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<i>Kinbaku</i> means 'tight binding', while <i>Kinbaku-bi</i> literally means 'the beauty of tight binding'. <i>Kinbaku</i> is a Japanese style of bondage or BDSM. <i>Shibari</i> is a Japanese word that literally means 'to tie' or 'to bind'.
Isoda Koryūsai (礒田湖龍斎 1735-1790) was a Japanese printmaker and painter active from approximately 1764 to 1788.<br/><br/> The details of his life are under some dispute. He apparently came from a samurai background. One theory stated he became a rōnin and was forced to turn to art, but another says he voluntarily gave up the life of a samurai for art. In 1781 he received the title Hokkyo for his talent and accomplishments. That he was so honored is one of the rare statements that is generally agreed to. There are those who believe he was a pupil of Harunobu, but this is disputed. Although some of his prints survived few of his paintings did.<br/><br/> That said it is known that he was a prolific artist. His subjects ranged from Confucian virtues, to birds, to herblore, and also included hundreds of erotica prints.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus. <br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
From Eiri's 'Models of Calligraphy' published in 1801 a female-female love scene with one of the women (the younger one) wearing a harigata (artificial phallus) and holding a sea shell containing some kind of lubricant.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
In Jainism, a Tīrthaṅkara (Sanskrit: तीर्थंकर 'ford-Maker', Tamil: கடவுள் Kaṭavuḷ) is a human being who in addition to achieving liberation and enlightenment as an 'Arihant' by destroying all of their soul constraining (ghati) karmas, became a role-model and leader for those seeking spiritual guidance. Tirthankaras revitalize Jain Society by organisation of fourfold Jain Order consisting of monks, nuns, laymen and laywomen. Not all Arihants can become Tīrthaṅkaras. There are 24 Tīrthaṅkaras in this time era and each of them revitalized the Jain Order.<br/><br/> During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
During the 10th and 11th centuries CE the Chandella Kings of central India, scions of a powerful Rajput clan who claimed the moon as their direct ancestor, built a total of 85 temples to the glory of God, the creation, and the Hindu pantheon. The Chandellas were devout Hindus.<br/><br/> Eclipsed by the Mughal conquest, the rise of rival dynasties, and the passage of time, the temples languished in the harsh sun and monsoon rains of central India, gradually becoming lost in the jungle. At the time of their re-discovery in 1839, they were so completely overgrown that T. S. Burt, their founder, thought no more than seven temples had survived. Happily this proved far from the case, for when the undergrowth was hacked back and the complex restored, no fewer than twenty two of the original structures were revealed standing.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Katsukawa Shunshō (勝川 春章, 1726 - January 19, 1793) was a Japanese painter and printmaker in the ukiyo-e style, and the leading artist of the Katsukawa school. Shunshō studied under Miyagawa Shunsui, son and student of Miyagawa Chōshun, both equally famous and talented ukiyo-e artists. Shunshō is most well known for introducing a new form of yakusha-e, prints depicting Kabuki actors. However, his bijin-ga (images of beautiful women) paintings, while less famous, are said by some scholars to be 'the best in the second half of the [18th] century'.<br/><br/> Shunshō first came to Edo to study haiku and painting. He became a noted printmaker of actors with his first works dating from 1760. Though originally a member of the Torii school, he soon broke away and began his own style, which would later be dubbed the Katsukawa school. Among his students were the famous ukiyo-e artists Shunchō, Shun'ei, and Hokusai.
Foot binding (pinyin: chanzu, literally 'bound feet') was a custom practiced on young girls and women for approximately one thousand years in China, beginning in the 10th century and ending in the first half of 20th century. There is little evidence for the custom prior to the court of the Southern Tang dynasty in Nanjing, which celebrated the fame of its dancing girls, renowned for their tiny feet and beautiful bow shoes.<br/><br/> What is clear is that foot binding was first practised among the elite and only in the wealthiest parts of China, which suggests that binding the feet of well-born girls represented their freedom from manual labor and, at the same time, the ability of their husbands to afford wives who did not need to work, who existed solely to serve their men and direct household servants while performing no labor themselves. Bound feet were considered intensely erotic in traditional Chinese culture. Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet.<br/><br/> Some men preferred never to see a woman's bound feet, so they were always concealed within tiny 'lotus shoes' and wrappings. Feng Xun is recorded as stating, 'If you remove the shoes and bindings, the aesthetic feeling will be destroyed forever' - an indication that men understood that the symbolic erotic fantasy of bound feet did not correspond to its unpleasant physical reality, which was therefore to be kept hidden. For men, the primary erotic effect was a function of the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound.
Seiu Ito (伊藤晴雨 Itō Seiu), also romanised as Seiyu Itoh (3 March 1882 in Tokyo - 28 January 1961 in Tokyo) was a Japanese painter, recognised today as 'the father of modern kinbaku'.<br/><br/>Ito was born Hajime Ito (伊藤一 Itō Hajime) in Tokyo's Asakusa district and started his education in painting by 1890. His father was a metalworker and he also received training in ivory carving, later sculpture. He adopted the alias Seiu (Sino-Japanese reading of kanji for words 'clear' and 'rain') at age 13. Around 1907, he began working for newspapers.<br/><br/>Ito became the target of censors in 1930, which led to the decline of his fortunes, and he lost most of his works during the Great Tokyo Air Raid. In 1960, he was recognised by the Japan Artists Association (日本美術家連盟 Nihon Bijutsuka Renmei).<br/><br/>Kinbaku (緊縛) means 'tight binding' Kinbaku-bi (緊縛美) which literally means 'the beauty of tight binding'. Kinbaku is a Japanese style of bondage or BDSM. Shibari (縛り) is a Japanese word that literally means 'to tie' or 'to bind'.<br/><br/>Bondage as a sexual activity first came to notice in Japan in the late Edo period. Generally recognized as 'father of Kinbaku' is Seiu Ito, who started studying and researching Hojōjutsu is credited with the inception of Kinbaku, though it is noted that he drew inspiration from other art forms of the time including Kabuki theatre and Ukiyo-e woodblock prints.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Andromeda was the daughter of an Ethiopian king in Greek mythology who, as divine punishment for her mother's bragging, the Boast of Cassiopeia, was chained to a rock as a sacrifice to a sea monster aroused by the queen's hubris. She was saved from death by Perseus, her future husband. Her name is the Latinized form of the Greek Ἀνδρομέδα (Androméda) or Ἀνδρομέδη (Andromédē): 'ruler of men'.<br/><br/> The subject has been popular in art since classical times; it is one of several Greek myths of a Greek hero's rescue of the intended victim of an archaic sacred marriage, giving rise to the 'princess and dragon' motif. From the Renaissance, interest revived in the original story, typically as derived from Ovid's account.
Kinbaku (緊縛) means 'tight binding' Kinbaku-bi (緊縛美) which literally means 'the beauty of tight binding'. Kinbaku is a Japanese style of bondage or BDSM. Shibari (縛り) is a Japanese word that literally means 'to tie' or 'to bind'.<br/><br/>Bondage as a sexual activity first came to notice in Japan in the late Edo period. Generally recognized as 'father of Kinbaku' is Seiu Ito, who started studying and researching Hojōjutsu is credited with the inception of Kinbaku, though it is noted that he drew inspiration from other art forms of the time including Kabuki theatre and Ukiyo-e woodblock prints.
Shunga (春画) or 'Spring Pictures' is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chonin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
A ninja (忍者) or shinobi (忍び) was a covert agent or mercenary in feudal Japan who specialized in unorthodox warfare. The functions of the ninja included espionage, sabotage, infiltration, and assassination, and open combat in certain situations.<br/><br/> Their covert methods of waging war contrasted the ninja with the samurai, who observed strict rules about honor and combat. The shinobi proper, a specially trained group of spies and mercenaries, appeared in the Sengoku or 'warring states' period, in the 15th century, but antecedents may have existed in the 14th century, and possibly even in the 12th century (Heian or early Kamakura era).
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/>In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japan: An erotic depiction of a man and a woman engaging in a wrestling match with a second woman acting as a referee. Shunga woodblock print, c. 1772. Shunga is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.