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Merzbow and Right Brain Audile, “Music for Bondage Performance”, 1991.

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La’cryma Christi for Shoxx, #58 (December 1997) (cr.)

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Paul Cupido（Dutch, b.1972）

Uoon   2019  Archival Pigment Print on Museum Etching  17.7 x 11.8 inches   via

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The Temple of the Golden Pavillion ‘金閣寺’, Yoichi Takabayashi

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In the last scene, when Wang Jiazhi and Kuang Yumin were executed on the edge of a cliff. Mr. Yi pushed away the room where Wang Jiazhi once lived in his house. With no lights on, his shadow was imprinted on the wall by the light outside. He walked into the room slowly, sat down slowly, and gently stroked the bed where Wang Jiazhi once slept.

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Seppuku (切腹, 'cutting [the] belly'), sometimes referred to as harakiri (腹切り, lit. 'abdomen/belly cutting', a native Japanese kun reading), is a form of Japanese ritual suicide by disembowelment. It was originally reserved for samurai in their code of honor but was also practiced by other Japanese people during the Shōwa period (particularly officers near the end of World War II) to restore honor for themselves or for their families.[1][2][3] As a samurai practice, seppuku was used voluntarily by samurai to die with honor rather than fall into the hands of their enemies (and likely be tortured), as a form of capital punishment for samurai who had committed serious offenses, or performed because they had brought shame to themselves. The ceremonial disembowelment, which is usually part of a more elaborate ritual and performed in front of spectators, consists of plunging a short blade, traditionally a tantō, into the belly and drawing the blade from left to right, slicing the belly open.[4] If the cut is deep enough, it can sever the abdominal aorta, causing a rapid death by blood loss.[5]

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Female Harakiri: Celebration, Yuuri Sunohara (1990)

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Kansuke Yamamoto

Japanese, 1914-1987

Work, 1959

Gelatin silver print
18.5 x 24.9 cm. | 7 ¼ x 9 11/16 in.

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Funeral Parade Of Roses (1969) dir. Toshio Matsumoto

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Rope : Chimuo Nureki
Model : Youri Sunohara

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Japanese friendship dolls (友情人形, yūjō ningyō) or Japanese ambassador dolls and the American blue-eyed dolls (青い目の人形, aoi me no ningyō) were programs of goodwill between Japan and the United States. American Sidney Gulick, a missionary in Japan, initiated an exchange of dolls between children as a way to ease cultural tensions in the 1920s. Japanese Viscount Eiichi Shibusawa responded by initiating a program to send 58 dolls to American museums and libraries.

A similar concept is the Kokeshi doll.

Friendship dolls were exchanged between Japan and America in 1927. The dolls were meant to improve the deteriorated relationship between Japan and America. The worsening relationship originates in anti-Japanese exclusion movements in California and other parts of the US.[

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It was utterly dark inside. Any dark space must reveal something when light shines into it, but this darkness rejected light as a dense substance would.

– Yumiko Kurahashi, from “An Extraterrestrial,” The Woman with the Flying Head and Other Stories (M. E. Sharpe, 1998)

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the surreal nightmare visions of Yuho Tatsushima

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Strawberry Song Orchestra was founded in 1998. They have many former members, but their current lineup is composed of 17 members (8 actors, 8 musicians and their leader, Miyaaku Sensha).
They call themselves “freak show punk” (見世物パンク一座).
The band concept is based on the opposition of reality and fiction, and the illusional town “Kagamimachi” (mirror town). All members have two names, their “real” name and their “kagamimachi” name.
Strawberry Song Orchestra’s world is greatly influenced by the works of Terayama Shuuji, Edogawa Ranpo, Yumeno Kyuusaku and angura bands such as Guruguru Eigakan and Inugami Circus Dan.

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Japanese punk band Sarushibai, from Fujioka City, have released a discography CD on Deleted Records (Malaysia). The discography includes demos, rehearsal demos, and live tracks released over the past 10 years.

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Nawashi (縄師) (noun; lit. "rope master", "rope teacher"), is a word which in SM circles means "rope artist".[1] Nawashi are those who have some recognized proficiency in the historic erotic art of Japanese bondage (緊縛 (lit. "tight binding" kinbaku) or kinbaku-bi (lit. bondage beauty 緊縛美).

Other terms used in Japan for rope artists within SM culture are "kinbakushi" and "bakushi", with "bakushi" being more typical.

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A shōji ，is a door, window or room divider used in traditional Japanese architecture, consisting of translucent (or transparent) sheets on a lattice frame. Where light transmission is not needed, the similar but opaque fusuma is used[1] (oshiire/closet doors, for instance[2]). Shoji usually slide, but may occasionally be hung or hinged, especially in more rustic styles.[3]

Shōji are very lightweight, so they are easily slid aside, or taken off their tracks and stored in a closet, opening the room to other rooms or the outside.[4][5][6] Fully traditional buildings may have only one large room, under a roof supported by a post-and-lintel frame, with few or no permanent interior or exterior walls; the space is flexibly subdivided as needed by the removable sliding wall panels.[7] The posts are generally placed one tatami-length (about 2m or 6 ft) apart, and the shōji slide in two parallel wood-groove tracks between them.[8] In modern construction, the shōji often do not form the exterior surface of the building; they sit inside a sliding glass door or window.[5]