FUKUJU SOH: THE ADONIS PLANT. [An Erotic Color Illustrated Woodblock Printed Boo

signed

by HOKUSAI, Katsushika.

[Japan circa 1868]. Gold brocade green cloth covers, clean, accordion folded, all edge silver gilt, album: 17 x 25 cm., 12 double-page prints, opens to 34 x 25 cm., Oban size, with illustrated introductory page. EXCEPTIONALLY RARE EXAMPLE ! . **** **** **** . . . ONE OF HOKUSAI'S MOST FASCINATING EROTIC BOOKS . . . PROFUSELY COLOR ILLUSTRATED WOODBLOCK BOOKS . . . REVEALING ALL ASPECTS OF CARNAL LOVE-MAKING . . * KATSUSHIKA HOKUSAI [1760-1849]: . Hokusai was one of Japan's most celebrated, loved and famous painters and woodblock print artist of the Edo period. He was fondly and commonly known as the "Mad Man on Painting." . The original was work printed (truncated) around the late 1810's it was unsigned, several variant editions are known, most copies were lost or now unaccounted for. It is part of Hokusai's erotic trilogy. . This posthumous edition has been fashioned after the period original. It was meticulously woodblock carved and color-printed with utmost professional skill by the best artisans of the time. It has impeccable color, impression and registry. . The book was printed in some twenty-odd different colors, each color printed by a different woodblock. . An interesting proof of age, is found on page [six], the rape scene. The girl's red under-Kimono was printed from a color made from finely ground iron [oxide]. The red has now turned to an iron-red patina with a dark purple hue. This common color was used at the beginning of the Meiji period [1868-1912] for most solid reds. Humidity content determines the amount of time it takes to give this patina, on the average, about 100-135 years for this reaction to change the properties of the iron, forcing it to oxidize and change into a marvelous color and affect [see scans posted to our website. . Although the book has a title slip, it was intentionally left blank, due to the subject being designated as "contraband" and banned by the Shogun as well as in the early Meiji era [1868]. . *** ABOUT JAPANESE EROTIC ART: . A truly magnificent and unusual example of early Meiji polychrome printing. Most of the Shun Pon [erotic books commonly call "Erotic Pictures of Spring"] of this period show small images, drawn from a distance, with room decorations, food, bedding, flowing robes, furniture and outside scenery. . Shunga & Shunpon [Erotic pictures & books] reflect the "awakening" of human sexual desire, after a long winter's sleep. Sex became an "art," used to stimulate, enhance and evocative of love making. . *** THE CONTENTS: The work starts out with a double-page showing sliding Fusuma doors, an invitation to voyeurism. The doors are subtly decorated giving no clue to the true nature of the contents, useful for coercing young virgins to have a look...also the reason for no title slip. Each of the subsequent 12 double pages are devoted to the real subject of this book. The joy, art & pleasure of love-making. . From the beginning of recorded time the Japanese were not a prudish people. In fact, they held strong beliefs in and worship of inanimate sexual objects such as trees, rocks and other things that showed a natural resemblance to the genitalia. These objects were collected & placed in shrines. Later, some were carved from wood and stone and placed in special "fertility shrines" in Japan. Barren women often visited these shrines offering prayers to the Gods for fertility and evoked charms. Stories passed down over the centuries, that some of the Monks or keepers of these fertility shrines, or their priests were willing "assistants" of these "Gods" and gladly inseminated such vulnerable women. . The Japanese had an affinity with the natural expression of passion and lust. Rape of women alone along a pathway, or in their own room was not uncommon. While some may truly object others feigned objection while in ecstasy [see page #6]. The book therefore beings when with point in mind. . * Page one shows a very young woman. She has mounted an unseen suitor, while she sits upon his gigantic penis, her eyes are closed in the throes of ecstasy, her lips are red with excitement and a very pale but obvious pink flush envelops her face. On the floor is the usual package of Chirishi or toilet paper used to wipe the aftermath. . The male's organ is huge and the veins are blue and popping, her very excited vulva takes on the color of deep red and faint purple, displaying the maximum color of excitement. While fully clothed, her Kimono is open just enough to accomplish the act of love. To the Japanese partially clothed women with their genitals exposed was more erotic than a full nude...after all they did mixed public bathing for centuries. . * Page two shows a couple. She is almost nude, with just her red under Kimono draped over her stomach, while he exposes his organ as he enters her from the "X" angle, he cradles, her from behind while holding her left breast. She pulls him from behind the neck to be close enough to share a tongue kiss, rarely shown in Japanese prints. He inserts his tongue into her willing mouth, as she holds his cheek fast. Her long and flowing hair is still tied with a black ribbon at the bottom suggesting that she is some kind of royal person. She also shows a pink flush to her mouth and vaginal lips. . * Page three shows newlyweds. The woman still wears the traditional head gear of a bride. She holds a package of Chirishi in her lips ready for the flood of love juices that are already flowing out. The man enters her from the top, while she willingly spreads her legs wide open. . * Page four shows the woman on top in a contortion, revealing the organs involved in love-making. . * Page five shows the influence from an earlier Utamaro classic erotic work. The woman is on the bottom, pulling the covers over her lover's bare back-side, while they are making love in the winter. Her wooden platform pillow is ready as the are hidden from view by a small folding screen to keep cool the draft out. Her vermilion-red under Kimono is tangled with her outer Kimono. . * Page six shows a ruffian raping a young girl. He is likely a common coolie, all he wears is a "Fundoshi" or loin cloth which was easily moved to reveal his huge and erect penis. He has tumbled this innocent girl by pulling her foot from under her; then with his other hand, inserts his organ into her. She is pushing his cheek away, and attempting to pull his hand off her foot. What is ironical is that her face is flushed pink, and her face shows no frown of rejection, but her eyes are almost closed as she secretly anticipates the oncoming pleasure. For sure, she must resist being innocent, young, coquettish and demure in an attempt to save face. It is important to note at this time, that there exists a most similar print by Utamaro showing this very scene. Surely Hokusai was so impressed, that as a tribute to Utamaro he utilized this stunning image in his own work, the old adage "Copying is the greatest compliment." See more below regarding page six. . * Page seven shows an unabashed nude couple enjoying a fully the pleasure of love-making sans restraints. In fact this must the a second or third time of love-making as noted the voluminous as the amount of expended Chirishi. It has been thrown about the room. It is known in Japan, that after the first round of love-making if the man can wipe up love juices promptly enough, a new erection can be achieved. The the drying of vulva will give the next round of love-making a new and more pleasurable sensation. . In this view the man enters from the rear while holding her fast, his right foot is set and placed for maximum traction! . * Page eight shows a couple engaged in love-making. The woman on top but with her back side facing him. Vis-a-vis each other to observe each other thus increasing the erotic passion. A tiny bit of silver color has accented her Kimono, highly usual in any woodblock print. Of special note, her toes are curled down in a fit of ecstasy! An exhibition of Hokusai humor ! . * Page nine shows one of the most fascinating of all prints in this series. In the traditional "sixty-nine" position, he has his tongue in her very excited and swollen purple-red vulva. She tries with difficulty to contain his very large penis with a dark pink-purple flush. Again this woman curls her toes in painful-erotic-ecstasy. Her expression shows her eyebrows in a frown, as she enjoys the agony and ecstasy of wonderful carnal pleasures. . * Page ten shows a mature couple nude, she holds the tie-died head band in her mount, to silence her cries of joy, while she embraces her lover's neck. The spectacular view of the genitals fully engaged is stunning. The penis has its veins popping out, while the lips of her vulva are flushed bright red, the love juices flowing out. Her breasts are pointed downward, revealing that she has given birth previously. Her her toes are curled in a passionate dream of pleasure. The pair both display a pink flush to their faces with very bright red lips. It is not common to see this in men. . * Page eleven shows a couple preparing to make love. The man is on top displays a very large and erect penis, while he sucks on her upturned breast. She is being manipulated to move her left leg up so he can then enter her open and eager waiting vulva. She clutches a handful of Chirishi in preparation for the flood of love juices. Her eyebrows are shaved, with a faint pink flush just above her eyes has emerged from the excitement. . * Page twelve shows a most unusual scene in the world of Shunpon. While lesbianism is not unusual in Japan, openly depicting girls at such play are. This shows two ordinary nude women, likely bored or abandoned by their male suitors, have taken to the mutual pleasure of dildo play. One wears a huge and black penis tied about her waist. The other reveals her open and moist vagina, clutches the penis while holding a few sheets of Chirishi. The other opens a tiny container with some sort of stimulating potion or lubricant. This will either be applied to the dildo or her partner's vagina. It seems clear, the two girls have already shared this joy before. The girl grasping the dildo penis has already applied it to her partner and is now awaiting her turn to be "penetrated." . *** ATTRIBUTION: . The erotic book begins as usual without artist's name or title. By stylistic analysis and compared with many other signed Hokusai works, its easy to understand who the artist was. . It is a long-standing tradition of most famous Japanese artists of the 17-19th centuries to create and discretely distribute banned erotic books and prints against Shogun laws. . Erotic books and prints were a quick cash resource for hard pressed artists, regardless of how famous they were. Most all famous artists drew, painted and provided artwork for woodblock-printed erotica. These earned immediate cash, and the Shogun had a nearly impossible time proving guilt with unsigned materials. . *** ABOUT SHUNPON/BON & SHUNGA: Books of this erotic subject, quality, nature and rarity are seldom found on the open market. [Shun=spring; Ga=picture; Pon/Bon=book]. . Superbly colored in pastels, prior to the very garish and bright advent and use of aniline dyes imported from Europe. Because Hokusai had lived during the life-time of Utamaro [1754-1806] he was influenced by this great master. . The most vivid example of this influence is found in number six [above], the rape scene. The original inspiration for this print was done by Utamaro in his most celebrated erotic album: UTA MAKURA: PILLOW OF SONG, dated 1788. . Of this print Dr. Lane stated: "Utamaro's masterpieces...most impressive ...series of twelve prints ...this is one of the most dramatic scenes: a plebeian maiden being attacked by a middle-aged laborer and putting up stiff resistance" See Lane below. . The original Utamaro shows the exact same action, with nearly identical composition; the man suppresses the girl by holding her left leg, while she pushes his cheek away with her right hand...clearly Hokusai was so impressed with this superb composition and subject that he "borrowed" it in his own masterpiece. Note how even the man's "Fundoshi" [loin cloth] is in the exact format, draped over his stiff penis. This is no coincidence ! This series and a few similar prints illustrated are found in Evans, see below. . A RARE, stunning and fantastic book of color erotica by Japan's master painter. . *** CONDITION: The over all condition is quite good with very minor amount of the usual period foxing. By and large this does not greatly detract from the over all images. Some images are in fine condition. On page #11, the print is about 5 mm. shorter at the bottom, again this does not greatly affect the image. A small, faint amount of transfer from the black is evident with, a common result of books being folded and closed. . Overall the work is quite lovely and the viewer is exceptionally impressed by the fascinating and high quality of the subject, images and drama. Please review photos posted to our website. . *** REFERENCE: . LANE, Richard: IMAGES OF THE FLOATING WORLD, p.140, plate 140 for a similar example. . --. EROTIC THEME IN JAPANESE PAINTING: THE EARLY SHUNGA SCROLL. . --. GREETINGS FROM EROS ! HOKUSAI AND THE EROTIC CALENDAR-PRINT. Japanese Title: HATSU HARU NO IRO GOYOMI. * EVANS, Tom.: SHUNGA: The Art of Love in Japan, p.249 for text, he text, see illustrations: 6.83, 6.85 and 6.86; 6.88 is an exact match for our number 9 above. * BEURDELEY, Michel. et al.: EROTIC ART OF JAPAN: The Pillow Poem. * GICHNER, Lawrence E.:EROTIC ASPECTS OF JAPANESE CULTURE. * ILLING, Richard.: JAPANESE EROTIC ART: And the Life of the Courtesan. * UHLENBECK, Chris. ed. et al.:JAPANESE EROTIC FANTASIES: Sexual Imagery of the Edo Period. * WINZINGER, Franz.: MEISTERWERKE DER EROTISCHEN KUNST JAPANS. MASTERWORKS OF JAPANESE EROTIC ART. * RAWSON, Philip.: ORIENTAL EROTIC ART. * GROSBOIS, Charles.: SHUNGA IMAGES OF SPRING: Essay on Erotic Elements in Japanese Art. * DOUGLAS, Nik. et al.: THE PILLOW BOOK: The Erotic Sentiment and the Paintings of India, Nepal, China & Japan. * SHIBUI, Kiyoshi.: UKIYO-E NAISI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. [Modern Reading: UKIYO-E NAISHI] . *** . (Inventory #: 23014201)

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FUKUJU SOH: THE ADONIS PLANT. [An Erotic Color Illustrated Woodblock Printed Boo

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Rare Oriental Book Co., An Art and Intellectual Property Company Since 1967, ABAA, ILAB

ATLAS CHINENSIS: BEING A SECOND PART OF A RELATION OF REMARKABLE PAFFAGES IN TWO

AN EMBASSY FROM THE EAST-INDIA COMPANY OF THE UNITED PROVINCES, TO THE GRAND TAR

The ABAA Promise

The ABAA
Promise