Pubic hair fetishism
Pubic hair fetishism, or pubephilia, is where a person becomes sexually aroused by the sight or feel of human pubic hair. Others may consider pubic hair to be aesthetic and a characteristic of maturity.
At puberty, many girls find the sudden sprouting of pubic hair disturbing, and sometimes as unclean, because in many cases young girls have been screened by their family and by society from the sight of pubic hair. Young boys, on the other hand, tend not to be similarly disturbed by the development of their pubic hair, usually having seen body hair on their fathers. However, to a young boy, the sight of the female pubic region is usually a mystery, and young girls are taught to "guard" their "private area" from inquisitive young eyes and hands.
A United States study by Alfred Kinsey found that 75% of the participants stated that there was never nudity in the home when they were growing up, 5% of the participants said that there was "seldom" nudity in the home, 3% said "often", and 17% said that it was "usual". The study found that there was no significant difference between what was reported by men and by women with respect to frequency of nudity in the home.
In a 1995 review of the literature, Paul Okami concluded that there was no reliable evidence linking exposure to parental nudity to any negative effect. Three years later, his team finished an 18-year longitudinal study that showed that, if anything, such exposure was associated with slight beneficial effects, particularly for boys.
In ancient Egyptian art, female pubic hair is indicated in the form of painted triangles. In medieval and classical European art, it was very rarely depicted, and male pubic hair was often, but not always, omitted. Sometimes it was portrayed in stylized form, as was the case with Greek graphic art. The same was true in much Indian art, and in other Eastern portrayals of the nude. In 16th century southern Europe Michelangelo showed the male David with stylized pubic hair, but female bodies remained hairless below the head. Nevertheless, Michelangelo’s male nudes on the Sistine chapel ceiling display no pubic hair. In Renaissance northern Europe, pubic hair was more likely to be portrayed than in the south, more usually male, but occasionally female.
By the early 17th century, female pubic hair appear in pornographic drawing and other forms of art, such as those by Agostino Carracci. By the late 18th century female pubic hair was depicted in Japanese shunga (erotica), especially in the ukiyo-e tradition. Hokusai's picture The Dream of the Fisherman's Wife, depicting a woman having an erotic fantasy, is a well-known example. Fine art paintings and sculpture created before the 20th century in the Western tradition usually depicted women without pubic hair or a visible vulva.
Francisco Goya's The Nude Maja in the late 18th century has been considered as probably the first European painting to show a woman's pubic hair. The painting was considered pornographic for the time period. Gustave Courbet's L'Origine du monde (The Origin of the World, 1866), was also considered pornographic because it showed the exposed female genitals in their totality with thick pubic hair.
In more recent times, female adult entertainers who appear nude on stage, film or photography more commonly remove their pubic hair. The presentation is regarded as more erotic and aesthetic, while others consider the appearance as unnatural.
"The bush was long and thick, twisting and curling in masses half-way up to her navel, and it spread about up her buttocks, gradually getting shorter there."
In another part of his autobiography Walter remarks that he has seen those "bare of hair, those with but hairy stubble, those with bushes six inches long, covering them from bum bone to navel." And he adds reflectively – "there is not much that I have not seen, felt or tried, with respect to this supreme female article."
In like vein, in The Memoirs of Dolly Morton, an American erotic classic, the attributes of Miss Dean are noted with some surprise – her spot was covered with a "thick forest of glossy dark brown hair," with locks nearly two inches long. One man remarked,
"But Gosh! I've never seen such a fleece between a woman's legs in my life. Darn me if she wouldn't have to be sheared before man could get into her."
Among the upper class in 19th century Victorian Britain, pubic hair from a lover was frequently collected as a souvenir. The curls were, for instance, worn like cockades in men's hats as potency talismans, or exchanged among lovers as tokens of affection. The museum of St. Andrews University in Scotland has in its collection a snuff box full of pubic hair of one of King George IV's mistresses, possibly Elizabeth Conyngham, which the notoriously lascivious monarch donated to the Fife sex club, The Beggar's Benison.
Within the contemporary gay community, so-called bears have a distinctive preference for all types of male body hair, including pubic hair, as the shaving/waxing ("Manscaping") of any part of a man's body is generally frowned upon.
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