LARGE DELICIOUS WOMAN ORAL PLEASURE-SEX

Women of the pleasure quarters: Lavishly illustrated, this volume will feature new research and previously unpublished material from major public and private collections.

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The exhibition explores key questions a propos what is shunga, how it circulated and to whom, after that why was it produced. All the rage conjunction with the exhibition, British Museum Press will publish a catalogue with contributions from add than thirty authors worldwide. The exhibition will be accompanied as a result of a public programme of lectures and events. The four principal institutional research partners are: All the rage the Museum staged the demonstration The Passionate Art of Utamaro, which included all of the great shunga works by so as to artist. Parental guidance advised designed for visitors under 16 years. Comfy shunga paintings were also bent for ruling class patrons as a result of traditional artists such as members of the Kano school, sometimes influenced by Chinese examples.

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The British Museum acquired its at the outset shunga prints as part of the George Witt Collection all the rage and now has one of the best collections outside of Japan. The exhibition has bot generously sponsored by Shunga all the rage Japan LLP The exhibition follows after a major three-year international research project fromfunded by a generous grant from the Leverhulme Trust. In the Museum dramatic the exhibition The Passionate Ability of Utamaro, which included altogether of the great shunga facility by that artist. The demonstration is part of Japan, a nationwide UK series of events celebrating years of Japan-British relations. Banned afterbut rarely suppressed all the rage practice, shunga publications flourished arrange the boundaries between these two worlds, even critiquing officialdom arrange occasion. Ironically, it was a minute ago at this time that shunga was being discovered and actively collected by European and US artists such as Lautrec, Beardsley, Sargent and Picasso. During the late nineteenth and twentieth centuries, shunga was all but apart from popular and scholarly recall in Japan and became anathema.

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Although men were the main producers and consumers, it is clear that women also were an important audience; the custom of presenting shunga to women all the rage a marriage trousseau seems en route for have been common, and some works seem to have bot created more for women than for men. The exhibition is part of Japan, a all over the country UK series of events celebrating years of Japan-British relations. The international research project has bot funded by a generous accord from the Leverhulme Trust, involving a wide network of add than thirty scholars worldwide. The exhibition will be accompanied as a result of a public programme of lectures and events. However, the values promoted in shunga are generally positive towards sexual pleasure designed for all participants: Women of the pleasure quarters:

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