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Tsukioka Settei’s Erotic Paintings

机译：月冈濑户的Erochi c Painchin gs

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This article focuses on the paintings of the Osaka artist Tsukioka Settei(1726–1786). There exists some research on individual Settei shungapaintings, but no attempt yet to assess his entire known shunga paintings,nor have the works of his pupils been considered. This article examines hisextant works in order to outline the trends overall. Further, we examine thepaintings in relation to his shunga illustrated books, and analyze how thevarious motifs were transferred among the paintings and between media.Finally we consider the shunga paintings of his son Tsukioka Sessai (d. 1839)and his pupil Shitomi Kangetsu (1747–1797), and examine how his art wastransmitted to the next generation.The conclusions from this analysis are as follows. Firstly, Settei wasnot very interested in depicting the background of the figures, a techniquewhich stands out in opposition to general trends of the time. Settei tendedto use gold leaf to produce an abstract background, and therefore kept aliveand enhanced an earlier tradition of shunga handscrolls focused on thefigures themselves with little or no background, going against the trend ofEdo artists. Secondly, Settei often included images of both Chinese andJapanese in his shunga. Thirdly, there are little direct relations between hisshunga books and his paintings. Finally, there is considerable borrowing ofmotifs among the paintings, and these were also re-used in the paintings ofhis pupils.
机译：本文着重介绍大阪画家月冈月月（1726–1786）的画作。目前已经有一些关于Settei shungapainting的研究，但尚未尝试评估他的全部已知shunga绘画，也没有考虑他的学生的作品。本文研究了现有的作品，以概述总体趋势。此外，我们研究了与他的少年插图画有关的绘画，并分析了各种图案如何在绘画之间和媒体之间转移。最后，我们考虑了他的儿子Tsukioka Sessai（卒于1839年）和他的学生Shitomi Kangetsu（1747）的少年绘画。 –1797年），并研究他的艺术如何传播给下一代。分析得出的结论如下。首先，塞泰对描绘人物背景并不十分感兴趣，这种技术与当时的总体趋势背道而驰。 Settei倾向于使用金箔来产生抽象背景，因此保持活力并增强了早期的shunga手卷传统，这些手卷几乎没有背景就专注于人物本身，这与Edo艺术家的趋势背道而驰。其次，塞提经常在他的春节里包括中国和日本的图像。第三，Hisshunga书籍和他的绘画之间几乎没有直接关系。最后，在绘画中大量借用了图案，这些图案也被重新用于他的学生的绘画中。

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    《Japan Review》 |2013年第7期|共17页
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    YAMAMOTO Yukari;

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