In the past the mesmerizing erotic book set called ‘Kurawa no tanoshimi ‘ (c.1820s) has been attributed to several artists such as Hokusai‘s daughter Katsushika Ōi (c.1800-c.1866), Hokusai’s talented son-in-law Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa shunga design by Yanagawa Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang rape scene.. Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1833) is the 10th plate from his masterpiece ‘ Willow Storm ‘ published in the late 1820s. Palanquin Bearers It exhibits a gang Utamaro and Eiri are the ones depicted below. Let’s take a closer at these extraordinary examples of rape art… Plate 9 from.. Shigenobu (1787-1832) and one of the most refined surimono * designers in the history of ukiyo-e and pupil of Hokusai, Yashima Gakutei ( 1786-1868) **.
Hokusai Himself
Personally, I think it is quite possible that this is a work by Hokusai himself (as there are many references to other of his prints) in which he experimented with certain designs. Also, stylistically, it bears all his characteristics (the “pointy” fingers and toes, the curved neck – Fig.26 and 27, the idiosyncratic Hokusai poses).
Fresh Colors
The designs have fine impressions, color and very good condition. Some tiny wormholes, minor browning and staining but overall in a very nice state with fresh colors. The books consist of no less than 23 double page color illustrations and 6 single color illustrations. Size of each book: 8 4/5″ x 6 1/5″ inches.
Lavishly Printed
The prints are lavishly printed including gold and silver pigments and embossing.
Anyhow, for the first time ever on the internet you can now admire the set in its entirety…
Fig.1. ‘The three volumes‘
Fig.2. ‘Nobleman and lover on a boat‘
Fig.3. ‘The famous egg-shaped couple applied earlier in Hokusai’s ‘Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Hokusai Prints From the Monumental Fukujuso Series (The Adonis Plant)‘
Fig.4. ‘Intimate couple on the balcony‘
Fig.5. ‘Passionate couple on a pleasure boat‘
Fig.6. ‘A notorious composition with copulating dogs in the foreground which Hokusai also applied in ‘The Horny God of Izumo‘ (c.1822) without the agitated cat‘
Fig.7. ‘An amusing scene with the female lying on top her lover with the man’s erect penis between her legs. He plucks at her pubic hair while she tenderly holds his pulse. This illustration shows Hokusai’s great empathy as an artist and human‘
Fig.8. ‘A simple bathhouse attendant sexually assaulting a nude courtesan in a public bath. This well-known “bathhouse rape” scene with also used in Fukujuso (The Adonis Plant) issued c. 1818. So this is probably a new interpretation by Hokusai‘
Fig.9. ‘Female sitting sideways on top of her lover. Her beautiful long hair covers her entire back‘
Fig.10. ‘A wild gay encounter with two completely nude males‘
Fig.11. ‘Clandestine encounter at the window with the courtesan handing a secret letter to a young messenger‘‘
Fig.12. ‘The infamous priest Dokyō making love to empress Kōken (713-770)‘
Fig.13. ‘An unusual composition with the sensuous couple positioned on the above left in the background and with the diagonal alignment of the black curtain running from the above right to the lower (middle) left. The woman is a high-class courtesan (oiran)‘
Fig.14. ‘A classical
