Nishiki-e shunga to ken’etsu 錦絵春画と検閲 (El shunga polícromo y la censura)

Número especial de Bessatsu TaiyoAquí les comparto mi más reciente artículo (esta vez, el primero que publico en japonés).

El texto versa sobre la censura hacia la producción de estampas eróticas shunga en el Japón de los siglos XVII al XX. Este número especial de la revista Bessatsu Taiyō celebra el 250 aniversario de la invención de la xilografía ukiyo-e polícroma (nishiki-e), y también la primera exhibición de shunga en Japón, que se inauguró el 19 de septiembre de 2015 en el Museo de Eisei Bunko en Tokyo.

Nishiki-e shunga to ken’etsu 錦絵春画と検閲 (El shunga polícromo y la censura)

en Bessatsu Taiyō 別冊太陽Número especial Nishiki-e shunga 錦絵春画, 25 de Agosto de 2015, Heibonsha, Tokyo, pp. 182-185.

Entrada al catálogo de la expo del Museo Británico

Les comparto el pequeño texto que, como entrada de obra, publiqué en el catálogo de la exposición de shunga que se está llevando a cabo ahora por el Museo Británico. Este catálogo (que próximamente también reseñaremos) lo pueden adquirir directamente a través de este enlace de Amazon.

En total fuimos aproximadamente 30 colaboradores los que participamos en la escritura del catálogo.

Los datos de la publicación son:

Timothy Clark & C. Andrew Gerstle, at. als, eds, Shunga: Sex and Pleasure in Japanese Art. The British Museum Press, Londres, 2013.

Inserto aquí el enlace al texto

Publicado artículo sobre Nishikawa Sukenobu

Una muy buena noticia del día, es que me acaban de llegar los primeros ejemplares de la revista Japan Review, donde aparece mi nuevo artículo sobre shunga, esta vez sobre el caso de censura cotra Nishikawa Sukenobu, ilustrador de ukiyo-e de Kioto y famoso por su producción de diseños eróticos.

Les inserto aquí el enlace con el texto para que lo puedan leer.

Los datos de la publicación son: Japan Review, número 26, volumen especial Shunga: Sex and Humor in Japanese Art and Literature. International Research Center for Japanese Studies, Kyoto, 2013.

Este número especial, se ha publicado como parte de las actividades colaterales a la magna exhibición de shunga que el próximo mes se inaugurará en el British Museum.

Espero que lo disfruten.

The Dual Regime: Political Connotations of Edo Period Makura-e

Tipo de presentación: PONENCIA
TítuloThe Dual Regime: Political Connotations of Edo Period Makura-e
Lugar: University of Macau
Ciudad/país: Macao, China
Fecha: 24-27 de Junio, 2013

Resumen: It is well known that so-called “early European pornography” could function as political satire against the aristocratic and ecclesiastical authorities and their exercise of power. In the case of Japan, there are numerous examples of political satire within the ukiyo-e woodblock print production of the years 1600 to 1867 (the Edo period). However, it is almost impossible to trace any direct political critique involving the sexually explicit prints (known during the Edo period as makura-e, or “pillow pictures”) produced in large quantities during those years. Nevertheless, makura-e took advantage of their popularity within the chonin (urban commoner) and samurai societies to address an ongoing critique and satire toward social customs and normative values.
Although there was no direct censorship of the potential political content of makura-e, a careful examination of the legislative apparatus of the shogunal government during the Edo period reveals several efforts to control the manufacture and distribution of such prints, even when the sexually explicit images did not apparently address any political issues. Why, then, did the government, if not ferociously at least on an occasional basis, feel the need to consider the problem of makura-e at all? Was there a concern with “obscenity” or “moral values,” or was the discourse on makura-e motivated by recognition of a tangential questioning of the legitimacy of power?
This presentation will analyze, through the legislative corpus and the prints themselves, the involvement of the makura-e in a double strategy of critique: one part deliberate (the satire of daily life and customs) and the other constructed within the same frontiers built by the government itself (the role of the virtuous ruler and the impossibility of any commentary about daily life). I will attempt to demonstrate that the control supposedly exercised against makura-e did not actually focus on questions of morality or obscenity but on a very different register: the public commercialization and popularization of a knowledge and product that in many ways contributed to destabilizing the image of a controlled and correct society under the reign of a perfect ruler.
I will also examine another dual capacity of the makura-e prints: the constant mobility between two different spaces, one imaginary and also constructed (ukiyo, the Floating World) and the other fixed by social regulations and daily life.

Nishikawa Sukenobu: One hundred women, two stories, and a reconsideration

Tipo de presentación: PONENCIA
Título: Nishikawa Sukenobu: One Hundred Women, Two Stories and a Reconsideration
Evento: International Workshop “Shunga in its Social and Cultural Contexts”
Lugar: School of Oriental and African Studies (SOAS), University of London
Ciudad/país: Londres, Reino Unido
Fecha: 13-14 de Septiembre, 2010
Resumen: In 1911, the journalist and fierce enemy of censorship Miyatake Gaikotsu, rescues some old references about the ban for commercialization, in 1723, of an erotic illustrated version, by the famous Kyoto illustrator Nishikawa Sukenobu, of the book Hyakunin jorō shinasadame (Commentaries on One Hundred Young Women). Those references apparently turn this book into one of the scarce examples of Edo period direct prohibition of a sexual explicit material. In spite of the years that have passed since 1911, and some other important cases that Miyatake expounds at his Hikka-shi (History of pen-slips), until nowadays this particular information it is dismissed, based upon credibility issues regarding Miyatake itself and the apparent inexistence of copies of that supposed erotic version.
But, it is really so groundless Miyatake’s argument? Which are those sources which Miyatake uses in his attempt to historicize the censorship of publications in Japan? Could we find reasons behind the control of this type of production, and, particularly, this specific book? Which kind of peculiarities could have had this material for provoking the authorities’ reaction?

Comparto también el enlace a la página del evento

soas