Articles
SHUNGA - Sexyal Stained Glass [Bessatsu TAIYO -SHUNGA 2006]
There is a certain window titled "Grief-stricken man" on a stained glass in Germany.
In reference to the Cross of Christ in Bible as a motif drawings depicted on this rose window are well composed,
placing the image of Christ in the center and the instrument of torture around him.
The image of Jesus standing near the sadistic instrument depicted on the window is so impressive
because he looks very young and even sexually attractive.
That is why I am so absorbed by this unbalanced combination in the world of sacred art.
For the long time now, I have been very interested in the expression of arts using a particularly strong style of black drawing line,
which highlights the color in the different artistic world of the West and East, such as the drawing line of stained glass decorated in Gothic style, the line of Old fashioned Kutani-yaki ceramic and the line of Ukiyoe of Japan (Japanese wood block prints in Edo period). So I have tried by trial and error to manage to figure out some ways to produce a new type of work.
As I have found some other sexually attractive windows like "Grief-stricken man" I started to have an idea in my mind that if I can combine "sacred" elements expressed in the religious art with "sexual" elements expressed in Japanese Ukiyoe erotic pictures it would be very unique and fascinating. Then I started to make sexual stained glass and I got gradually more and more interested in erotic pictures. .One theme among such works which I vaguely bear in mind is "forty eight technique -sex styles- rose window", imagining wonderful rose window where images of male-female love are grouped together.
Thinking of forty eight technique reminds me of the writer Moronobu Hishikawa in Edo period. As I investigated the body posture I got interested in his works and started to copy them out while continuing working with stained glass. What I found when I made a brush stroke is the following fact: how difficult it is to draw a line. Indeed technique and material differ from each other but I didnﾕt feel sense of discomfort while I was producing them. The reason ,I guess, is because the affinity of touch of line is almost the same in both cases. Although the motif is erotic intercourse painting it didnﾕt make seem in bad taste. I think this is because the line is drawn so boldly and yet at the same time tastefully.
And besides, the looks of men and women drawn on the paint seem to be celestial as if they have aura behind them. Therefore I realize the value of sex of the erotic pictures. They seem to be so open-minded as if they want to say "Sex is a pleasure to live!" The pillow talk of men and women was represented affectingly and they were depicted from an objective point of view. I felt the paintersﾕ mettle that they intended to paint them even more beautifully notwithstanding the fact they depict potentially obscene matter. That attitude becomes my base for me to make a work in my future.
The sexual story depicted in the erotic works of Masanobu overlaps the stained glass window which represented the story of the Bible.
Sexual attraction is hidden in the sacred art, but the two aspects complement each other well along with the affinity of drawing lines.
The attraction of this imbalance inspires me to move on in my work.
I really hope that I assimilate what I learnt so far and succeed a traditional spirit.
Ryoko Kimura.
