September 1960

The fourth collection of Gaho Fuzoku Kitan is a heavily illustrated anthology devoted to staged bondage, fetishistic punishment, grotesque art, foreign erotic iconography, sensational fiction, and documentary-style commentary. Its visual identity is established immediately through color frontispieces in which bound women are posed beside a stone pagoda, in a waterside pavilion, on tatami, and against bamboo blinds. A formal contents spread then divides the issue into three photographic gravure sequences, illustrated galleries, translated or adapted fiction, essays, and a concluding portfolio of thirty nude bondage poses. The first gravure sequence uses a mountain inn and its surroundings as theatrical settings. A waterwheel, terrace, stream, rocks, railings, and wooden architecture become restraint apparatus, allowing the photography to contrast natural scenery with carefully arranged bodily confinement. The second sequence moves indoors and develops a more intimate catalogue of positions involving beds, pillars, windows, crossed limbs, doubled models, compact body folding, hair restraint, and suspension-like poses. Between these photographic sections, an illustrated gallery presents needles, ropes, burning implements, barns, underwater fantasies, ships, chains, and other imagined punishments. The middle of the issue broadens its historical and international frame. A Richard Müller grotesque-art portfolio is followed by a “World Masterpiece Secret-Picture Exhibition,” reproducing images of torture, execution, captivity, female humiliation, circus spectacle, foot fetishism, and European satirical or erotic prints. Yuasa Jūji’s illustrated essay on female bondage interprets rope positions and bodily display, while an excerpt from the Marquis de Sade’s The Prosperities of Vice shifts the magazine toward literary libertinism and philosophical cruelty. The later prose section combines modern urban menace, overseas captivity stories, and period adventure. “Beasts of the Town” follows a woman threatened and restrained by male delinquents. Short foreign tales concern women taken hostage during war or held under violent conditions. “Bandits and Women” returns to a historical Japanese setting, using vigorous illustrations of abduction, rope restraint, and armed violence. Advertising and editorial notices follow, but the issue closes with a substantial visual supplement, “Thirty Poses of Bound Nude Women,” which revisits the magazine’s central vocabulary of compact floor poses, bed restraint, balcony tableaux, outdoor water settings, and upright suspension. Across the issue, photography, imported art, historical fantasy, and sensational fiction are assembled into an encyclopedic visual study of restraint and eroticized peril.

Title	Author	Printed Pages	PDF Pages
Before the Five-Tiered Stone Pagoda	Uncredited	—	3
In the Waterside Pavilion	Uncredited	—	4
Fallen Flower in Bondage	Uncredited	—	5
With Her Back to the Bamboo Blind	Uncredited	—	6
The Corset Torments a Woman’s Flesh	Uncredited	—	7
Bound to a Waterwheel	Uncredited	—	10 –11
Water Torment	Uncredited	—	12
Prisoner of the Terrace	Uncredited	—	13 –14
Bound on the Rocks	Uncredited	—	15 –16
The Captive	Uncredited	—	17 –18
A Woman’s Quartet	Uncredited	—	19 –20
Candle Torment	Uncredited	—	21 –22
Needle Torment	Uncredited	—	23
Blue Cruel Picture Scroll	Uncredited	—	24 –25
Embraced by a Pillar	Uncredited	—	26
A Brilliant Waist Cord	Uncredited	—	27 –28
A Naked Woman Captured at the Window	Uncredited	—	29 –30
Both Women Bound	Uncredited	—	31 –32
An Unusual Shrimp Torment	Uncredited	—	33 –34
Hair Restraint	Uncredited	—	35
Grotesque Illustrated Collection	Richard Müller	—	56 –60
World Masterpiece Secret-Picture Exhibition	Uncredited	—	61 –71
A Study of Female Bondage	Yuasa Jūji	83–85	72 –74
Excerpt from The Prosperities of Vice	Marquis de Sade	86–96	75 –81
Beasts of the Town	Kawashima Isao	97–101	82 –86
A Beautiful Blonde Woman Taken Hostage	Alan Stone	102–103	87 –88
Warrior of Hell	Joel Ricker	104–105	89 –90
Bandits and Women	Yamagiwa Masayuki	106–111	91 –96
Thirty Poses of Bound Nude Women	Uncredited	—	100 –115

The formal contents appears on PDF page 8. Several small printed page numbers and a few personal-name readings on that spread are difficult to resolve with certainty, so printed_pages is left blank where the number could not be confirmed directly from article pages. The issue uses multiple visual sequences with caption-like subheadings that function as individual contents entries. Printed pagination in the prose section differs substantially from PDF viewer numbering because covers, color leaves, contents, and unnumbered gravure pages are excluded from the printed count. The final sixteen PDF pages form an unnumbered photographic supplement. The exact reading of the title on PDF page 23 and the illustrator’s given name for “Beasts of the Town” require human confirmation.