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File:Album, painting (BM 2011,3049.1.1-12 27).jpg

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album, painting   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Artist
Torii Kiyonobu I
Title
album, painting
Description
English: Painting, folding album. Twelve erotic scenes. Ink, colour, gold and silver on paper.The 12 scenes are as follows:


1. Couple in a room open to a moonlit summer landscape (male-female)
2. Mature man and youth in front of a screen painted with willow (male-male)
3. Male-female couple with pillow and discarded robe (male-female)
4. Mature man and youth with bedding and pillow (male-male)
5. Young man and Kabuki female role specialist (male-male)
6. Male-female couple with bedding, pillow and screen pasted with calligraphies (male-female)
7. Male-female couple and bedding (male-female)
8. Mature man and youth in front of a screen painted with riverboat scene (male-male)
9. Male-female couple and bedding (male-female)
10. Male-female couple and sleeping mat (male-female)
11. Mature man and youth with display of four hanging scroll paintings and suit of armour (male-male)


12. Man and travelling nun in front of a screen painted with Saigyo gazing at Mount Fuji (male-female)
Depicted people Representation of: Saigyō Hōshi (西行法師)
Date between 1711 and 1716
date QS:P571,+1711-00-00T00:00:00Z/8,P1319,+1711-00-00T00:00:00Z/9,P1326,+1716-00-00T00:00:00Z/9
Medium paper
Dimensions
Height: 351 millimetres (album cover)
Height: 32 centimetres (each)
Width: 887 millimetres (Album open)
Width: 442 millimetres (album cover)
Width: 40.90 centimetres (each painting)
institution QS:P195,Q6373
Current location
Asia
Accession number
2011,3049.1.1-12
Notes A feature of the present album is the equal balance given to scenes of male–female sex and male–male sex, with six pictures of each. Shudo-, sex with youths, was considered an alternative option to sex with women for mature males in this period, with little or no sense of social difficulty. This is reflected in popular literature of the day by authors such as Ihara Saikaku (1642–93; Clark et al 2013, cat. 31), as well as in the practices and customs of the male brothel districts near the kabuki theatres, which seem to have peaked in popularity around the Genroku era (1688–1704). The figures here are painted in the style of the leading shunga artist of the era, Torii Kiyonobu I (1664–1729), just as that style was changing around the Sho-toku era (1711–16) from the bold, expansive figures of his early paintings (Clark et al 2013, cat. 29), towards the more delicate and constrained style of his later works. The unidentified artist of the illustrated works took four of his compositions showing male–male sex directly from a signed set of prints by Kiyonobu I, which feature identifiable trainee kabuki actors providing services of prostitution to clients. However, in the paintings all the identifying crests of the actors have been removed, with the younger men now shown simply as generic ‘youths’ (wakashu). The set of prints has been accurately dated by ukiyo-e scholar Asano Shu-go-, based on the recorded periods of activity of the actors depicted, to around 1702–3. In picture ten a couple are shown making love on a sleeping mat with decorative borders, the woman lowering herself onto her lover. In picture eleven (left) two men are depicted having sex in an interior which is intensely coded with symbols of masculinity: a set of samurai armour prominent on a stand, a sword placed on the floor and four hanging-scroll paintings displayed along the walls, all of which have serious classical figure and landscape subjects completed in the masculine, Chinese-inflected ink-wash style. This composition also turns out to have a printed source, a double-page picture in the illustrated book Imayo- makura byo-bu (Pillow Screen in the Style of Today) of the 1680s by Hishikawa Moronobu (d. 1694). In the text that accompanies Moronobu’s image, we read of a samurai who sought to hide his lovemaking with a youth from his wife by saying that they were going to clean the armour together. She, of course, discovers them in flagrante and comments sarcastically to a companion that her husband seems to be galloping around the room on a human horse.… Here the figures have been redrawn to remove the women and put the youth on top, apparently admiring the paintings even as he is having sex. [TC]
Source/Photographer https://www.britishmuseum.org/collection/object/A_2011-3049-1-1-12
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0
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