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Japanese Erotic Fantasies Sexual Imagery of the Edo Period

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sunga japanise erotic paintings
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   Japanese Erotic Fantasies Sexual Imagery of the Edo Period    Japanese Erotic Fantasies Sexual Imagery of the Edo Period  Essay by Chris Uhlenbeck Cecilia Segawa SeigleMargarita WinkelEllis TiniosOikawa Shigeru Hotei Publishing  Amsterdam   Preface AcknowledgementsEditorial NotesShunga: the Issues Chris Uhlenbeck  The Setting for shunga: the Yoshiwara  Cecilia Segawa Seigle Erotic Books in the Floating World of Urban Life  Margarita Winkel  Illustrating the ‘Way of Youth’ Ellis Tinios Encountering shunpon Ellis Tinios The Catalogue ‘The Primitives’The Age of HarunobuKiyonaga and UtamaroThe Nineteenth Century   A Handbill for the Yotsumeya   Margarita Winkel  The Meiji Period and Beyond   A Case Study of Meiji shunga: the artist Kawanabe Ky -osai (1831-89) Oikawa Shigeru   Appendix of Japanese characters of book, print and series titles56 81113194366 85132233254  Contents  8  Japanese prints have received an enormous amount of attention from scholars, connoisseurs and amateursover the last 120 years. The fascination with theunfathomable orient, the general interest in Japan and the almost immediate appreciation of Japanese graphicart from its introduction in Europe has led to a hugecorpus of studies on Japanese prints. Shunga, or literally images of spring  , erotic images, haveuntil recently escaped a scholarly assessment. Reasonsfor this are easily understood: the nature of the subject matter disqualified the inclusion of erotic art in themajor exhibitions devoted to Japanese prints, it wasnot considered a respectable object for academic discours and above all, the legal position in Japan of publications on and the commercial traffic in shunga was not very encouraging.Throughout the 17th, 18th and 19th centuries Japanese artists produced images of erotic enjoyment.Major artists were involved in the creation of  shunga  ,thousands and thousands of erotic prints, books and scrolls were produced and found a clientele. Why they were sold, what function did they fulfill,who designed the imagery, how did the artist con-struct the composition, what was the relationshipbetween text and image and what does the image tell us about Japanese sexual culture, are some of the questions that will be addressed here.We seek to address the issue of commerce and func-tion, while at the same time trying to identify what aesthetic and compositional rules guided the artists intheir goal to please their prospective audience. So apart from their function and their position in the commer-cial complex of printmaking, we do insist to look at the role of the artist because there is probably no other subject that gives such insight in the qualities of theartists as the shunga genre. The artist, dealing with the complexities of close human interaction, ofteninvolving complicated bodily positions, has to convey sexual intimacy and often needs to do so in a sequen-tial form. Or in Jack Hillier’s words: ‘(....) Shunga oftenelicited works of art’ (Hillier, Art of the Japanese Book,vol. 1, p. 291) Shunga  , the general term that we use inthis volume to gloss all erotic imagery (footnote) wasone of the six genres that constituted the main body of Japanese printmaking as we know it. Alongside  yakusha-e, (images of actors) bijin-ga  (prints of beauties)  fukei-ga  (images of landscapes) musha-e (images of war-riors) and kacho-e (images of birds and flowers) shunga belonged to the standard ways for artists and publish-ers for making money.Most artists, including the most famous ones, such asSuzuki Harunobu (1724?-1770), Isoda Kory sai ( 1735-1790), Kitagawa Utamaro (1753-1805), Katsushika Hokusai (1769-1849), Torii Kiyonaga (1752-1815),Kikugawa Eizan (1787-1867), Keisai Eisen (1790-1848),Utagawa Kunisada (1786-1865) and Utagawa Kuniyoshi(1797-1861), to name but a few, produced shunga, and despite the censorship laws were often extremely  Erotic fantasies of Japan The world of shunga  G.C. Uhlenbeck  < detail fig. 67a 

Science Philosophy

Jul 22, 2017

Nj 102214

Jul 22, 2017
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