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This sumptous guide explains the cultural forces behind Shunga images and why the Japanese find them so erotic. It also reveals the influence of Shunga on great Western art movements such as Impressionism. Exquisitely and abundantly illustrated, this is the most comprehensively informative book ever to be written on the subject - truly a masterclass'.'
Stories, terms and extracts of illustrated scrolls, known as pillow books, that reflect the atmosphere of Shunga or Japanese eroticism.
The definitive book on Japanese erotic art or shunga
In early modern Japan, thousands of sexually explicit paintings, prints, and illustrated books with texts were produced, euphemistically called spring pictures (shunga). Frequently tender, funny and beautiful, shunga were mostly done within the popular school known as pictures of the floating world (ukiyo-e), by celebrated artists such as Utamaro and Hokusai. Erotic Japanese art was heavily suppressed in Japan from the 1870s, and as a result it has only been made possible to publish unexpurgated examples in Japan within the last 20 years. This publication presents this fascinating art in its historical and cultural context, drawing on the latest scholarship and featuring over 400 images of works from major public and private collections.
This book offers an entirely new assessment of the genre of Japanese paintings and prints today known as shunga. Recent changes in Japanese law have at last enabled erotic images to be published without fear of prosecution, and many picture books have since appeared in Japan. There has, however, been very little attempt to situate the imagery within the contexts of sexuality, gender or power. Questions of aesthetics, and of whether shunga deserve a place in the official history of Japanese art, have dominated, and the question of the use of these images has been avoided. Timon Screech seeks to re-establish shunga in its proper historical contexts of culture and creativity. Sex and the Floating World opens up for us the strange world of sexual fantasy in the Edo culture of eighteenth-century Japan, and investigates the tensions in class and gender of those who made - and made use of - shunga.
Museums, Sexuality, and Gender Activism examines the role of exhibitionary institutions in representing LGBTQ+ people, cisgender women, and nonbinary individuals. Considering recent gender and sexuality-related developments through a critical lens, the volume contributes significantly to the growing body of activist writing on this topic. Building on Gender, Sexuality and Museums and featuring work from established voices, as well as newcomers, this volume offers risky and exciting articles from around the world. Chapters cover diverse topics, including transgender representation, erasure, and activism; two-spirit people, indigeneity, and museums; third genders; gender and sexuality in heritage sites and historic homes; temporary exhibitions on gender and sexuality; museum representations of HIV/AIDS; interventions to increase queer visibility and inclusion in galleries; LGBTQ+ staff alliances; and museums, gender ambiguity, and the disruption of binaries. Several chapters focus on areas outside the US and Europe, while others explore central topics through the perspectives of racial and ethnic minorities. Containing contributions that engage in sustained critique of current policies, theory, and practice, Museums, Sexuality, and Gender Activism is essential reading for those studying museums, women and gender, sexuality, culture, history, heritage, art, media, and anthropology. The book will also spark interest among museum practitioners, public archivists, and scholars researching related topics.
With over 60 contributions, The Tokugawa World presents the latest scholarship on early modern Japan from an international team of specialists in a volume that is unmatched in its breadth and scope. In its early modern period, under the Tokugawa shoguns, Japan was a world apart. For over two centuries the shogun’s subjects were forbidden to travel abroad and few outsiders were admitted. Yet in this period, Japan evolved as a nascent capitalist society that could rapidly adjust to its incorporation into the world system after its forced "opening" in the 1850s. The Tokugawa World demonstrates how Japan’s early modern society took shape and evolved: a world of low and high cultures, comic books and Confucian academies, soba restaurants and imperial music recitals, rigid enforcement of social hierarchy yet also ongoing resistance to class oppression. A world of outcasts, puppeteers, herbal doctors, samurai officials, businesswomen, scientists, scholars, blind lutenists, peasant rebels, tea-masters, sumo wrestlers, and wage workers. Covering a variety of features of the Tokugawa world including the physical landscape, economy, art and literature, religion and thought, and education and science, this volume is essential reading for all students and scholars of early modern Japan.
This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender. This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up-and-coming scholars in the field Offers historical coverage as well as in–depth discussion of thematic areas ranging from criminality to gender One of the first studies to produce global coverage of the two movements, it also includes a section dealing with the critical and cultural aftermath of Dada and Surrealism in the later twentieth century Dada and Surrealism are arguably the most popular areas of modern art, both in the academic and public spheres
This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practices. Contributors focus on the socio-cultural creation, consumption, reception, and experience of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and smell, through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology.
In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay Gender in Japanese Art, which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (beautiful women) prints within the world of Edoperiod advertising. A rare homoerotic picture-book is used to extrapolate the grammar of desire as represented in late seventeenth-century Edo. In the modern period, contributors consider the introduction to Meiji Japan of the Western nude and oil-painting and examine Nihonga (Japanese-style painting) and the role of one of its famous artists. The book then shifts its focus to an examination of paintings produced for the Japanese-sponsored annual salons held in colonial Korea. The post-war period comes under scrutiny in a study of the novel Woman in the Dunes and its film adaptation. The critical discourse that surrounded women artists of the late twentieth-century - the Super Girls of Art - i