The design and layout are distinctive, and the sophisticated and refined use of artwork deliberately created the impression impression that this was a collection of well-known, top-of-the-line artists works. It is a shame that the unparalleled high quality of artistry in books such as these, appearing only in shunga form, was probably not widely known to the literati and art-lovers of the period. We presume that the design and illustrations were suggested by the writer, Tsukinari, and from the unconventional characteristics incorporated therein we can conclude that he was far from from a run-of-the-mill author. However, the fact that he never emerged as a famous writer – despite sporadic exhibitions of brilliance in certain scenes – is likely a reflection of his limited ability to consistently plot out and produce whole works of such high caliber.

Each of the three volumes in the Bunsei 9 publication begins with a frontispiece in which the first scene sensually depicts a woman’s portrait (okubi-e), followed by a corresponding close-up depiction of a woman’s genital area – a standard feature of shunga publications. Each volume also contains frequent depictions of rape scenes, for which Kunisada had come to be known. This series of three volumes not only shows the pinnacle of Kunisada’s brilliant artistry, but stands as a masterpiece among shunga of the Edo era.