "discovery" of Japan by Europeans in the middle of the 19th century the country started the accelerated modernization which was followed by a complex of national inferiority and intense search of new identity. But if in policy, economy, culture, military science this complex was overcome quickly enough, then the complex of corporal inferiority did not manage to be overcome that was interfered to a great extent by the thesis which extended in the West about "yellow danger". Reconsideration of a complex of corporal inferiority and its transfer to superiority complex when those corporal parameters which were considered as "shortcomings" earlier (the structure of a body, skin color, etc.) began to be honored for incomparable advantages was result.

In government of the emperor Meiji (1867-1912) Japanese the idea animated: to rise level with the West. Thanks to foresight of elite and diligence of the ordinary Japanese of Japan to some extent it was succeeded to achieve etogo1. However equality of Japan with the West turned out one-sided. It was shown first of all in military power and geopolitics, i.e. at the state level. Japan won wars against China and Russia and started creation of the colonial empire which included Taiwan, Korea, the Southern Sakhalin. Now any large international conflict did not do without participation of Japan. When in Europe World War I began, the Japanese elite some time stayed in confusion: opinions on on what party to be at war were shared. To being at war, the speech was not. Eventually a choice was made in favor of the Entente.

At the end of XIX - the beginning of the 20th century Japanese often called themselves "peers of ancient Greeks", but Europeans called Japan "the poor country". They could admire traditional Japanese

1 About processes of modernization of Japan at this time see: Meshcheryakov 2006. Historical psychology and sociology of history 2/2009 2 7-41

culture, but in comparison with Europe and America the standards of life of the ordinary person, certainly, were low. "Eat shells and cuttlefishes", - such is there was a pejorative conclusion. At that time Japan was not able to be proud yet of what is despised by Europeans who had no fashion for ethnic Japanese cuisine yet.

The European intellectuals appreciated the Japanese painting, they were familiar with a tea ceremony, some were fond of the Japanese fight which was called then the ju-jitsu (distorted from dzyu-dzyuets; now in the course the term of judo). Educated Europeans knew that among the large countries of the world Japan of the first reached almost universal literacy. Nevertheless hobby for a yaponizm in the XX century obviously declined, and behind "east" facade much it that caused not affection, and bewilderment was found. Formation in the west of a scientific yaponistika created a situation when Japan and Japanese began to be estimated more soberly. The involvement of Japan into world politics and economy turned it not only into the partner, but also into the rival of the West, and the western journalism already not so much reveled in "exoticism" of the country and "lovely" customs of its inhabitants how many it described its economy, society, army and a geopolitical course. Yes, industrial and military achievements of Japan caused respect, but it was rather a surprise of the adult before progress of the teenager. The West did not hide that it was and remains the legislator of world fashion and will not tolerate other. In this world in which center there was a West Japan took the place of the younger brother. And in the Japanese family, as we know, the younger brother is doomed to vegetation. Yes, Japan participated in all major world conferences, but every time by it was pointed to that real place on which she can count. At one of these conferences she did not play a major role.

Not only the Japanese state, but also Japanese underwent discrimination. At the Parisian peace conference of 1919 the Japanese delegation tried to include in the charter of the formed League of Nations point on equality of foreigners in League member countries, but met tough repulse from the USA and Great Britain. The western politicians went on about equality, but it were rather exercises in rhetoric, realities of life remained others. By 1924 127 thousand Japanese lived in the USA, they took a certain place in the American agricultural market that caused discontent of local farmers. As Japanese preferred to live compact communities, obshchest-

the wine opinion considered them along with Chinese "incapable of naturalization", and it was considered as unacceptable arbitrariness. America assisted Japan after an awful earthquake

1923 years, but in the same America worked the laws limiting the rights of Japanese for land property. On April 16
1924 years the Immigration Act according to which the annual quota for entry of Japanese into the USA began to make "offensive" 186 people was adopted there. In Japan this law caused a storm of protests. The ambassador in Washington Masao Hanikhara wrote: "For Japan it (the Immigration Act. - A.M.) is a question not of benefit, and principle... Important that, respect Japan as the nation, are considered or do not reckon with it" (tsit. on: Savelyev 1997: 123).

The American immigration law was directed not only against Japanese, but also against Chinese. That is in understanding of Japanese it equated them to contemptible sacks. And it was direct insult of feeling of national advantage too. Japanese were people sensitive and were not going to bear humiliation. This immigration law became a symbol of that haughty America which treats Japan without any respect for many years ahead. Whatever occurred in this world, America was guilty of everything. Even in an intermediary role of the president F. Roosevelt which he played at the conclusion of the Portsmouth contract of 1905 now also began to see insidiousness of America: it allegedly did not allow to finish war to crushing defeat of Russia. And this despite the fact that actually Roosevelt mediated after the address to him of the Japanese side.

Japanese accused America of policy of double standards. This statement is close to the truth. It is worth remembering, however, and another: in Japan the foreigners had no right to own the earth; to go to Japan, Koreans and Taiwanese needed special permission; they were deprived of suffrage; the barefaced segregation was in the nature of things.

Japanese were strongly disturbed by a question of national self-identification. Rough process of a westernisation was followed by persistent attempts to deliver it a limit. The pride for military victories and progress in industrial development was followed by complexes and fear to lose own culture. At Meiji the main property of the Japanese the fidelity which does not have precedents to the ruling house appeared. After Meiji's death when to a throne there ascended his son Taysyo (1912-1925), processes of formation of "the Japanese culture" amplified. At this particular time create -

sya the first stories of the Japanese literature and art, i.e. the case of texts and works of the fine arts which are recognized as "classical" is formed. Earlier unlike the West such canon was absent that caused feeling of "cultural inferiority".

"The complex of the teenager" disturbed Japanese not only at the state and cultural levels, but also at the level personal. The complex of corporal inferiority was one of its manifestations. Japanese considered the body ugly, they passionately wanted to grow up to be equal to Europeans in growth. Being in London, the wonderful writer Natsume Soseki (1867-1916) constantly hesitated of the skin color and growth. And only once, according to him, he managed to find the person of one with it growth. However, having approached it is closer, he found out that he looks in a mirror...

Long time was considered as a corporal sample a body of the European person. Europeans were higher and stronger physically. Japanese believed: for achievement of this ideal it is necessary to place the natural Japanese in the same conditions in which Europeans lived. At the same time was considered that the corporal behavior of the traditional Japanese is "artificial", "spoils" human "naturalness" and breaks the "correct" proportion between the top and lower parts of a body (Nishimura of Hirosi 2005: 39).

At Meiji the doctors began persistently to recommend to Japanese to change from mats tatamis on chairs - from sitting on a floor, they claimed, there is a backbone curvature, so, and decrease in growth. Persistent promotion of "a civilized way of life" bore fruit - the interior of the Japanese house changed. First of all, certainly, it concerned prosperous families. Here is how the writer Akutagawa of Ryu-noske describes an office of the rich person: "The French windows coming to the river the Sumida, a white ceiling with a gold border, the chairs and a sofa fitted by red Moroccan leather, Napoleon the First portrait on a wall, a carved bookcase of an ebony, a marble fireplace with a mirror, a dwarfish pine on a fireplace which was so loved by the late father Miu-ra (a name of the character. - A.M.), - such is was an office situation, characteristic of that era. Surrounded with these things, Miura usually put on expensive silk kimono, took seat under Napoleon the First portrait and read something like "e8 Oyeya^\" of Hugo" (Akutagawa of Ryunoske 1998: 499).

Though people, similar Miura, made absolute minority, envied them, they formed a role model. The traditional Japanese house is almost deprived of furniture, the European situation was available only to the little. Therefore people had to call to the aid and "national sharpness". In the story Kunikida Doppo (1871-1908) "Unusual ordinary person" the example of such ingenuity is given. The school student to Syosak as follows equipped the "European" workplace: ""Table" was a cheap Japanese table on two supports. The chair to it was replaced by the small bench for legs beaten to a simple box. However, to Syosak treated the invention very seriously. It is remembered, it was delighted by the words of the teacher about what to sit at the Japanese tables is unhealthy. And it without thinking twice realized the idea" (Kunikida Doppo 1958).

Custom to carry children behind the back also was exposed to condemnation because caused a backbone curvature. However abolition of this usage was not followed by the same vigorous efforts as reforming of a way of sitting: this custom affected only women, and reforms were carried out by men who reformed first of all themselves. Changes in a diet (increase in a proteinaceous component), a concentrated study physical education (mainly, at school and the university) bore fruit. During Meiji the Japanese grew up on the "whole" centimeter, and all the same it was a little to be equal to Europeans. But it only added desire to catch up and overtake the West. Aggressive and xenophobic components played an essential role in this race. The fishing inspector from the story Kobayasi Takidzi (1903-1933) "Krabokonservnaya a trading station" (1929) shouted to fishermen before an exit in the sea: "Though we are also small growth, but we will not tolerate that these gawks roske got of us the best (a contemptuous nickname of Russians. - A.M.)!" (Kobayasi Takidzi, etc. 1933).

Japanese often called themselves "Spartans of the Far East". They meant the nobility, a strong martial spirit, unpretentiousness. However similar the Greek art in Japan could not find anything. The Greek cult of a naked body in Japan was absent. Promptly rolling down in totalitarianism, Japan did not use experience of Nazi Germany and the Soviet Union with their pseudo-antique cult of a naked (seminude) body. The dominating belief is that the Japanese on the physical standards cannot catch up ev-

ropeyets, forced to look for other bases for education of national corporal pride.

It is also necessary to remember that the cult of a naked body contradicted the most important postulate of the Japanese culture. It attached huge significance to clothes which were a synonym of culture and level of culture. The clothes were always considered as an indicator of the place taken by the person in public hierarchy. Therefore the European military uniform expressing this idea took roots with ease, but the nude body of such chances deprived of distinctions had no.

The nude body which was very often represented on immodest pictures of last times (the periods Tokugawa and Meiji's beginning), was a passion indicator, and the passion was qualified as irrational, destructive force, and therefore was exposed to condemnation. It is indicative that even on these "pornographic" pictures the man (and it is almost always the Samurai) not always appears bared. On some images reproducing the most passionate moments of a date it is possible to see also the patrimonial coat of arms on clothes, and even the outdone sword.

In Nazi Germany and the USSR the naked (seminude) body was perceived as release from the past and an updating symbol. In Japan such "nudist" discourse was doomed to a failure. The culture of the Japanese totalitarianism struggled with corporality. It concerns not only actually a sensuality (in 1930 to dancers forbade to put on short stockings, tights of corporal color and to dance a cancan; three years banned a performance based on "The story about Gendzi") later, but also a naked or seminude body in general. Japan readily reproduced the worst European samples of the military heroes dressed in a form in a sculpture, but did not dare to borrow antique remarks of Nazi and Soviet plasticity. She did not begin to sing also of a seminude "sports" body which art reproduction turned out so demanded in the European totalitarianism though images of athletes and athletes - men and women - showed not eroticism at all (at a uniform sports form the gender signs were most greased there), and served the completely different purposes. The sound and well-muscled body showed readiness to service not to personal, but the state interests. However such body broke the developed hierarchy (including gender) and therefore was unacceptable for Japan. That to female nakedness, it in general served as a bribability equivalent and therefore could not be

introduced into public circulation under no circumstances. Unsurpassed "spirituality" which was badly combined with corporality was considered as the sign distinguishing the Japanese (Meshcheryakov 2008).

Nevertheless those components which offered to proud were all the same found in a body of the Japanese. But these parameters had no relation to growth and force, they assumed first of all esthetic connotations.

Confirmation to it is given in the Appendix (with small reductions) article of the famous sculptor of the Expert chicken Fumio (1883-1964) nicknamed "the Japanese Rodin". It was published in 1929 (Nikhondzin... 1929). The author urges Japanese to find out of what they should be proud in the body. At the same time it is focused not on physical power of a body (at all desire the Japanese in this parameter could not be equal to Europeans), and on the esthetic beauty (an eye, a hair, faces, hands) complemented amateurish (here and there and very confused) by reasonings on "physiology" of the device of the Japanese body. Also with what ecstasy the author appeals to the theory of evolution attracts attention. In Japan the theory of evolution (social Darwinism) became widespread most. Probably, first of all in it the idea of development (a possibility of transition from "barbarity" to "culture") that gave hope for change of the situation of things, and to it Japanese "is built in" and aspired. In Asakura's reasonings interestingly and another. Though he speaks about corporal beauty of all "Japanese", for "Japanese" distinctly looks through a female image. Not without reason and in the drawing provided by it designed to prove proportionality of the Japanese body the woman is represented.

The ideas stated by Asakura fell to the fertile field. The best minds of Japan of that time apprehended them seriously, judgment of a body of the Japanese in terms of its esthetics continued. Now skin yapontsa2 became subject to consideration. In 1934 wrote in the well-known essay "Shadow Praise" by Tanidzaki Junichiro (1886-1965): "Among certain individuals also Japanese, more white, than Europeans, and Europeans with more dark skin, than at Japanese will get to us, but in the nature of this whiteness and blackness there is a distinction... [But] in the Japanese leather, by whatever whiteness it differed, felt always weak presence of a shadow. Without wishing

2 Development of a subject of "yellow skin" we are substantially obliged to Madzima's article to Ai (see: Madzima to Ai 2004).

to lag behind the European ladies, the Japanese women with big diligence covered with a dense layer of whitewash all naked parts of a body - beginning from a back and finishing hands to armpits. Nevertheless, they did not manage to destroy the dark color appearing from under an integument" (Tanidzaki Junichiro 1996: 62).

Thus, avoiding the concept "yellow skin" which that racist century had a contemptuous shade, Tanidzaki claimed that people (races) differ not in skin color, and on the shades formed by a combination black and white. He did not claim directly that the Japanese leather is more beautiful European though on the general orientation of the essay it is possible to draw also such conclusion. However in only two years the famous poet Hagivara Sakutaro (1886-1942) in the essay "Japanese Woman" already safely claimed: "The main beauty of the Japanese woman is concluded in color skin. Her podtenenny skin of dark cream color is really fine. Skin of the European women differs in absolute whiteness and at all is deprived of such podtenennost... The whiteness of the white person is a whiteness of the rice flour bleached to a limit - the dry tasteless whiteness inaccessible to neither language, nor a finger. Of course, among the Japanese women there are different, but the most beautiful - owners of white skin in which the yellowness crept in. The same Japanese at whom skin is too white as well as Europeans, are too boring and deprived of a charm. Owners of cream color in which mixed up white and yellow and skin is smooth to the touch, - here they the most beautiful among Japanese and the most beautiful in the world. There are such Japanese at whom from under powder the yellowness looks through, comparisons have no, they are not monotonous in the beauty. Recently Europeans noticed it and began to use yellow powder, but to them is far to Japanese. The made-up face of Europeans represents a combination bright white and bright red, it is the simplicity deprived of a charm. You will look from far away - brightly and beautifully, but it is beauty boring, without taste and a shadow. Generally, beauty of Japanese is similar to beauty of the Japanese flowers and herbs, in it there is depth - a shadow and a subtlety" (tsit. on: Madzima to Ai 2004: 124).

Hagivara's observations differ in a subtlety and taste. However we will not forget also that they represent the turned chauvinism of the white person. Only now not white, but yellow color acts as sign of "noble" origin and beauty. Hagivara finds that Europeans make an impression only at distance, it is according to tra-

ditsionny Japanese cultural installations - interests a look with close rasstoyaniya3 more.

And not only a look, it is interested also a tactile component of beauty. Rapprochement with subject to observation has to be full, and Hagivara involves even the food code of perception - assimilation (absorption) of beauty. Also the fact that the designated approach did not extend to the Japanese men attracts attention. The Japanese men destroyed the complex of corporal inferiority at the expense of the Japanese women. And it meant that the complex was not completely overcome. The behavior of the Japanese military specified that way on which the Japanese men could find self-confidence. Full-scale war in China began in 1937, and in four years Japan declared war on Great Britain and the USA.

Persistently reflecting on the people and its national character, too many Japanese of that time looked not for that general that unites them with other people and cultures. No, they looked for rather that otjedinyalo them from the world. Looked for and found. Among these finds there were findings true, there were also frank fakes. Painful desire to be unlike others outweighed all the rest. Stating the dissimilarity, they took it for exclusiveness. The exclusiveness was taken for superiority. The patriotism turned into xenophobia and nationalism, the whole world was divided into "" and "others", on "" and "others".

In my opinion, exactly this feeling also led Japan in 1941 to a war with Great Britain and the USA, and then and with all their allies. The decision on the beginning of this war cannot be explained proceeding from political and economic reasons because any of them does not pass test by rational logic. Desire of self-affirmation - not only the countries in general, but also each Japanese separately was the main cause. The eurocentrichny picture of the world approved in the West in which to the Japanese (as well as to any "color") there was no little worthy situation provoked it to hysterical forms of behavior.

3 About semantics of a look in the Japanese culture see, for example: Meshcheryakov 2007.

Application

Asakura Fumio

Corporal beauty of Japanese

Having seen the long-legged European, there is no need to admire him and to exclaim: "As it is stylish!" Having seen a fair hair and eyes of the European girl, there is no need to envy it and to exclaim: How beautiful!" Nevertheless having seen the European man or the woman, Japanese blindly and habitually admire them and envy them that entered tradition and turned into a ridiculous prejudice. I condemn it. If Japanese knew the body better, they at the sight of the European would begin to feel the corporal superiority. However Japanese do not understand beauty of the body. Before envying Europeans and to admire them, it is necessary to deal with an own body.

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Japanese do not understand how black eyes it is more beautiful light and as far as they fiziologichny. However if we look in traveling notes of Europeans who visited Japan, then we will see that on the first page telling about the first day of stay in Japan all of them by all means note, black, moist and shining eyes of Japanese are how charming. Earlier they read the light, rather turbid and deeply put eyes for a sample. And it is so clear and quite naturally that at the sight of the Japanese's eyes - shining and clean as the clear autumn sky, - they write about it on the first pages of the notes.

I feel inexpressible happiness that I happened to be born the owner of black eyes. I never considered beautiful whitish and pale European eyes. The concept "shining eyes" is applicable only in relation to Japanese.

If to go further and from external to address physiology, then in the careful analysis it will become clear, as here we will find many confirmations that to Japanese is what to be proud. Color has a direct bearing on light in his understanding by physics. It is known that black color has the best light-absorbing properties, and the farther from black closer to white, the this ability becomes less. Thanks to the fact that the black pupil incorporates the maximum quantity of light proceeding from an object the visual acuity increases, and eyes are tired less. As the light pupil absorbs much less light, and its reflective ability increases. Thereof

light radiation of an object substantially is reflected, and it leads to the worst visual perception and bigger exhaustion of eyes.

Look at the European who goes along the street lit with the sun, - from bright light he is forced to squint. Because its pupils reflect light, it is not able to see clearly what occurs around. That is at brighter lighting the European cannot open the eyes more widely.

Matter not only black pupils in itself. In combination with black eyelashes and eyebrows they create feeling of harmony and balanced beauty that in a mediated way also increases visual acuity - due to ordering and concoction of chaotic play of light. From this point of view the role of black eyelashes and eyebrows as protection of a pupil is also big.

Between an eye and eyebrows there is the known distance which allows an eye to move freely and freely. Japanese between an eye and an eyebrow have a thick fat layer. At the expense of it reduction of eye muscles happens softly and soon. Eyes work for Japanese very well and quickly that finds the explanation in above-mentioned features of physiology.

Besides, the long section of eyes of the Japanese allows to increase a point of view. If at Europeans it makes 167 degrees, then Japanese are capable to see clearly objects of an arch in 180 degrees.

I analyzed only one body - an eye. But also it was succeeded to find so much in it fine.

It is considered that a black voluminous hair which falls, like willow branches are a symbol of good health. And here nobody can be compared to Japanese on beauty of hair of which we have to be proud. Europeans say that hair at Japanese are inimitable, they admire them and uplift them praises. The same Japanese who spoil natural beauty of the hair with a wave and turn them into some bird's nest, imagining themselves at the same time the western beauties, - these women are struck with "a Westernism disease". They refuse own beauty, admire unclear what deserve a rank of silly persons.

"A body at Japanese ugly. Legs at them, first, short, secondly, curves that is very unattractive". Similar words can be heard often from Japanese. Every time when I hear similar amateurish and superficial judgment, my spiteful

the look gives my attitude towards such people. Unless it is possible to define beauty or ugliness by such primitive criterion? These the irresponsibility and a blindness demonstrate that the Japanese system of thoughts underwent a westernisation that - whether it be clothes, food or the dwelling - are put in a basis of any judgment the western criteria.

If to wear the European clothes then will seem that legs at Japanese in relation to a trunk are short and all body it is deprived of harmony. And then any movement will look some defective. You will begin to dance the European dance - all corporal shortcomings will become immediately visible. However it quite naturally. Both clothes of Europeans, and their dances are worked, thought up and harmonized counting on their body.

We will imagine the European who is got up in the Japanese clothes - the show will leave very strange. The European in it will look ridiculously, he will naturally not look in the clothes which are cut out under the Japanese. And let this European will begin to dance not the dance, but Japanese. And where then the graceful, charming and full charms of the movement inherent in the Japanese dance will get to? The European will look even funnier, than the Japanese dancing in an European way.

Certainly, and in Europeans there is special beauty, but also in Japanese it is possible to see the beauty which does not concede the European in anything. There is no need to damn the Japanese only for the fact that his body is not suitable for the European dances. Japanese have fine dances which were thought up counting on their body.

For those disappointed Japanese who consider the body ugly because of short legs I will present results of recent researches.

If we look at a naked body, then it is impossible to tell that it is ugly only because it has a long trunk and short legs. If we take for the main criterion of beauty long legs and long hands then a certain ratio of length of legs and hands and has to present us an example of ideal beauty. However beauty of a human body is defined not only by length of legs and hands. Actually beauty of a human body can be revealed only provided that we will take harmony of all body, its proportionality for criterion of beauty. Researches were in this regard conducted since Ancient Egypt. In the east too there are compositions on a Buddhist iconography. Everywhere in the world philosophers, artists, anatomists, astro -

logs and other erudite experts were engaged in studying this question, and they made many discoveries. In particular many such researches began to appear in Renaissance. The criterion of beauty was looked for in mathematical regularities, in the anatomic building, i.e. the geometrical factor was entered. Such criterion was looked for also in musical harmony, found also matches between a human body and constellations. In a word, the interest to corporal was great, and not to list all theories.

Recently great interest is attracted by geometrical researches of a proportion of a body. In particular, there is a theory according to which a quarter of length of a spine column undertakes unit of measure. Ten and a half such units correspond to human height. This ratio approximately coincides with the anatomic theory according to which the human height is seven and a half lengths of the head. Thus, statistical data and the anatomic theory yield the same results. I.e. it is necessary to consider in general conventional data that for adult men and women the ratio of length of the head to growth makes 1:7.5.

The ratio 1:10.5 corresponds to growth of the European. That to Japanese, there is no need to apply some fractional numbers, and it is necessary to take for the standard a ratio 1:10.

If to take this unit for the standard and to perform thorough measurements then it will turn out that head width in temples and distance from a nose tip to the top of the head make unit, and width of shoulders - two units. Length of a breast will be unit, length of a shoulder joint - one and a half, and length of a beam bone together with a palm - two and a half. It turns out that length of the upper extremities is four units, distance from a navel to a pubis - one, distance between necks of hips - unit, length of a tibial bone - 2.5, shin length - 2.5. So we can present a body in numerical proportions. If we approach with the same standard the European's body, then we will not find the same accurate and clear ratios.

Thus, it turns out that a body of Japanese on the building very naturally and architecturally. At it there is a harmony and beauty of proportions. And from the point of view of the structure of a body the Japanese far were ahead of Europeans by ways of evolution, their body is the evidence of higher culture, in it the ideal proportionality is found.

Besides, in a body of the Japanese there is a set of other manifestations of esthetic. It is not volume, legs are short or are long, kri-

the Vyya they or not, and that they have to promote maintenance of a body in vertical position. Sculptors and artists use sedentary and lying poses which composition can be very various in the works. Europeans have long legs, but this length should not form the basis for pride at all. From the physiological point of view the primordial purpose of legs is in supporting a body and to successfully move it. Short legs perfectly meet this requirement. So the physiology demonstrates that legs of Japanese completely fulfill the purpose. And unless not these short and strong legs brought us unprecedented victories in the Japanese-Chinese and Japanese-Russian wars?

Facial muscles of Japanese differ in softness and therefore their movements are natural, plastic and perfect. Therefore from the point of view of the sculptor they have soft volume esthetics. Most likely, only Japanese possess such person whose dynamics can be represented by means of gentle and plastic lines. The smiling face of the Japanese has in particular a charming and unique component. The lack of white skin color does not disturb a soft muscular charm to which Europeans cannot be compared.

I believe what listed allows to speak about refined and elegant beauty of Japanese. Some claim that among Japanese there are few beauties, but unless among the European women there will be at least one which could brag of such strict and at the same time light and refined beauty? I believe that the Japanese women - the most beautiful in the world.

We will talk about hands of Japanese. For a long time Japanese were famous for beauty of the hands. The hands represented in saturated pink color by means of thin plastic lines is not a just external manifestation of beauty. These fine hands are extremely skillful that makes one more subject for pride. The fast and exact movements of fingers testify to perfectly developed touch. It is impossible to tell that touch at Japanese was so developed from the very beginning. No, all five sense organs developed gradually and to such an extent that can be claimed: Japanese much more were ahead of Europeans in the cultural and evolutionary development.

One foreigner told: "To be equal to Japanese in the accuracy of work of fingers, we have to pass a long evolutionary way". And it is valid, from the point of view of Europeans, fingers of Japanese differ in extreme sensitivity.

That to a subtlety of the Japanese music, other music will seem an animal roar that demonstrates: and in this regard we evolutionarily surpass others.

The founder of the evolutionary theory Darwin proved that the structure of the person, a mimicry, indumentum, structure of skin Europeans stand to primacies closer, than people of the East. So, and in this regard we, east people, passed a bigger evolutionary and cultural way.

I am happy and grateful to destiny for the fact that I happened to be born not just east person, namely the Japanese. Certainly, I do not deny that, as Europeans have beauty. I believe that the European race has that specific, than it is possible to be proud, eat at them and a lot of beautiful. And nevertheless it is impossible to forget that Japanese beautiful have even more, and there is no need nikchemno to envy Europeans. It is necessary to reveal beauty in our body and to proclaim praise to the Japanese beauty.

Literature

Akutagawa of Ryunoske. 1998. Soch.: in 4 t. T. 1. M.: Polyaris.

Kobayas of Takidzi, Naosi Tokunaga, Fujimori Seikiti. 1933. Japan: collection. Kharkiv: Ukra_nsky rob_tnik.

Kunikida Doppo. 1958. Chosen stories / lanes by T. Topekh. M.: GIHL.

Madzima to Ai. 2004. Kiiro dzinsyu that yu unmey-but to a tekok. Kinday @-hon-but sintay to a kankak (page 106-137). Tokyo: Seykyusya.

Meshcheryakov, A.N.

2006. Emperor Meiji and his Japan. M.: Natalis.
2007. Book of the Japanese symbols. M.: Natalis.
2008. Pre-war Japan: spirit victory over flesh. Questions yaponove-

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Nishimura of Hirosi. 2005. Segakko de Iza suvara of a cat. Mono that sintay penalty to the world nikhon-but kindayka. Kyoto: Kokusai nikhon bunka kenkyu Sant.

Nikhondzin-no dzintayb. Nippon-no hokor (page 600-609). Tokyo: / and. 1929.

Savelyev, I.R. 1997. Japanese over the ocean. The history of the Japanese emigration to North and South America. SPb.: St. Petersburg oriental studies.

Tanidzaki Junichiro. 1996. Shadow praise. Shadow praise. Stories by the Japanese writers (page 37-70) / lane of M. L. S. Grigoryeva. SPb.: St. Petersburg oriental studies.

Joseph Woods
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