The Development of Female Products in the Perspective of Yin-Yang Aesthetics

The Development of Female Products in the Perspective of Yin-Yang Aesthetics Pei-Ling, Lee Abstract In Chinese philosophy, Yin-Yang is used to understand the nature of things or phenomena. It is considered that every single thing or phenomenon processes both Yin and Yang properties and that the difference between things lies in the relative proportion of Yin and Yang. In general, there are four types of Yin- Yang relation: (1) Opposition: Yin and Yang are contrary to each other, similar to the relation between high and low, good and bad. (2) Change: Yin and Yang are coexisting in every single thing in the universe. The cycle of growth and decline is an example. (3) Conversion: Yin and Yang are convertible to each other; that is, Yin can be transformed into Yang and vice versa. (4) Unification: Yin and Yang are the two sides of a coin. A tinge of gentleness can be found in Yang; traces of tough and masculinity can be found in Yin. Such argument is proper to be applied to the analysis of the evolution of female products for it eradicate the stereotypes that men and women are against each other and that female products are all feminine. In addition, the change and conversion can be used to explain the phenomena on the market. Unification provides an explanation of harmony in Yin-Yang aesthetics, reflecting the ideas found in Chinese philosophy and Japanese aesthetics. Key Words: Yin-Yang aesthetics, female products, stereotype

Introduction An ancient Chinese philosophy of the cosmos, Yin-Yang theory is used to explain interrelated things and phenomena that exist in nature. In Yin-Yang theory, everything contains Yin and Yang sides and the interaction between Yin and Yang matters the change and appearance of things, which is why Yin- Yang theory can be deemed as the basic principles in the cosmos. The Chinese believe that the harmony of Yin-Yang will result in perfection and the realization of ideals. The Yin-Yang philosophy is not only Taoist but also an idea of traditional Chinese art. Yin-Yang philosophy can often be found in the presentation of Oriental art and has developed into a set of concepts of Yin- Yang aesthetics, a unique Oriental aesthetics. Based on documentary discussions, a comparison between Yin-Yang aesthetics and product design is made in this research. The relation between Yin and Yang is particularly the focus of interest. The four stages opposition, change, conversion, and unification can be compared to the lifecycle of a product. However, the cycle in Yin-Yang aesthetics is not a linear process but a natural and harmonious development. This research targets female products as the research object and discusses the myth found in the development of female products. An observation on the development of female products is made based on Yin-Yang theory. This way, we can learn how the products are developed and bring up responding methods. Besides, Yin-Yang theory is consider as a systemically design thesis, by the points of design revaluation compare to the content of the Yin-Yang Aesthetics is a graded revaluation and rationally. Although is not a theory of science, the emphasis of thesis of harmony could be observed and be explained with many context of phenomenon and paradox. In addition to the appearance of the feminine products, there were many myth produced by stereotype. Therefore, the design revolution from the observation of Yin-Yang theory, many topics could be discussed by the way to extended other topics and the compare to the Yin-Yang Aesthetics Philosophy of Yin-Yang Aesthetics Yin-Yang theory is an ancient Chinese cosmology and is often used to explain the basic properties of things or phenomena. The Chinese believe that Yin and Yang properties can be found in every single thing and the difference between things lies in the relative proportion of Yin and Yang properties. However, in real life, Yin and Yang properties can not only exist separately but also convert into each other. In general, the relation between Yin and Yang can be analyzed in four stages: (1) Opposition: Yin and Yang are contrary to each other, similar to the relation between high and low, good and bad. (2) Change: Ying and Yang are coexisting in every single thing in the universe. The cycle of growth and decline is an example. (3) Conversion: Yin and Yang are convertible to each other; that is, Yin can be transformed into Yang and vice versa. (4) Unification: Yin and Yang are the two sides of a coin. A tinge of gentleness can be found in Yang; traces of tough and masculinity can be found in Yin.

According to the Evans (1992), who argues that in the Japanese interpretation of Yin-Yang aesthetics, a system of lines and grids is deemed as a presentation of order and harmony, which stands for Yang so that Yang is interpreted as masculine, tough, structural, and artificial, or the presentation of sharpness and angles; while Yin is considered as feminine, symbolizing abstract, mystery, darkness, and nature, or the presentation of curves and circles. It s learned that in both the Chinese cosmology and Japanese harmony theory in design esthetics, the status of things or phenomena is analyzed from a Yin-Yang perspective, which can reflect the changes in life and nature. Furthermore, in ideal Japanese design esthetics, perfection is the result of harmony between Yin and Yang components. The Yin-Yang agreement in everything is the focus of concern and reflects the Yin-Yang opposition in Yin-Yang theory. Originated from Taoism, Yin-Yang aesthetics not only is an attitude toward life but also provides an explanation for the changes in natural phenomena. It has developed into a unique set of Oriental design aesthetics. McArdle (2000) indicates that Yin is considered to be feminine, or sensitive, emotional, passive, round, gloomy, and cold. Mountains and fields are classified as Yin. On the contrary, Yang is considered to be masculine, or linear, light-colored, and warm. Rivers and flowing waters are classified as Yang. When Yin and Yang reach an agreement, harmony results. In comparison with Yin-Yang aesthetics, the Japanese scholar, Arjun Appadurai (1988) refers to the word genders, which he deems as the original difference. That is, the male-female dualism is the opposition of positive and negative. Psychologist Carl G Jung also classifies the human spirit into two parts animus and anima. He believes that feminine properties can be found in males and accordingly, masculine properties can be found in females. Therefore, the cultural personality contains both masculine and feminine properties, which contend with each other and the cultural personality is the presentation of the interaction between masculine and feminine properties. As a result, the value of products can be reviewed on the basis of masculine principle and feminine principle. For example, the masculine principle in morphology implies sensible properties, such as logic, reasonability, functionality, and economy, or the status of being positive while feminine principle implies sensitive properties, such as image, ambience, beauty, and value, or the status of being negative (Arjun Appadurai, 1988) A harmonious arrangement and transformation of the positive and negative properties will lead to perfection. From Opposition to Unification The difference between genders and the tradition of patriarchy result in gender stereotype and a graded dualism. Take the image of the sexes for example, males are connected with lines, logic, and reason, or masculinity; on the contrary females are connected with area, intuition, and emotions, or femininity. The dualistic stereotype indirectly influences the presentation of designs. Take Art Nouvean in the design history, which is considered as Feminine Art for example, the presentation of curves and the background of plants and females seem to be the paragon of feminine images and reflect Arjun Appadurai s interpretation of the feminine principle delicateness,

weakness, fineness, cuteness, and tenderness. The images also contribute to the formation of the deep-rooted stereotype of female products. From a feminine perspective, Weisman (1997) argue that we are living in a man-made world, which is a space ideology constructed by society and influences the dualistic logic of things. Males are stereotyped as generous, powerful and sensible while females are stereotyped as well mannered, not powerful, and sensitive. Take the razor for examplesuch as Fig. 1, the razor is a product that conforms to both masculine principle and feminine principle. However, razors for males give an image of technicalness, functionality, and powerfulness while those for females give an image of biomimic, beauty, and fashion. The stereotyped images contained in female products should be reviewed and challenged. Fig. 1 Philip s razors for men and women in 1980 Gender difference leads to the opposition of cultural values in the dualism which is presented by male and female properties, wipes out the possibility, similarity, and opposition between different objects, and results in a graded and repulsive relation in the dualism. The structure of dualism not only gives rise to the primary-secondary relationship between the two sexes but also is rationalized by the social system and values (Gu Yanling, 2003). As ideas towards genders evolve, the absoluteness of the opposition in the dualism begins to change. In 1960, the phrase neutral gender began to appear in women s apparelforty, 1986; and with the social phenomena of neutralgender idea and homosexuality, the definite difference between the two sexes becomes less clear, causing more possibility and similarity. Likewise, the dualistic phenomena caused by gender stereotype can also be found even in the products. The cars or stereos made for men are often bright, black, rigidly-framed, mechanical, and mechanistic while those made for women often have a less aggressive appearance. Take razors for example, those targeting at male consumers give an image of power and technicalness while those targeting at female consumers give an image of streamline and fashion. The difference in color, shape, and texture is actually caused by the dualism and is the presentation of the stereotyped gender difference. To indiscriminately define female products as soft is not appropriate and is considered shallow design esthetics, with little respect for the basics of female issues. With the changes of time and the promotion of women s social status, products

for different purposes, occasions and professional images become available on the market. The products are no longer confined to feminine principle but focus the user s state of mind when she use the female products. For some products, degendered appearance can even be more appealing to the consumers. This is because female consumers will feel humiliated and when buying a product that looks different from a male product. Therefore, it can be observed that more and more female products are appearing degendered. This is why gender stereotype has begun to fade away from female products; even images of neutral gender have begun to blend into the market. The phenomena also reflect the arguments in Yin-Yang aesthetics (such as opposition, change, conversion, and unification) and the changes of female products from absolute dualism to the pattern of Yin-Yang aesthetics. The lifecycle of the products can also be observed. Comparison Between the Evolution of Female Products and Yin-Yang Aesthetics The connection of arguments in Yin-Yang Aesthetics and the evolution of female products can be compared to the development of the relationship between both genders. Besides, a mirror phenomenon can also be further established to review the evolution of female products. Fig. 2The Yin-Yang figure of Taiji can be used for explaining or reflecting the harmonious view that the things or the phenomenon change A. Opposition In the perspective of opposition, there is a definite difference in the stereotypes of male products and female products. Male products are often defined as sensible, logical, and technical while female products are often defined as intuitive and sensitive. Although it is true that Yin-Yang is a set symbols used to understand the basic properties of objects, the difference between male products and female products can be compared to the cycle of nature. That is, graded difference actually results from varied interaction of Yin and Yang. Opposition is one example of the obvious graded difference. Black and white represents Yin and Yang in the Tai Chi and symbolizes the coexistence of Yin and Yang. This is why when a product has to be defined, as female-only, feminine principle will be applied to the appearance of the product. This is a strategy in classification and a method in featuring the product.

B. Change The perspective of change can be compared with a cycle. The functional demand is often the main concern when a new product comes to existence and later, with the saturation of the market, market segments will emerge. Then, females, once thought to be secondary target consumers, will become the mainstream on the market with the promotion of their social status and their inclination to shopping. The niche of products is then changed from males to females. In morphology, the sensitivity found in feminine principle is deemed as structurally inferior; however, Arjun Appadurai holds that female principle can be regarded as a sensitive cultural symbol and the origin of values. The development of female products, or the representation of product design means that feminine principle is coming back and changes the appearance of the design. C. Conversion When the market of male products and female products switches, male products and female products are actually making progress shoulder to shoulder. The market share or the conversion of product appearance is just like the two fishes that are connected to each other on the Tai-Chi sign and present a counterclockwise rotation. The conversion idea reflects the gender theory held by Carl G Jung. When the market share increases or even reaches the peak of its lifecycle, products will begin to visually differentiate themselves and target opposite design styles. Take the razor for example, its once masculine, tough, and technological image is now infused with elements in feminine principle circles, delicateness, colorfulness. Female watches, once thought to be delicate and elegant, also begins to be infused with images found in male sport watches. The phenomena of conversion are common among saturated markets. This is the differentiation strategy. In Asia country as Japan, Korea, and Taiwan etc., the design of feminine mobile phones are raising that could prove future of female product market. D. Unification Unification is an idea similar to the Japanese Yin Yang Aesthetic; that is, every product contains Yin components and Yang components and Yin-Yang harmony will lead to perfection. Furthermore, in the Tai-Chi sign, there is a black dot in the white area and a white dot in the white area; which means Yin exists in Yang and Yang exists in Yin. This is the idea of unification. It can be inferred that tinges of masculinity can be found in feminine aesthetics and femininity can be found in masculine aesthetics. Neutral gender is therefore result since the difference between genders becomes indefinite. Which is why many products no longer define the gender of its users and consumers can choose whatever they like without the limits of gender stereotype.

Fig 3.-The shapes of the razor, which the men and women of Philip used, have not too great difference yet E. Original Form The abovementioned is the argument on the development of female products in the perspective of Yin-Yang philosophy. However, based on the philosophy, the development will keep going after unification. Then, feminine ideas will be infused into the products because most females will hold that female products should be definitely separated from male products to cater to different personalities, professions, and occasions. They will think that the design of products should not focus merely on the appearance but the overall harmony and functions, or even details. The so-called detailed design is actually a userfriendly design, a delicate image, and the familiarity. Familiarity is not equal to softness; instead, products should be bestowed brand new images. Take notebook computers or periphery products, which focuses functions, for example, such products should emphasize the lightness, convenience, and functions, or even be designed to suit different professions. This is the meaning of the original form. Opposition Original New evolution Yin & Yang Change Unification Conversion Fig. 4It has reflected new evolution stage to the cycle circulation from four stage of Yin-Yang to original. V. Conclusion Yin-Yang theory is originally a philosophy, a method that reflects the movement of the universe; however, it can also be sued to explain complicated

natural phenomena and man-made things. By using the simple Yin and Yang symbols, complex and graded relations can be analyzed to find out the macro view of the intricate interrelations. Although we cannot understand the micro operation, it s still proper to use Yin-Yang theory to explain the cycle of changes of products, the phenomena of fashion, and the interaction between masculine principle and feminine principle. The research discusses the development of female products in the perspective of Yin-Yang aesthetics and focuses the prospect and myth of female products. Reasonable explanations are established by applying the analysis of opposition, change, conversion, unification, as well as original form proposed in the research. There must be a period of time in the lifecycle of female products when the design falls into the trap of gender stereotype. Through a systematic analysis, the thinking in Oriental esthetics can be understood that things will unify after parting for a long time and will part after being unified for a long time. Reference Anscombe, I.1985A Woman s Touch- women in design from 1860 to the present daypenguin BooksNew York Arjun Appadurai1988Consumption of the symbol societyyuan-liou Publishing Taipei Buckley, C.1989 Made in Patriarchy: Toward a Feminist Analysis of Woman and Design Design DiscourseThe University of Chicago PressChicago Evans, S.1991Contemporary Japanese Design Collins & Brown London Forty, A.1986 Differentiation in Design Objects of DesireThames & HudsonLondon Gu Yanling, 2003Doctrine theories of womenfembookstaipei Lin MeiJun, 1996/12, the five elements thought of Yin and Yang takes a sea-voyage eastward and Japanese Yin and Yang one, Cultural university Japan research journal pp. 113-117Yunlin McArdle, A.2000East West StyleRockport Publishers, Inc. McQuistonm, L.1988Women in Design- a contemporary view RizzoliNew York Overhill, H.1995TooltoysDanish Design Center QiXiong Zeng, 2002/03, China five countenance distinguish justice and Yin and Yang research, the five elements of relation, The Journal of Scientific and Technology Vol. 11, pp.121-135 Weisman, L. K.1992, Discrimination by Design: A Feminist Critique of the man-made EnvironmentThe University of Illinois Press Biographical note Pei-Ling Lee is a Lecturer in Dept. of Product Design, Tainan Woman s College of Arts and Technology, and Doctoral Student of Graduate School of Design, National Yunlin University of Science and

Technology in Taiwan. Her particular research interest is in the design aesthetics, feminine design, Japanese design philosophy. Tel:886-6-259-4323 Fax: 886-6-258-7246 Add: No. 62, Ln. 135, Sec. 3, Haian Rd., Tainan 704, Taiwan E-mail: t40097@ms.twcat.edu.tw