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| | *Though women were banned from professional [[sumo]], and banned from even touching the ''dôhyô'', all the way up until the 1950s there were unofficial, ''misemono'' matches with mixed-gender or all-female fighters. ("[http://shunga.honolulumuseum.org/2013/index.php?page=32&language=&maxImageHeight=470&headerTop=0&headerHeight=109&footerTop=579&bw=1366&sh=0&refreshed=refreshed#.VHwDRcmTLqM Tongue in Cheek: Erotic Art in 19th-Century Japan]," Honolulu Museum of Art, exhibition website, accessed 30 November 2014.) | | *Though women were banned from professional [[sumo]], and banned from even touching the ''dôhyô'', all the way up until the 1950s there were unofficial, ''misemono'' matches with mixed-gender or all-female fighters. ("[http://shunga.honolulumuseum.org/2013/index.php?page=32&language=&maxImageHeight=470&headerTop=0&headerHeight=109&footerTop=579&bw=1366&sh=0&refreshed=refreshed#.VHwDRcmTLqM Tongue in Cheek: Erotic Art in 19th-Century Japan]," Honolulu Museum of Art, exhibition website, accessed 30 November 2014.) |
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| − | *Female [[geisha]] got their start in the [[Fukagawa]] district, only coming to any prominence in the Yoshiwara later on. "[http://shunga.honolulumuseum.org/2013/index.php?page=104&language=&maxImageHeight=470&headerTop=0&headerHeight=109&footerTop=579&bw=1366&sh=0&refreshed=refreshed#.VHwTG8mTLqM Tongue in Cheek: Erotic Art in 19th-Century Japan]," Honolulu Museum of Art, exhibition website, accessed 1 Dec 2014.
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| | *Nine hundred cases of [[love suicides]] in Kyoto and Osaka in 1703-1704 alone. - Ikegami, Bonds of Civility, 317. | | *Nine hundred cases of [[love suicides]] in Kyoto and Osaka in 1703-1704 alone. - Ikegami, Bonds of Civility, 317. |
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| | Lane p311 for pigments | | Lane p311 for pigments |
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| − | "As the early [[Yoshiwara]] was primarily a place of entertainment and socializing, sex was a discreet and secondary aspect of the business. Indeed, Edward Seidensticker has gone so far as to liken an evening at the Yoshiwara to an afternoon of tea." - Seigle. p152.
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| − | Courtesans in the harimise 張見世 of a teahouse would sit in three rows, and perform a concert from roughly dusk (the sixth hour) until midnight (the 9th hour). - Kobayashi Tadashi & Julie Nelson Davis. "Floating World of Light and Shadow." p96
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| | Over 11,000 terakoya were established in the Edo period. - Arts of the Bedchamber exhibition website. Honolulu Museum of Art. (http://shunga.honolulumuseum.org/index.php?page=1) | | Over 11,000 terakoya were established in the Edo period. - Arts of the Bedchamber exhibition website. Honolulu Museum of Art. (http://shunga.honolulumuseum.org/index.php?page=1) |
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| − | As the Edo period (1615-1868) progressed, the cleats of a courtesans’ clogs grew in height and their kimono became increasingly heavy, making the choreographed “figure-eight” walk they were required to perform extremely challenging.
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| − | Occasionally, a courtesan would stumble and fall during a procession, in which case she would be required to retreat to the nearest teahouse, send her attendant home for a new set of clothes, change into the new outfit, donate her previous outfit to the teahouse, and later pay the teahouse staff an additional fee for their assistance. For courtesans whose daily income was unpredictable and who were struggling to meet expenses for their shinzō, kamuro, and themselves, the mere possibility of such an accident must have been a source of intense anxiety. - Arts of the Bedchamber exhibit website
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