3/06/2013

Nanshoku - homosexuality

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nanshoku、danshoku 男色 homosexuality

Inspired by an article in - ORIENTATIONS, March 2013 -



CLICK for mpre photos !


iroko 色子 young kabuki actors
kagema 陰間 "the shadow quarters"
kagema chaya 陰間茶屋 "tea house with "shadow boys", see below


The mention of "fireflies" in the haikai times of Basho also referred to the "hot buttocks" of the young men and their love-life.
. Basho and the - hotaru 蛍 firefly, fireflies - .

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quote
Records of men who have sex with men in Japan date back to ancient times. Western scholars have identified these as evidence of homosexuality in Japan.

There were few laws restricting sexual behavior in Japan before the early modern period. Anal sodomy was restricted by legal prohibition in 1873, but the provision was repealed only seven years later by the Penal Code of 1880 in accordance with the Napoleonic Code.


Wakashu - Nishikawa Sukenobu, ca. 1716–1735.

Historical practices identified by scholars as homosexual include
shudō (衆道), wakashudō (若衆道) and nanshoku (男色).

Modern terms for homosexuals include dōsei aisha (同性愛者, literally same-sex-love person), gei (ゲイ, gay), homo (ホモ), homosekusharu (ホモセクシャル, homosexual), rezu (レズ, les), and rezubian (レズビアン, lesbian).
© More in the WIKIPEDIA !

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Honolulu Museum of Art


A Modern Wakashu Prostitute



Yanagawa Shigenobu, 1716
source : commons.wikimedia.org


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Three Scenes of Couples Under a Single Umbrella


Torii Kiyohiro
source : honolulumuseum.org/art

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Scenes of Common Pleasure



source : commons.wikimedia.org

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The Ashiwake Boat of Male Love - Nanshoku ashiwake bune
Nishizawa Ippu , 1665 - 1731

風流足分船



The publics sexualized perception of wakashū actors on the Kabuki stage led to the publication and popularization of illustrated actor reviews that praised wakashū in terms that often overlooked their professional acting skills. It is in the light of the restrained, sublimated eroticism of such actor reviews that The Ashiwake Boat of Male Love derives its power. Ashiwake usually refers to a marsh boat, a vessel that is designed to navigate effectively between the densely overgrown reeds that obstruct a waterway. However, since the topic that Ippū wished to illuminate was sexual in nature, he inserts into the title a ribald pun by substituting the third Chinese character, reeds, with one of its homophones, legs.
source : art.honolulumuseum.org/emuseum

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Erotic Book: Taiheiki Makurabon taiheiki, vol. 5 of 5


Nishikawa Sukenobu, 1671 - 1750

source : art.honolulumuseum.org/emuseum


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Young Man With a Flower Cart



Ishikawa Toyonobu - Woodblock print with three colors
source : honolulumuseum.org


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quote
The beauty of ‘man’-kind
by Yoko Haruhara

While the ukiyo-e woodblock prints depicting beautiful young Japanese women of the Edo Period (1603-1867) are world-renowned, an equally worthy genre and common theme tends to get overlooked: that of handsome men. The imaginative exhibition “Handsome Boys and Good-looking Men of Edo,” currently on show at the Ukiyo-e Ota Memorial Museum of Art, brings to light the celebration of the male figure by great Edo Period woodblock print artists.

The exhibition reveals an urban popular culture that flourished with a focus on form and beauty. The Edoite’s attention to beauty extended to handsome, rakish young men in the street as well as to famous kabuki actors, the celebrities of the time who were worshipped by the public for their amazing transformations into beautiful young women in kabuki performances.

Dashing male figures, along with their female counterparts, captured the styles of the time. The keen eyes of artists were drawn to men from many walks of life, including page boys, fire fighters and palanquin bearers.

Iki, the practice translated roughly into English as “cutting-edge taste and innovation,” was the passion of the day. Fearful of rebellion from the populace, the shogunate clamped down on public freedom, issuing a series of sumptuary laws from the early 1600s through the Edo Period. Those laws forbade townspeople from engaging in acts of conspicuous consumption, including wearing luxurious garments and displaying tattoos. But the restrictions ironically contributed to a flourishing of commoner culture, as people became increasingly bold in circumventing the laws.

The sudden fervor for tattoos — sparked in part by the acclaim of an 1827 series of prints by the woodblock artist Utagawa Kuniyoshi (1797-1861) that depicted courageous warriors covered in fanciful multi-colored tattoos — is a prime example of the Edoites’ pursuit of iki. In fact, Kuniyoshi’s work started the popular movement of portraying pictorial scenes, which can be considered as the birth of tattooing as we know it in Japan today. The pictorial tattoos became so wildly popular that Kuniyoshi and his disciples moonlighted to provide the tattoo parlors of the time with new designs.

MORE
source : www.japantimes.co.jp



source : japaneseprints-london.com

Utagawa KUNISADA (1786-1865)


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Yamashita Kinsaku II 山下金作 - Nakamura Handayû

1733 - 1749: born in Ôsaka.
He starts his career as a disciple of the onnagata actor Nakamura Tomijûrô I, who gives him the name of Nakamura Handayû.

Yamashita Kinsaku II was an outstanding onnagata actor, who won fame for himself in both Edo and Kamigata during the second half of the eighteenth century.
The role of Yaoya Oshichi was his forte.
八百屋お七 O-Shichi started a great fire in the Edo period.



source : www.kabuki21.com


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book by Hanasaki Kazuo 花咲一男 (1916 - 2010)


kagema chaya 陰間茶屋 "tea house with boys in waiting"
Kagema-Chaya. tea shops with special service

Kabuki apprentices (kagema) of the famous Kabuki theaters of Nakamuraza 中村座 and Ichimuraza 市村座 spent their time here as hosts to male clients, especially priests who should not be around women.




source : rnavi.ndl.go.jp/kaleido / National Diet Library.

jigami uri 地紙売り kagema boys selling paper for fans and talking about kabuki



Kitagawa Utamaro (1754-1806)

A seller of fan-papers ( jigami-uri ) and a young beauty from an untitled series of eight prints published c1797 by Tsuruya Kiemon. The idealised itinerant merchant has black fan-shaped lacquer boxes perched on his shoulder. In his hand he holds a fan with an image of Daruma eyeing the couple.
http://www.ukiyo-e.demon.co.uk/beauties.htm

地紙うり 芝のやしきで くどかれる
jigami uri shibai no yashiki de kudokareru

the fan paper vendor
is being solicited
at the theater house



. chin shoobai 珍商売 strange business and senryu in Edo .


under construction
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- - - - - H A I K U - - - - -

Written at Keishi's house 畦止 on the topic
"Accompanying a lovely boy in the moonlight"

月澄むや狐こはがる児の供
tsuki sumu ya kitsune kowagaru chigo no tomo

the moon is clear--
I escort a lovely boy
frightened by a fox

Tr. Ueda

Ueda says, in a note:
"Basho himself, recalling his youth, once wrote:
'There was a time when I was fascinated with the ways of homosexual love.' "

Written in 1694 元禄7年9月28日, Basho age 51.

Matsuo Basho 松尾芭蕉
. WKD : chigo 稚児 temple acolytes .


. WKD : koboozu 小坊主 young boy, young monk .



寒けれど二人寝る夜ぞたのもしき
samukeredo futari neru yoru zo tanomoshiki

- - - - - Matsuo Basho and his young friend
. - Tsuboi Tokoku 坪井杜国 - .   


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公達(きんだち)に狐化けたり宵の春
kindachi ni kitsune baketari yoi no haru

Meeting young gentlemen, I feel
A fox has bewitched me,
One evening in Spring.

Tr. Thomas McAuley


. WKD : Yosa Buson 与謝蕪村 in Edo .


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shunga 春画 erotic scenes, "spring paintings"

. Shunga Daruma 春画だるま .



oiran 花魁 were high-class courtesans in Japan.

. Daruma and the Courtesans .



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1 comment:

Gabi Greve said...

Kobayashi Issa

兄分の門とむきあふ夜寒哉
anibun no kado to mukiau yozamu kana

cold night --
he stands facing
the older man's door

Tr. Chris Drake

The word ani-bun was not used by siblings. It literally means "surrogate older brother; a man who plays the role (bun) of one's older brother," and in Issa's time it referred primarily to the older man in a same-sex male relationship in which one man was older than the other. In Issa's time same-sex relationships were common and not illegal, and even shoguns and daimyo lords openly had affairs with male pages and advisors. Generally, male love was suppressed only among the samurai and only in cases in which a relationship disrupted the semi-feudalistic chain of command in a particular castle or domain. Among the other classes, including Buddhist monks and Shinto priests, there was no moral or legal stigma attached to same-sex love. The word ani-bun also meant brother-in-law and could be used by younger males to address older males in an organization or tightly structured group.

MORE
comment by Chris Drake

http://edoflourishing.blogspot.jp/2013/09/oyabun-boss.html