Gay Erotic Art in Japan, Vol.1 is a collected history of the true...



















Gay Erotic Art in Japan, Vol.1 is a collected history of the true pioneers of gay erotica in Japan.

This is a never-before attempted collection that includes over 140 quality color reprints of artwork by Go Mishima, Tatsuji Okawa, Sanshi Funayama, Hirano Go and artists from the influential “perverse magazine” Fuzokukitan like Toshimi Oda.

Each artist as well as their historic legacy of gay erotica is introduced by compilation editor and gay manga pioneer Gengoroh Tagame. These English-Japanese bilingual editions are each signed by the master, Tagame, and come in die-cut slipcases, packaged by the folks at Pot Publishing (also responsible for Tagame’s several re-issues, including Shirogane no Hana).

Signed copies available at MASSIVE

032c magazine has a great interview with Gengoroh Tagame (田亀源五郎)...



032c magazine has a great interview with Gengoroh Tagame (田亀源五郎) touching on everything from the seminal “hentai zasshi" Fuzokukitan (風俗奇譚) to 3D art, Tom of Finland, and Tagame’s role in bringing the term "bear” into the Japanese consciousness:

Actually, I’m one of the originators of Japanese bear culture. When I started my career, a man with a beard was very rare, even in the gay community. I believe that I’m the first one who used the word ‘熊系 Kuma-kei‘ (bear type) in the context of Japanese gay culture.  When I started to use the word, I didn’t know much about the bear culture in Western world. So my ‘bear type’ was masculine, bearded and hairy, but not necessarily ‘chubby’.

Before me, there weren’t any Japanese artists drawing bearded and hairy masculine guys as an idea of a sexual fantasy. After the word Kuma-kei became popular in Japan, some began drawing bigger guys than mine, and their drawings were closer to Western bear culture than my works.

But the situation changed a little by little. Now it’s much more common in the Japanese gay community. Some people say it is the influence of my works, but I don’t know.

via Japan’s Master of Gay BDSM Manga GENGOROH TAGAME Opens Up to 032c

032c magazine has a great interview with Gengoroh Tagame (田亀源五郎)...



032c magazine has a great interview with Gengoroh Tagame (田亀源五郎) touching on everything from the seminal “hentai zasshi" Fuzokukitan (風俗奇譚) to 3D art, Tom of Finland, and Tagame’s role in bringing the term "bear” into the Japanese consciousness:

Actually, I’m one of the originators of Japanese bear culture. When I started my career, a man with a beard was very rare, even in the gay community. I believe that I’m the first one who used the word ‘熊系 Kuma-kei‘ (bear type) in the context of Japanese gay culture.  When I started to use the word, I didn’t know much about the bear culture in Western world. So my ‘bear type’ was masculine, bearded and hairy, but not necessarily ‘chubby’.

Before me, there weren’t any Japanese artists drawing bearded and hairy masculine guys as an idea of a sexual fantasy. After the word Kuma-kei became popular in Japan, some began drawing bigger guys than mine, and their drawings were closer to Western bear culture than my works.

But the situation changed a little by little. Now it’s much more common in the Japanese gay community. Some people say it is the influence of my works, but I don’t know.

via Japan’s Master of Gay BDSM Manga GENGOROH TAGAME Opens Up to 032c

Illustrations by Sanshi Funayama (船山三四) Translated text from the...





Illustrations by Sanshi Funayama (船山三四)

Translated text from the second illustration, via Gengoroh Tagame’s art history book Gay Erotic Art in Japan vol. 1:

A police sergeant from the task force, Segawa Shingo, 27 years old, was a wild, dauntless, and beautiful boy. He had a well-balanced body 185cm tall and 95kg in weight, and a huge dick and balls that could produce and store lots of semen, suitable for his strong body. He was stripped naked. His semen was squeezed out. He was tortured by having his dick scraped out and his balls torn off while he was still alive. His body became a big piece of flesh. He stopped breathing in great pain. His meat tasted chewy and delicious. The strong dick was cooked when still erect and served together with his blood. It had an excellent flavor.

“Woahhhhh! Kill me! Kill me at once! Please…" 
"Look at that! The policeman is wasted!”

His anus was chopped into pieces and mixed with vinegar. It was even more delicious than sea-cucumber. Gelatin was injected into his dick. His blood mixed with it to make his dick hard. Then, it was scraped out.

His ball sack was cut open, while still connected to his body, and his balls taken out. They were squashed and made into “crashed balls.” Segawa fainted from the pain.

“He has got such a nice dick and ass.”
“After checking the tight ass thoroughly, we will cook him.”
“He makes such good noises. I am turned on by hearing his noises.”

The huge dick, called a “canon” or “horse-sized,” is the symbol of a man. It decorates his strong body.

Like Tatsuji Okawa and Go Hirano, Funayama’s work first appeared in Fuzokukitan magazine in the early 1960s. He also contributed to the small circulation magazine Bara and, later, Barazoku. But in the 1970s, Funayama “became an illusion” and fell silent for three decades until  sending in two final illustrations to G-men in 1999. 

Little is known about Funayama’s personal life, but the morsels Tagame was able to uncover for his essay in Gay Erotic Art in Japan are truly tantalizing: Funayama was a policeman – an occupation that was clearly one of the artist’s “greatest obsessions,” as evidenced by the frequency of cops appearing as “sacrificial offerings” in the artist’s marvelously uninhibited, torturous artwork.

From Tagame’s essay:

[Funayama] was married and had a daughter. When he worked the night shift, he drew and kept his work in his locker. I base this on a message on the backside of a drawing to Takakura Hajime, the editor-in-chief of Fuzokukitan, which says, “I completed this piece today because I was on the night shift.” He is also thought to model penises from clay, although none have been found. He knew Mishima Yukio and they used to see each other when Mishima went to Kansai. 

Funayama is one of Tagame’s favorite erotic artists. He admires the dynamic pencil work in particular, noting that Funayama “drew heavily on the paper, as if trying to sculpt. The massive pieces of flesh roll, lively and in motion.” Tagame characterizes the work as fearless and pure:

[…] I don’t really like the word ‘fine art,’ but the pureness of his art makes Funayama’s work fine indeed. 

The dynamism of Funayama’s work, its brightness as erotic art, can even be said to be so sensational when considered in its context. The sensation hasn’t faded. Sexuality is something that exists in every individual, and is the absolute rule that cannot be changed by logic or morals. Funayama’s work directly faces and accepts it as it is. His work is a supreme offering to his own sexuality. This must be one of the peaks in gay erotic art. 

el-corruptor: Tatsuji Okawa Some biographical information on...



el-corruptor:

Tatsuji Okawa

Some biographical information on Tatsuji Okawa from Gengoroh Tagame’s art history book Gay Erotic Art in Japan vol. 1

[…] Okawa must have been born in 1904 or 1905. That is, he was close to 60 years old when his work first appeared in Fuzokukitan. In this memorial, Mamiya [Hiroshi Mamiya, a writer for Fuzokukitan] says his first impression of Okawa was of “a polite and quiet old gentleman.” Okawa lived somewhere in the Kanto area, had a regular whitecollar job, a wife, and children. He would apprently get a hotel room somewhere around Shinjuku, Tokyo in order to draw. It is said that he wished to be a serious painter, though, he had to give it up because his family refused to help him. There is a story that he hired models for his drawings. In the memorial, Mamiya, who was also a photographer, writes he sometimes invited Okawa to observe a photo shooting session. Okawa came happily and sometimes wanted to sketch the models.

I could interview only one person who was acquainted with Okawa. He says Okawa told him that Mishima Yukio asked him to draw a picture of Mishima being tortured. Mishima’s appearance wasn’t close to the type Okawa liked, and Okawa was not happy with his drawing.