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The British Museum's new exhibition may be hardcore, but it's the humour and humanity that really thrills, says Adrian Hamilton. Can hardcore pornography ever be considered art? Not in the West, where the definition of high versus low art has long banished graphic depictions of sex to the realms of dirty men in mackintoshes and decadent connoisseurs of the perverse.

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Reif The exhibition offers about one hundred erotic works of art from China and Japan. These works contain sexual content and may not be suitable for all audiences.

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In the yearwithin a large village house by the bustling city of Edo, Japan modern day Tokyo Citya large collective of apprentices studied under their teacher, Utagawa Toyoharu, in observation of his mastery of the Ukiyo-e style. Though these young artists were expected to master it, they used it to create something else far more provocative. At a point in their future professional careers, they were all commissioned to create shun-ga.

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These are external links and will open in a new window. The British Museum is displaying pieces of erotic art from Japan in one of its boldest ever exhibitions. Known as Shunga, the pictures provide a perspective on sex quite different from European art of the same period.

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More to the point, the story is one of many that originates from shunga, an art form from the Edo period in Japan, which centres on eroticism. This was the third event for Floating World, an immersive dinner experience created by Takayo Malone, who was also our host for the evening. More specifically, shunga developed from the Japanese art movement known as ukiyo-e, which is translated as the pictures of the Floating World.

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Vending machines selling school girl's panties? Grown men reading pornographic comics in public? Gender segregated train-cars to protect women from gropers? Ear-cleaning parlors with very happy-endings?

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In the autumn ofAmerican journalist and businessman Francis Hall wandered the shops of Yokohama, Japan. Hall had just arrived in the city, five years after Commodore Perry forced a trade treaty on the country, opening ports to American ships under threat of naval attack, and ending a centuries-long isolation of Japan to most foreigners. This was done apparently without a thought of anything low or degrading commensurate with the transaction.

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The continued passionate involvement of collectors has made ukiyo-e studies a stronghold of print connoisseurship and narrow factual research. Within the academic community, developing a tradition of broader contextual interpretation has taken longer, but the process has accelerated over the last two decades. For that reason, despite some serious flaws, the book deserves to be widely read. The text consists of a series of loosely linked chapters.

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