In addition to this symbolic meaning, care was taken to ensure that no knots were formed in the nerves and veins, and that they were displayed to the public in an open area for a long time. Official Tokugawa laws Hojojutsu Its provisions on its application consisted of four short articles;

1. Not allowing the prisoner to escape.
2. Not to cause any physical or mental injury.
3. Not allowing others to see the techniques.
4. To ensure that the result looks beautiful after tying.

Hojojutsu, Ittatsu Ryu School, “Shin Nijuu Hishi" (true double diamond) and "Shin Tonbo" (real dragonfly) bindings. Zukai Hojoujutsu by Fujita Seiko.

Rules 2 and 4 are important to understanding the origins of kinbaku and shibari. These rules still apply today.

During the Edo period, between 1603 and 1868, more than 150 Hojojutsu school was established. Different tying methods were developed in schools established in different regions. Different regions had their own knots and ties that could identify them. The techniques revealed both a deep understanding of human anatomy and a desire to create aesthetically pleasing arrangements. In the following periods HojojutsuMany of his techniques and styles have profoundly influenced modern Japanese kinbaku.

At the beginning of the Edo period, Japan, exhausted, had completely closed itself off to the outside world and started to heal its wounds. This process brought about a Renaissance atmosphere in many areas such as the development of merchants and trade, the increase in literacy rate, the development of art, and it was also seen that noblemen used kinbaku as an erotic tool to humiliate captive women.

With the end of the Edo period in 1867 Meiji Restoration takes place and the capital's name is changed from Edo to Tokyo. Major changes occur in political and social areas and in people's lifestyles.

With the reforms of the Meiji period, the Japanese expanded their trade with other European countries, in addition to the trade they had only with the Netherlands and China.

Kabuki theaters, which were a major element of social life, began to become popular and many traditional kabuki theaters began to stage erotic shows featuring rope and pain.

Bo-Shibari at Kabuki Theater

Although the plays performed in Kabuki theaters were erotic, they were not excessive or sexual. In the early 1900s, Edo Period Kabuki plays depicting dramas, HojojutsuHe began to turn a simplified version of the knot into performances. This made the knots more visible and appealing to audiences. The plays, which were staged for their creative and aesthetic aspects, are still considered early examples of today's kinbaku.

From the middle of the Meiji Period, a type of drama called “Soushi Shibai” (Hero's Drama) developed. Originally, the aim was to depict rebel heroes who opposed the oppression from the regime and defended freedom and civil rights. Later, the political stance changed, and eroticism was added with scenes of captivity and dramatic torture, evolving into a different type of drama.

Meanwhile, the influence of the Marquis de Sade and Leopold von Sacher-Masoch in Europe did not only change sexual and erotic aspects. With the rise of psychoanalysis in the 1880s, the terms sadism and masochism emerged and became the subject of the first serious academic articles and studies.

Ito Seiu

After the First Sino-Japanese War, in June 1896, the Hongo Haruki-za Theater in Tokyo staged a play called “Nisshin Senso – Youchi no Kataki-tan.” It was about a few Japanese nurses who were tortured and humiliated by Chinese soldiers in Manchuria, but forgave their torturers. This drama used sexual cruelty as a pretext under the protective umbrella of nationalism. In one of these performances, a young man of fourteen was in the audience, and the performance deeply affected him. Years later, this young man became the painter, photographer, and researcher known as the “Father of Kinbaku.” Ito Seiu It was none other than.

“Seme no Kenkyu” (1928) in JapanTorture He published the first kinbaku photo book called His Work) and organized theater performances, the first known suspension He also produced his studies and paintings during this period. He eventually went down in history as the father of modern Japanese kinbaku.

Kinbaku, Seiu Ito became more erotic and sexual in the early 20th century thanks to the Ukiyo-e style. His works, which were produced in the Ukiyo-e style, featured women who were bound, unkempt, tortured, naked or in clothes that had been forcibly torn.

A still from Seme no Kenkyu.

Works such as “snow torture” and “hanging mother upside down” by Seiu Ito Yomikiri Romance  And Kitan Club These studies have caused great controversy in Japanese society. To combat this controversy Seiu Itobrought Ito to the brink of both financial and moral bankruptcy. During World War II, during the massive Tokyo air raid by the American army, Ito lost all of his works.

Other artists in the 20s and 30s, including the avant-garde Ero-Guro ("erotic grotesque") movement, explored similar themes, but Ito was the first to produce work with explicitly sadomasochistic themes.

As Japan and Europe, especially Germany, became closer in cultural and military terms, an anti-militarist and oppositional art movement emerged in the early twentieth century in the 1920s and 1930s, influenced by Germany's Weimar culture.ero-guro" had emerged. Although no works of art related to this movement were produced during World War II, it re-emerged in post-war Japan with themes of bondage, torture and erotica.

The ero-guro (grotesque erotic – ero guro nansensu) movement had a great influence on Kinbaku being heard in the West. The policies adopted by both Germany and Japan in their military approaches, forcing art, artists and the public to a compulsory, imposed and determined product, and the intense pressure of militarism, led to the formation of an opposition group in society.

The avant-garde ero-guro that emerged in such an atmosphere was a rebellion, a protest against the disrespect for art, and a criticism of the regime that considered lust and sexual desire as essentially bad things.

In light of these developments in Japan, “Seme no KenkyuIt is useful to realize that ” is a work of torture.

In the 1950s, Western magazines discovered Ito's work and began publishing his work. Although still controversial, Kinbaku gained popularity in both Eastern and Western society, and in 1960 the Japan Artists Association awarded Ito the Seiu award for his art.

The terms “sadism” and “masochism” came into common use in Japan in the 1950s. BDSM The term emerged and began to be used in the West in the 1980s. As can be seen, long before BDSM became a tradition, the concepts of "sadism" and "masochism", which were associated with different elements, existed in Japan and were also adopted as methods.

For the part of modern day BDSM that is defined by S&M, the Japanese interpretation of torture was based on the work of Seiu Ito. This was the “beauty of suffering” that was deeply rooted in Japanese aesthetics, depicting the flow and intensity of emotion in a context, being connected by pain.

In this sense, it is not surprising that Kinbaku is mentioned as one of the various torture methods. Tying someone up not only prevents them from escaping, but can also be used for humiliation and torture.

American model Betty Page (1923 – 2008) with photographer Irving Klaw (1910 – 1966), circa 1955. (Photo by Archive Photos/Getty Images)

During these years, erotic magazines were pirated in America. The first bondage-themed photographs John Willie And Irving Klaw These photographs were taken and published by and are considered the first professional works of today's fetish culture. But even though the West had not yet fully become familiar with kinbaku in those years, it had witnessed the birth of a legend: Betty Page.

Betty Page a pin-up girl and Irving KlawShe was the favorite of . She modeled in hundreds of erotic, fetish and bondage themed shoots, helping to spread and popularize different sexual tendencies in America.

In the same years, Japan, which was emerging from the war with defeat and destruction, began to experience an erotic revolution in the 50s and 60s. Magazines such as Kitan Club and Yomikiri Romance, which published the first nude bondage photographs on the subject of Kinbaku, became very popular in Japan in the 1950s.

Item Vintage Japanese BDSM Kinbaku Magazine KITAN CLUB 4/1969 Shibari Oniroku Dan

Kitan Club magazine, a phenomenon all over the world, began its golden age in the 60s. This magazine frequently used sexual, erotic and exotic traditions, sometimes combining short stories and even science fiction with main themes, and drew attention to alternative content, topics and preferences.

From today's perspective, this magazine can be considered a valuable historical representative of the formative period of Japanese SM culture. In addition, the Kitan Club also acted as a promoter of kinbaku culture. With roles such as writer, illustrator and photographer Suma Toshiyuki, Tsujimura TakashiHe contributed to the recognition of kinbaku all over the world with his research and writings on kinbaku.

Kitan Club became a source of inspiration and a school for future generations. Many cartoonists, writers and photographers created new works and developed radical ideas thanks to this magazine.

The term “Nawashi” was first used in the 50s Tsujimura Takashi It is believed to have been used by Kitan Club Magazine.

In 1962 Dan Oniroku's “Hana to EbiHis novel “Flower and Snake” began its serial publication in Kitan Club.

Osada Eikichi

In 1965, Osada Eikichi, began his first stage performances under the umbrella of Kitan Club, which astonished the entire S&M world. These shows by Osada Eikichi, who is now considered the pioneer of kinbaku stage performance, were the first experimental dramas of the S&M genre. In the late 60s and early 70s, with the popularization of “Pink Movies”, people like Konuma Takashi began to take on the role of kinbaku directors in film productions.

Meanwhile, sexual revolution movements were on the rise dramatically in Europe and America, and everything began to change radically with the Stonewall uprising of 1969. These were the first years when kinbaku began to emerge from the shadows and be seen in more public spaces.

After the 70s, kinbaku became more visible and began to become a culture that the whole world was more interested in by some performance and photography artists. These years were a period when the styles and techniques of the West and the East merged. In this period called Fusion Shibari, Japanese traditionalism was blended with Western eroticism and aesthetics, Irwin Klaw And John Willie the bondage legacy was consolidated.

In the 1980s, Kinbaku masters began to make erotic kinbaku videos. During this period, a kinbaku master could also be an actor, producer and director.

The recognition of modern kinbaku in the West and its transformation into an art form Nobuyoshi Araki's contributions cannot be underestimated.

Nobuyoshi Araki

Described as the photographer of kinbaku or bondage, Araki began his interest in photography during his university years, but his professional name was heard in this field only after the 90s. The death of his wife in 1990 created a turning point in Araki's art, and from then on he tried to redefine sexuality, which he believed contained both life and death.

He has become one of the important names of contemporary art with his Kinbaku series called Self, Life, Death. His works are exhibited in important museums such as Tate Modern and San Francisco Museum of Modern Art and are represented by important galleries and auction companies.

Araki says that he uses tied, sometimes hanging, naked women to symbolize love and eroticism rather than sexuality. He says that a woman only ties her body with ropes because she cannot tie her heart. With this statement, he emphasizes that the real bondage is spiritual bondage. The artist says that when I tie women, I hug them. He says that I identify bondage with a kind of bondage feeling, softening the harsh, fetish and extreme feelings in the image with the subliminal reading he expresses with feelings of love, eroticism and commitment.

Thanks to artists like Araki, shibari has become more of a performance and art element than just a part of BDSM, and many artists have used shibari to express different things and continue to do so.

Cultura Inquieta – Kitan Club Japanese Prints, Club Magazine, Printing Ink, Dark Photography

The post-war 50s and 60s were the golden age of Kitan Club magazine. This magazine frequently used sexual, torture, abuse and exotic customs, sometimes combining them with short stories and even science fiction as its main themes. It skillfully highlighted some alternative tastes and preferences. From today's perspective, this magazine can be considered a valuable historical representative of the formative period of Japanese SM culture. In addition, Kitan Club, also acted as a promoter of kinbaku culture. Working in roles such as writer, illustrator and photographer Suma Toshiyuki, Tsujimura Takashi, contributed with his kinbaku research and writings.

With the development of printing technology, photographs also began to be published. It is believed that the term “Nawashi” was first used in the 50s by Tsujimura Takashi in Kitan Club Magazine. In 1962, Dan Oniroku’s “Hana to EbiHis novel “Flower and Snake” began its serial publication in Kitan Club.

In 1965, Osada Eikichi began his first stage performances under the umbrella of the Kitan Club, which astonished the entire S&M world. Now considered a pioneer of kinbaku stage performance, Osada Eikichi's shows were the first experimental dramas of the S&M genre. In the late 60s and early 70s, with the popularization of "Pink Movies", Takashi to the location People like him began to take over the role of kinbaku directors in film productions. In 1974, facing bankruptcy, the Nikkatsu film company, “Flower and SnakeHe decided to make "As a last resort" and the film became an unexpected success.

KINBAKU & SHIBARI

Kinbaku (緊縛) is the Japanese word for “tight binding”. Kinbaku-bi (緊縛美) means “beautiful tight binding”. Kinbaku is used in Japanese SM circles to describe specific, artistic, erotic bindings. Some baku (binders/masters) prefer to use the word kinbaku to describe more emotional scenes, while others prefer to refer to origins and traditions. The technique and method are highly specific. Today, some circles also use the term “deep binding” to describe kinbaku.

The word Shibari began to be used in the West in the early 1990s to describe the bondage art of Kinbaku. Shibari (縛り) refers to "decorative binding", the process of integrating two people into a completely different level of body awareness and bonding with grace and emotion.

There is much debate between shibari and kinbaku about which is more appropriate than the other. Westerners who want to differentiate these terms use the word shibari to refer to its more visual, decorative, and erotic nature, while kinbaku refers to the artistic, bondage-oriented, sensual practice as a whole.

Kinbaku, many Hojojutsu It is based on very important techniques derived from bonds, but in order to be usable and safe in today's conditions, Hojojutsu techniques have changed significantly.

The traditional view is that the term 'shibari' is an inappropriate and misappropriated use of Japanese vocabulary by Westerners. The word is not used in the traditional context/sense of bondage in Japanese. Many specific knots/ties include 'shibari' in their names, but it is not traditional to refer to the entire activity and practice (such as 'Diamond Diamonds' and 'Portuguese Bowline Knots') in this way. Instead, Kinbaku is the preferred term for artistic or erotic binding in traditional Japanese bondage and S&M circles.

This view is at odds with the way the word is actually used in books, periodicals, and Japanese discussions of rope bondage. A more traditional view is that shibari is a term used in Japan for erotic bondage, interchangeable with the term kinbaku. Itoh Seiu used the term in the 1950s, as did many other well-known Japanese baku from the 1950s to the present.

Nureki Chimuo, Yukimura Haruki, Akechi Denki, Ryuuji Takeda, Tsujimura Takeshi, Arisue Go, Randa Mai, Osada Steve, Miura Takumi, Nagaike Takeshi and Minomura Kou (and others). One of Nurkei Chimuo's 1980s video series is entitled An Introduction to Shibari. Some claim that this is a somewhat disguised definition and that shibari was increasingly imported to Japan from the West. Most Japanese kinbakushi are widely used globally. Shibari does not object to the term.

Shibari is a subjective experience, and does not discriminate based on gender, language, religion, body, or race. From our perspective, our language, color, and gender are the shibari itself, and it is the integration of two bodies that want to connect with it. Shibari is not just a sexual experience, it is a powerful tool for therapy, relaxation, struggle, and body awareness, and a radical method for communication.

Steve Osada

Osada Steve 長 … ス 長 ー ー ィ: “…I usually make a clear distinction between Shibari and Kinbaku in my style of work. I would say it took me eight years to get a feel for Shibari, and I was about to complete my third year when I started deciphering the mysteries of Kinbaku. When Sensei Osada Eikichi (長田英吉) decided to accept me as his student, it was more than an opportunity given to me, and if it were just the opportunity, I would still be tying women without knowing what I was doing. In my scenes at StudioSIX, I spend time developing a connection with the model, thus achieving an emotional exchange that transcends the technical aspects of tying. In almost all of my other activities, such as live shows, and in videos, I describe almost all of my work as Shibari. For me, Shibari is the only reality of tying in a Japanese style and with a consistent Japanese aesthetic.”

Fusion (Western) Bondage (Shibari)

The western discipline that developed on the foundations of the east is usually called Fusion or Western. Although it has been nourished by the eastern discipline that has developed for centuries, it has developed its own dynamics, methods and practices, and has taken them to an erotic dimension and used them. Although some of the natural beauties and sub-forms in Kinbaku and Shibari have been compromised, when looked at as a whole, it has also added innovations.

Fusion bondage (shibari) uses different types of ropes (usually soft ones);

• Ropes include synthetic products such as nylon and MFP
• Generally 8-12mm diameter rope is used.
• The use of colored threads is quite common
• Rope lengths vary.

Historical Process of Shibari in the East and West

Originating in Japan, shibari has developed simultaneously in the East and West since the early 20th century. This process, which began with Seiu Ito, continued in the West in the late 1940s. John Willie It starts with Willie's development G-String Tie It is one of the techniques that has survived from that period to the present day and is still being debated.

Click Here to See the Timeline from Past to Present

Sources:

• https://kokoro-kinbaku.com
• https://blog.gaijinpot.com/uncut/unraveling-the-mysteries-of-kinbaku-the-erotic-art-of-japanese-rope-bondage/
• https://bdsmkulturu.com/glossary/ukiyo-e
• http://www.kinbakumania.com/
• https://wikipedia.com
• https://ropestudy.com
• https://www.vice.com/en_uk/article/8qka45/kinbaku-japanese-rope-bondage
• https://bdsmkulturu.com
• https://dangerousminds.net/comments/this_incredible_fetish_photo_history_book_will_have_you_tied_up_for_months
• http://www.jaderope.com/
• https://www.vice.com/en_us/article/8qka45/kinbaku-japanese-rope-bondage
• https://medium.com/@theintelligentdominant/the-art-of-kinbaku-df4c0b284d9e
• http://lebriz.com/pages/lsd.aspx?lang=TR&sectionID=2&articleID=984&bhcp=1
• The Difference Between Rigger, Nawashi and Bakushi in Shibari – Kinbaku 
• Shibari vs Kinbaku

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