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Shunga sex and pleasure in Japanese art

Edited by Timothy Clark C. Andrew Gerstle Aki Ishigami Akiko Yano

Media and Sport. A nd rew G erstl e Who Were the Audiences for Shunga? Hayakawa M on ta 34 48 60 62 74 Cats 1–9 1 Early Shunga before 1765 Shunga Paintings before the ‘Floating World’ Published to accompany the exhibition Shunga: sex and pleasure in Japanese art at the British Museum from 3 October 2013 to 5 January 2014. The British Museum would like to thank the Department for Culture. Supported by Shunga in Japan LLP Part of Japan 400 This exhibition has been made possible by the provision of insurance through the Government Indemnity Scheme. Further information about the Museum and its collection can be found at britishmuseum. Frontispiece: detail from cat. First published in 2013 by The British Museum Press A division of The British Museum Company Ltd 38 Russell Square.wa Era (1926–89) Shunga Studies in the Sho Shiraku ra Y o shihik o 14 4 Contexts for Shunga 294 Traditional Uses of Shunga 296 Yam a m o t o Y u kari Introduction 16 What Was Shunga? 18 Ti m oth y C lar k a n d C . A n d r e w Ge r stle The Distribution and Circulation of Erotic Prints and Books in the Edo Period L a u ra M o retti 300 304 318 332 364 368 374 378 382 390 394 404 410 418 452 454 464 478 490 Cats 79–86 Shunga and Parody C.A sa n o S h u g o 104 108 120 Violence in Shunga H igu chi K a z u taka Cats 113–116 Foreign Connections in Shunga T i m o n Sc reech Cats 23–37 2 Masterpieces of Shunga 1765–1850 152 The Essence of Ukiyo-e Shunga 154 Kob ayashi Tadashi Cats 117–121 Children in Shunga A kik o Yano Erotic Books as Luxury Goods Ellis Ti n i os 158 162 170 228 234 242 244 246 Shunga and the Floating World Mats u ba R yo k o Listening to the Voices in Shunga Hayakawa M on ta Cats 122–147 5 Shunga in the Meiji Era Erotic Art of the Meiji Era (1868–1912) R o sina B u ckla nd Cats 38–61 The Tale of Genji in Shunga S at o S ator u Cats 62–67 3 Censorship Timeline of Censorship Shunga and Censorship in the Edo Period (1600–1868) J e n n ife r P r e st on Cats 148–157 The Modern West’s Discovery of Shunga Ricard B ru Cats 158–165 Graph of approximate output of shunga print series and books Cats 68–78 259 260 Biographies of Shunga Artists and Authors 507 Concordance of Shunga Titles of Works Exhibited 511 Bibliography 513 Photographic credits 525 Index 526 . Barcelona Papers used by The British Museum Press are recyclable products and the manufacturing processes are expected to conform to the environmental regulations of the country of origin. 53. Many of the works illustrated in this book are from the collection of the British Museum. ISBN: 978-0-7141-2476-6 Designed by Andrew Shoolbred Printed in Spain by Graphos Museum reference numbers are included in the image A catalogue reference for this book is available from the British Library. 208–11 A kik o Yan o Cats 87–109 Popular Cults of Sex Organs in Japan Su z u ki K enk o Cats 10–19 Ishiga m i A ki Cats 110–112 Grotesque Shunga I shiga m i A ki Chinese Chunhua and Japanese Shunga 92 Cats 20–22 Shunga and the Rise of Print Culture .Contents Director’s Foreword Sponsor’s Foreword 6 8 The Censorship of Shunga in the Modern Era I shiga m i A ki 278 290 List of Lenders 10 Contributing Authors 11 Acknowledgements 12 The Cultural Historical Significance and Importance of Japanese Shunga Kob ayashi Tadashi . and Arts Council England for providing and arranging this indemnity. see pp. © 2013 The Trustees of the British Museum The authors have identified their right to be identified as the authors of this work. London WC1B 3QQ britishmuseum.

Keio NAKANO Mitsutoshi (NMi).(AS). Tokyo NAITO Masato (NMa). Tokyo ISHIGAMI Aki (IA). Tokyo TANAKA Yu Ellis TINIOS (ET). Rijksmuseum. Emeritus. SOAS. University of London 10 List of Lenders Contributing Authors 11 . Ritsumeikan University Hakutakuan collection International Research Center for Japanese Studies . International Research Center for Japanese Studies. Ritsumeikan University. Pollard and Ooi-Thye Chong collection Private collection Victoria & Albert Museum USA Brooks McCormick Jr collection Private collections SHIRAKURA Yoshihiko (SY). University of Pennsylvania. Tama Art University and Wako Akiko YANO (AY). The Museum Yamato Bunkakan. The British Museum. SOAS.sei University. Tokyo KOBAYASHI Tadashi (KT). Birkbeck College. Mitsui Memorial Museum. London HAYAKAWA Monta (HM).List of Lenders Contributing Authors Denmark Michael Fornitz collection . University of London Naoko SHIMAZU (NS). Gakushu MATSUBA Ryoko (MR). Tokyo YAMAMOTO Yukari (YY). SOAS. Tokyo Monika HINKEL (MH). SOAS.(AR). University of London HINOHARA Kenji (HKe). Kyoto AKAMA Ryo .University. Ho . Kyushu University Jennifer PRESTON (JP).go . Nanzan University. University of Leeds . Independent scholar . Kyoto . Philadelphia Menno FITSKI (MF). Ukiyo-e Ota Memorial Museum of Art. Barcelona Japan Art Research Center. University of Tokyo SATO Satoru (SS). Nagoya Laura MORETTI (LM). The British Museum. University of London SADAMURA Koto (SK).(IK). SOAS. University of London Alfred HAFT (AH). University of London Netherlands Ferdinand Bertholet collection Private collection Rijksmuseum UK The British Museum Ebi collection Israel Goldman collection Matsuba Foundation Muban Foundation Jeffrey W. Andrew GERSTLE (CAG). Tokyo KOBAYASHI Fumiko (KF). Kyoto HIGUCHI Kazutaka (HKa). Nara ASANO Shu Ricard BRU (RiB).collection Ishiguro Keisho Itasaka Noriko collection Mitsui Memorial Museum Private collection .ko (TY). London Alan CUMMINGS (AC). Amsterdam Amaury GARCÍA RODRÍGUEZ (AGR). University of Cambridge Joshua MOSTOW (JM).(SK). The Japan Society for Arts and History of Photography ISHIGURO Keisho . Ritsumeikan University. Edinburgh Timothy CLARK (TC). Kyoto Seika University SUZUKI Kenko . National Museum of Scotland. University of British Columbia. Tokyo Timon SCREECH (TS). Emeritus.University. Vancouver . Barcelona City Council Culture Institute.collection Taki Rentaro Uragami Mitsuru collection Rosina BUCKLAND (RoB). Mexico City C. University of London Julie Nelson DAVIS (JD). Emeritus. Jissen Women’s University.sei University. El Colegio de México. Ho . SOAS.

1-2 Provenance: Jack Hillier . 71–85 Scenes illustrated: (Above) Volume one begins with an image of three court ladies of the highest status: a female emperor.shinasadame was published in Kyoto in 1723. 28. woodblock. who perform a kaleidoscope of daily tasks and amusements. Hyakunin joro . yarite (manager).reforms of the 1720s. . townswomen. Sex workers were officially considered to be outcasts. So giving them equal space in the same book to all the other recognized classes put together was significant. begins with ‘professional’ women of pleasure. pp.fu narabi no oka that Sukenobu’s erotic book Fu of 1714 may have contributed to the 1722 ban -shokubon.5 x 19. Kyoto’s official pleasure quarter (bottom).. 1671–1750) and . particularly with regard tension during the Kyo to the newly enacted regulations on publishing. tayu . and then introduces samurai women and a broad range of classes of women at various tasks. Later editions of the book. pp. 1745) Hachimonji Jisho Large-size illustrated book. on ko 260 Censorship Censorship 261 . a ‘night hawk’ streetwalker. even in the modern era. 2 vols. an emperor’s consort and a princess. and it is immediately after the banning of erotic books (ko famous today because it was censored by the Bakufu authorities. Buckland 2010. Jenny Preston argues . d. the high-ranked courtesans of Shimabara. (Below) Volume two. one hardly different from the other.(teenage apprentice). [AGR] Nishikawa Sukenobu (artist. 1723 This work depicts in two volumes the everyday life of Edo-period women.’ of the title complicated by the fact that in the Edo period the word ‘joro could refer to upper-class women and to women in general. in contrast. Literature: Suzuki Ju Kurakazu 2003. This title. Six elegant women are shown in the street (from the right): .(highest-class courtesan). Any attempt to make different spheres of social life appear to be equal and homogenous was considered an affront to the Tokugawa system. 1979. We are then introduced to the women of Edo’s Yoshiwara and Osaka’s Shinmachi quarters. appeared at a period of high .shokubon). Asia. Kyoto. collecting in its pages images of court and samurai ladies. see cat. or yotaka.0305. hikifune shinzo (assistant). and its erotic sequel Hime kagami.5 cm (covers) The British Museum. published by Hachimonjiya Hachizaemon. showing sex workers from the Shimabara pleasure quarter in Kyoto. begins at the other end of the official social scale. Volume two. 31. in contrast. p. which does depict samurai and courtiers having sex. leading to the final image in the book. 30–40. All the women are depicted as elegant and gentle. geisha and sex workers. as well as to sex workers. Ishigami 2013a.(author. kamuro (child attendant) and tsubone (lower rank).1 These books may have been banned simply because they transgressed a fundamental premise of the samurai government – strict distinctions of social class and status.0. Volume one begins with a female emperor and court ladies (top). below the class and status ranking system. The images are preceded by considerable comment on the different kinds of women and their activities.zo . country girls. 1 See Rodríguez 2013.shinasadame 68 Hyakunin joro (Commentaries on One Hundred Young Women).1979.70. even though it shows only women and includes absolutely no scenes of sex or romance.ho . 69. This is further . often excluded the empress illustration.