The question “Why Do Asian People Have Small Eyes?” is loaded, venturing into a complex interplay of cultural perceptions, historical stereotypes, and biological realities. Recently, this very question sparked a heated debate in China, highlighting the sensitivity around beauty standards and racial stereotypes. This controversy, ignited by advertisements featuring models with narrower eyes, reveals a deeper conversation about evolving beauty ideals, national identity, and the rejection of harmful Western biases.
Chinese model Cai Niangniang found herself at the center of online criticism due to her eye shape in an advertisement, raising significant questions about beauty standards and cultural acceptance. As model Cai Niangniang poignantly asked in a social media post, “Do I not deserve to be Chinese just because I have small eyes?” Her question encapsulates the heart of the issue: the problematic association of eye shape with nationality and beauty.
The controversy erupted after old advertisements featuring Cai Niangniang for the snack brand Three Squirrels resurfaced online. Accusations of being “deliberately offensive” and “unpatriotic” were hurled at the model simply because of her naturally narrow eyes. This backlash, fueled by nationalist sentiments and a heightened sensitivity towards how Chinese people are depicted in media, led the company to remove the ads and issue an apology for causing discomfort. However, for Cai Niangniang, it highlighted a painful reality: being judged and ostracized for her natural features.
This incident is not isolated. In recent times, other prominent brands like Dior, Mercedes-Benz, and Gucci have faced similar online outrage in China for advertisements featuring Asian models with similar eye shapes. These controversies are unfolding against a backdrop of increasing online nationalism and a rejection of Western cultural dominance. Critics argue that by showcasing models with narrower eyes, these brands perpetuate outdated and offensive Western stereotypes of Asian people.
The Dior advertisement, photographed by Chen Man, also faced backlash for featuring a model with narrow eyes, which some critics perceived as reinforcing Western stereotypes. The core of the debate lies in the perception that these depictions echo the “slanted eyes” stereotype, a derogatory caricature of Asian people that originated in Western culture during the 19th century. This stereotype, deeply rooted in racism and the “Yellow Peril” ideology, is understandably offensive to many Asians worldwide. Historically, the “slanted eyes” depiction was weaponized to dehumanize and marginalize Asian communities. Characters like Fu Manchu in Western popular culture, with their exaggeratedly narrow and slanted eyes, served to perpetuate fear and prejudice against Asians.
The fictional villain Fu Manchu, often portrayed with thin and narrow eyes, became a symbol of the racist “Yellow Peril” stereotype, embodying fears of Asian cultures threatening Western society. However, focusing solely on the cultural and historical context, while crucial, only tells part of the story. To truly understand why some Asian people have what are perceived as “smaller eyes,” we need to delve into the biological and evolutionary factors at play.
The characteristic often described as “small eyes” in people of East Asian descent is largely due to the presence of an epicanthic fold. This is a fold of skin that covers the inner corner of the eye, and to varying degrees, is present in many populations across the globe. However, it is more prevalent in East Asian populations. Scientifically, the epicanthic fold is not inherently related to the size of the eye itself but rather the appearance of the eye shape. In fact, the eyeballs of people of East Asian descent are generally the same size as those of people from other ethnic backgrounds.
Evolutionary biology suggests that the prevalence of the epicanthic fold in East Asian populations may be linked to adaptation to colder climates. One theory posits that the epicanthic fold, along with increased fat around the eyes, provided greater protection against harsh cold, wind, and snow, reducing glare and preventing snow blindness. This adaptation would have been advantageous for populations originating in and migrating through colder regions of Asia.
Furthermore, the perception of “small eyes” is also subjective and culturally influenced. Beauty standards are not static; they evolve over time and vary across cultures. While contemporary Chinese beauty standards, influenced by Western media, often favor larger, rounder eyes, this wasn’t always the case. Historically, traditional Chinese art, particularly paintings from the Tang Dynasty (618-907 AD), often depicted women with slender, elongated eyes, considered a mark of beauty during that era.
The current preference for larger eyes in some Asian beauty standards is a relatively recent phenomenon, arguably influenced by increased globalization and exposure to Western media and entertainment since the late 20th century. This shift has even led to cosmetic trends like double eyelid surgery, aimed at creating a more Westernized appearance of larger, rounder eyes.
However, amidst these evolving beauty standards and global influences, it’s crucial to champion “aesthetic pluralism,” as Dr. Luwei Rose Luqiu from Hong Kong Baptist University aptly points out. Rejecting certain features, like narrower eyes, in the name of combating stereotypes risks stifling diversity and imposing a narrow, homogenous ideal of beauty. True inclusivity means embracing the spectrum of natural human variations and celebrating the unique beauty inherent in different facial features and eye shapes.
Ultimately, the controversy surrounding “small eyes” in Asian people is a multifaceted issue. It is rooted in historical racism and harmful stereotypes, yet also intertwined with biological adaptations, evolving beauty standards, and the complex interplay of cultural influence. Moving forward, it is essential to dismantle harmful stereotypes, promote diverse representations of beauty, and foster a greater understanding and appreciation for the rich tapestry of human appearances. As Cai Niangniang herself concluded, “Everyone has their own charm!” and recognizing and celebrating this diversity is paramount.
