In he revisited the museum, which had an exhibition entirely of shunga "proudly displayed". Prior to this, colour was added to monochrome prints by hand, and from benizuri-e allowed the production of prints of limited colours. This led to the appearance of shunga by first-rate artists, such as the ukiyo-e painter perhaps best known in the Western world, Hokusai see The Dream of the Fisherman's Wife. Shunga by Keisai Eisen Shunga was probably enjoyed by both men and women of all classes. These customarily contained twelve images, a tradition with its roots in Chinese shunkyu higa. Shunga prints were produced and sold either as single sheets or—more frequently—in book form, called enpon. This format was also popular, though more expensive as the scrolls had to be individually painted. The instructional purpose has been questioned since the instructional value of shunga is limited by the impossible positions and lack of description of technique, and there were sexual manuals in circulation that offered clearer guidance, including advice on hygiene.
However, since for several decades following this edict, publishing guilds saw fit to send their members repeated reminders not to sell erotica , it seems probable that production and sales continued to flourish. After this edict, shunga went underground. For these reasons the fetish of the courtesan appealed to many. Utamaro was particularly revered for his depictions of courtesans, which offered an unmatched level of sensitivity and psychological nuance. Some writers on the subject refer to this as the creation of a world parallel to contemporary urban life, but idealised, eroticised and fantastical. Thanks to woodblock printing techniques, the quantity and quality increased dramatically. The instructional purpose has been questioned since the instructional value of shunga is limited by the impossible positions and lack of description of technique, and there were sexual manuals in circulation that offered clearer guidance, including advice on hygiene. Full-colour printing, or nishiki-e , developed around , but many shunga prints predate this. Like shunga, hentai is sexually explicit in its imagery. They are often shown with samurai. Production[ edit ] A man with a Western-style haircut makes love to a woman in traditional Japanese dress in this Meiji-period shunga print Shunga were produced between the sixteenth century and the nineteenth century by ukiyo-e artists, since they sold more easily and at a higher price than their ordinary work. For a time, woodblock printing continued to be used, but figures began to appear in prints wearing Western clothing and hairstyles. It is therefore argued that this ownership of shunga was not superstitious, but libidinous. Ukiyo-e artists owed a stable livelihood to such customs, and producing a piece of shunga for a high-ranking client could bring them sufficient funds to live on for about six months. However, between and the implementation of printing regulations became more relaxed, and many artists took to concealing their name as a feature of the picture such as calligraphy on a fan held by a courtesan or allusions in the work itself such as Utamaro 's empon entitled Utamakura. This format was also popular, though more expensive as the scrolls had to be individually painted. Edo period shunga sought to express a varied world of contemporary sexual possibilities. Even after many shunga prints were produced using older methods. Andrew Gerstle, westerners during the nineteenth century were less appreciative of shunga because of its erotic nature. He, like many erotic artists of his time and place, tended to exaggerate the size of the genital organs, a common shunga topos. Experienced artists found it to their advantage to concentrate on their production. This also translates into a greater amount of background detail in Edo Shunga. Women saw them as distant, glamorous idols, and the fashions for the whole of Japan were inspired by the fashions of the courtesan. It has been argued that they masked the situation of virtual slavery that sex workers lived under. These carried the same fetish of the sex worker, with the added quality of them often being quite young. The quality of shunga art varies, and few ukiyo-e painters remained aloof from the genre.
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