Manko-Chan and the Inferior Other: Cuteness as Disruption to Phallocentrism
A “renowned” artwork that is often addressed by art critics to discuss the relationship between female identity and Japanese art is the 1897 oil painting Wisdom, Impression, Sentiment by Kuroda Seiki.[1] In this painting, three nude female figures are depicted against an empty background with such refinement that they resemble an animal specimen. Bijin-ga[2], the
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