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The naked and the nude naked hidden

François Boucher, The Odalisque brown
" Diderot in his Salon de 1767 writes:

Have we not seen at the Salon, seven or eight years ago, a woman completely naked, lying on cushions, a leg here, another there, showing her face most sensual, the most beautiful back, the most beautiful buttocks, which calls for the pleasure and makes taking the shutter easy, the most convenient, as it says even more natural, or at least the most advantageous? If through that painting sunset [...] [for me] was innocent, was well-suited sending my son [...].

We then note a certain embarrassment of Diderot in the face of such a framework. [...]

Looking certainly no shortage on Japanese paintings and prints depicting nude women, even those in full, especially as seen from the back are going to the bathroom. But aside from these rare exceptions, the women shown in paintings are always dressed, except let see a piece of their anatomy. [...]

In Japan there is no nudity innocent nudity as a metaphorical representation of Adam and Eve before the temptation, nor as a symbol of rehabilitation of the human being in the presence of God meat and clothing of the human body are nothing more than additions to a character in everyday life in a world engaged in a continuous process of transformation. "

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the Japanese press, so there is a relationship of great harmony between body and garment. The suit is to be designed to highlight the curves of female body.

In the case of erotic prints, for example when it comes to the sexual act as the two appear naked?

then look at one of the masterpieces of Kitagawa Utamaro ("Source of poetry": room on the first floor).

Although there is a set of details I do not see, the picture has a voltage that hint strongly expressed in the approach to the embrace, the faces covered to conceal the details of the bodies of lovers. Another detail is the range that marks him a Japanese poetry

Beccaria has made her a staple the beak

strongly from a clam

and effort to fly away

one autumn evening.

Thus, there is a hint of sweetness even eroticism. Other

Kitagawa Utamaro's paintings are lovers in the sexual act where the eroticism is stronger, but there are details like the modesty of women played in the attention of a closed tent that stands out the secrecy of the act, writing on the fans and the prints on the room and the woman's words "There is too much light, I am ashamed" to each other mark the contrast between hidden and revealed, among veiled and unveiled, helping all'eroticità the scene.

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track and reflection made the basis of reading the book "Introduction to Japanese culture. Assays reciprocal anthropology" of Hisayasu Nakagawa. - Addison - 2006 Edition.