Aesthetics of Japanese Bondage
The aesthetics of the bound person's position is important: in particular, Japanese bondage is distinguished by its use of specific katas (forms) and aesthetic rules. Sometimes, asymmetric and often intentionally uncomfortable positions are employed. In particular, Japanese bondage is very much about the way the rope is applied and the pleasure is more in the journey than the destination. In this way the rope becomes an extension of the nawashi's hands and is used to communicate.
Traditional Japanese bondage techniques use natural vegetable fiber rope (hemp, jute, or linen) exclusively, though contemporary Japanese Masters have been working with a range of rope materials. The natural fibers easily lock to each other which means the bondage can be held together by the friction of twists and turns or very simple knots. Traditionally, multiple 6-8 meter lengths are used.
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“Nothing is beautiful, except man alone: all aesthetics rests upon this naïveté, which is its first truth. Let us immediately add the second: nothing is ugly except the degenerating man—and with this the realm of aesthetic judgment is circumscribed.”
—Friedrich Nietzsche (1844–1900)
“I will be all things to you. Father, mother, husband, counselor, Japanese bartender.”
—Mae West, U.S. screenwriter, W.C. Fields, and Edward Cline. Cuthbert Twillie (W.C. Fields)
“Thus I alone, where all my freedom grew,
In prison pine with bondage and restraint;
And with remembrance of the greater grief
To banish the less, I find my chief relief.”
—Henry Howard, Earl Of Surrey (1517?–1547)