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Introduction

机译：介绍

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摘要

When exploring the history of shunga 春画 (spring pictures), we immediately notice paradoxes.In early modern Japan, thousands of sexually explicit paintings and illustrated bookswith texts were produced and survive, in spite of the fact that the government had bannederotic or lascivious books (koshokubon 好色本) from 1722 onwards. In contrast, paintingswere never the subject of censorship, and commercial book lenders (kashihon’ya 貸本屋)also seem to have been free to peddle shunga throughout the land without fear of arrest.2Although strict Confucian laws governed public life in this period, and the Tokugawa governmentregularly issued edicts on public behavior, the private sphere was considerably lesscontrolled in practice, except for specific periods of reform and government intervention, orwhen the authorities themselves felt threatened.
机译：在探寻春画的历史时，我们会立即发现自相矛盾的地方。在早期的现代日本，尽管政府曾出版过淫秽或淫秽的书籍，但仍生产并存活了数千本带有文字的露骨性绘画和插图书籍。 koshokubon好色本）从1722年开始。相比之下，绘画从来就不是审查的对象，而商业书籍借书人（kashihon'ya贷本屋）似乎也可以在整个土地上兜售春节，而不必担心遭到逮捕。2尽管在此期间严格的儒家法律支配着公众生活，并且德川政府定期发布关于公共行为的法令，但在实践中，除了特定的改革时期和政府干预，或者当当局自己感到受到威胁时，私人领域实际上受到的控制很少。

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