Exploration of voyeuristic themes within shunga captivated numerous ukiyo-e artists. One intriguing sub-theme delved into the fascination of aroused men surreptitiously observing bathing beauties. While uncommon, a handful of alluring examples, such as those detailed below, showcase the artists’ unique interpretation of this theme.
‘Peeking man behind a fence watching a peeing beauty near a stream‘ (c.1800) from the series ‘Treasure Room of Love (Ehon takara gura)‘ by Kitagawa Utamaro
Kitagawa Utamaro (1753-1806) is among the five greatest ukiyo-e masters. His refined portrayal of female beauty is virtually unmatched. At the end of his career his work suffered from an artistic decline except for..
(1753-1806)
Peeping Tom
A peeping Tom is peeping through a tiny hole in a bamboo fench while jerking off fiercely. He is looking at a peeing beauty squatting near a stream. Below you can find another impression of this design.
Another impression from the series ‘Treasure Room of Love (Ehon takara gura)‘
‘Peeing woman near stream‘ (c.1835) from the series ‘Hana no miyakoji‘ by Utagawa Kunisada
Below you can check out the sensual images of a rare complete book series by Utagawa Kunisada. The title is ‘ Aki no Nanakusa (The Seven Flowers of Autumn)’ and the year of production is 1832. Size (book..
(1786-1865)
Peasant Girl
Erotic image of a peasant girl urinating in a stream. She is being peeped by a horny country lad who is sitting behind a stack of rice
In the Edo period, one of the driving forces of the economy was the rice production. Rice planting happened (and still happens) in the spring, cultivation in the summer, and harvest in the fall. The Japanese style of..
straw.
´Bizarre peep show´ (c.1827) from the series ´Hiyaku mon futari furisode´ by Utagawa Kuniyoshi
Although I dived deep into my shunga library (which lacks very few books on the subject) and also thoroughly researched the internet about the ehon (book) below, I unfortunately could not find much background..
(1797-1861)
Animal Sex Show
In this rather bizarre image by Kuniyoshi we can see a woman who is being spied on, by a man in the other room, when she is using the toilet. In the background an excited crowd have gathered watching some kind of secret animal sex show. One of the male spectators sports a tattoo
Depictions with tattoos in ukiyo-e shunga appear since the mid-eighteenth century but not in earlier hand-painted works. The men wearing tattoos represented the underworld of criminal gangs ( yakuza ) and highway..
on his leg.
‘Peeing woman in bathroom‘ (c.1825) from the series ‘Hyakki yagyo‘ by Utagawa Kunisada
Subtle
Another scene with a peeing beauty in a toilet only this time we, the viewer, are the actual voyeurs. A subtle hint by the artist to his male audience. Like many of the other themes within shunga
Shunga, a genre within ukiyo-e displaying the erotic secrets of ancient Japan. These prints where commonly created by using woodblock printing.
, Kunisada mastered all of them.
There’s also a toy print (shikake-e) version of this design including a door that can be closed.
‘Close of peeing woman‘ (c.1860) from an unknown member of the Utagawa school
Not directly representing the theme of this article but this very rare (first time I ever came across this kind of theme in seventeen years) design makes, like in the previous design, us the voyeur. The same applies to this ancient erotic picture from the 1920s…
Vintage B&W picture ‘Girl peeing in the forest‘ (c.1960s)
Sexual Organs
The reason for the popularity of this subject in shunga may simply be that it provides a convenient occasion and excuse for depicting the sexual organs exposed, but it is more likely that the intention was to show they have another function – and also, perhaps, to illustrate that we are all human, with no reason to be ashamed of such things.
‘An aroused male voyeur peeking at a peeing woman in the other room through a tiny hole in the wallof a public toilet‘ (c.1860) attrib. to Kawanabe Kyosai
The phenomenal Meiji artist Kawanabe Kyosai (1831-1889), born into a samurai family during a period when that class had lost its traditional power and influence, stands out as a remarkable figure in the annals of Japanese art. Renowned not only for his artistic prowess but also for his courage in using his craft as a powerful instrument of political protest, Kyosai left an indelible mark on the socio-political landscape of his time.
The Meiji era marked a transformative period in Japan’s history, characterized by the country’s rapid modernization and the erosion of traditional power structures. Born into a samurai family during this turbulent time, Kyosai witnessed firsthand the societal upheavals and cultural shifts that accompanied Japan’s transition to a modern nation.
Kyosai’s art became a canvas for his dissent and a tool for expressing his views on the political changes unfolding around him. In a society where traditional norms were being challenged, he fearlessly used his talent to criticize the shifting power dynamics and to advocate for the values he held dear. His works often contained subtle yet poignant messages, conveying his concerns about the loss of samurai influence and the potential pitfalls of rapid modernization.
A master of ukiyo-e (woodblock printing) and kawaraban (news pamphlets), Kyosai skillfully blended traditional Japanese artistic techniques with a contemporary voice. Through his visually striking and emotionally charged creations, he captured the attention of a wide audience and became a voice for those who felt marginalized or disenchanted by the changes taking place in Japan.
Kyosai’s legacy extends beyond his artistic achievements; he serves as a testament to the transformative power of art in times of societal flux. His willingness to use his craft as a means of dissent not only reflects the struggles of his era but also serves as an inspiration for future generations of artists and activists. Kawanabe Kyosai, the samurai artist of the Meiji era, remains an enduring symbol of artistic courage and social commentary, reminding us of the profound impact art can have on shaping the narrative of a society in transition.