ran masaki Un Official Fan Site Tribute

ran masaki : This Is An Un Official Fan Site Tribute
Yuriko Shimura
Porn Queen Actress Superstar

Ran Masaki (Japanese: ?? ?, Hepburn: Masaki Ran) (July 26, 1965 - ) is a former Japanese AV idol, pink film actress and gravure model who was active in the 1980s and rose to prominence as Nikkatsu's final "SM Queen" (SM???, SM no joo) from 1985 to 1986. Masaki starred in three Roman Porno films (two of them written by Oniroku Dan).[1] She also appeared until 1987 in several adult videos mainly focusing on her full-figured body. Some sources, such as the JMDB,[2] erroneously list her as the same person with Ran Mizukami (?? ?, Mizukami Ran), a pink film actress of the same period, also known as the fetish model Sawako (???).
Contents 1 Filmography 1.1 Nikkatsu 1.2 Adult Videos (AV) 2 References 3 External links Filmography Nikkatsu Title Release date Director Notes Beautiful Teacher in Torture Hell ?????????? 1985-12-14 Masahito Segawa co-starring Izumi Shima Snake and Whip ??? ??? 1986-08-23 Shogoro Nishimura co-starring Izumi Shima White Uniform Rope Slave ??? ????? 1986-12-06 Shogoro Nishimura co-starring Minako Ogawa Adult Videos (AV) Title[4] Release date Director Studio Notes Hips & Bust Ran! Ran! Ran! ???·??? ?·?·? 1986-03-25 Toshiyuki Mizutani Geneisya - Swan Video

SH-426 AV Debut Ran the Nymphomaniac ????? 1986-08-10 Daisaku Sato Geneisya - Swan Video SH-433 Ran Masaki: Glamorous Love ?????·?? ??? VIP 2A-001 Glamorous Love 2: Dangerous Smell ????? ?????·??2 VIP 2A-022 Ran Masaki: Perverted 100 Bust ?????100 ??? VCA TFC-1008 Ran Masaki: Milk Fuck ?? ??? VCA TFC-1009 Ran Masaki Final: Goodbye Miss E ?? ? ????? ????E? 1987 Ponytale Video F128-P001 The Big Bust Mania: 4 Movies in One ?·???????4????????? Compilation Daddan Busty Series Vol. 4: Scandalous Chest Girlfriends ???????????VOL.4 ??????? Compilation Minster, both designed in the mediaeval period but not realised until the late 19th century.[citation needed] In England, during the Gothic era, there was a continuing fashion for three towers, with the largest being that over the crossing. This arrangement is seen at Canterbury, Wells, Lincoln, York, Lichfield, and Durham cathedrals.[citation needed] In England, wherever the ground was considered stable, the central tower was surmounted by a spire. Like the south spire of Chartres Cathedral, English spires are often constructed of masonry. The earliest is the comparatively small spire at Oxford Cathedral.[citation needed] The tallest mediaeval masonry spire is that built in the 13th century at Salisbury Cathedral (123 m [404 ft]).[citation needed] Others exist at Norwich and Chichester Cathedrals, while Lichfield Cathedral has three. Other cathedrals had tall spires of wooden construction sheathed with lead or copper. Two of these, on the central towers of Lincoln Cathedral and Old St Paul's Cathedral surpassed 550 feet in height and were the tallest structures prior to the 19th century.[citation needed] England's Gothic parish churches and collegiate churches generally have a single western tower.[citation needed] A number of the finest churches have masonry spires, with those of St James Church, Louth; St Wulfram's Church, Grantham; St Mary Redcliffe in Bristol; and Coventry Cathedral. These spires all exceed 85 metres (280 feet) in height.[75][page needed] In mainland Italy, the tower, if present, is sometimes detached from the building, as at Florence Cathedral, or projects from the side of the building as at the Basilica of Santa Croce. In Italy there is no defined stylistic break between Romanesque and Gothic, as the architects had a seemingly pragmatic approach to the use of round and pointed arches.[citation needed] Towers of apparently Romanesque form often appear in conjunction with otherwise Gothic structures.[citation needed] They tend to have graded series of openings in the Romanesque manner like the tower of the Badia Fiorentina. Some, like the tower at Santa Croce, have large openings of Gothic form and are surmounted by spires.[citation needed] In addition to towers and spires, great mediaeval churches, may have several other architectural forms, rising above the roof-line, particularly over the crossing. These include the octagonal tower at Burgos Cathedral, the wooden octagonal tower at Ely Cathedral and the octagonal dome of Florence Cathedral, conceived in the late Gothic period and engineered by the Renaissance architect Filippo Brunelleschi. Towers and Spires Laon Cathedral, with early Gothic towers Badia Fiorentina – tall campanile with spire St Stephan's Cathedral, Vienna – openwork stone spire Laon Cathedral – strongly articulated paired towers of the west front. (North tower) Openwork spire of Burgos Cathedral The octagonal tower of Burgos Cathedral (1221-1260), with an array of pinnacles. Ely Cathedral – wooden octagon on an octagonal stone crossing tower Canterbury Cathedral – large central crossing tower Lichfield Cathedral – three masonry spires, the crossing tower being taller. Belfry of Bruges – stone octagonal belfry on a square tower (1280–), upper tower (1480s) St John's Church, Lüneburg – very tall square brick steeple (1300–70) Tracery Beauvais Cathedral, south transept (consecrated 1272) Main article: Tracery Tracery is an architectural solution by which windows (or screens, panels, and vaults) are divided into sections of various proportions by stone bars or ribs of moulding.[76] Pointed arch windows of Gothic buildings were initially (late 12th–late 13th centuries) lancet windows, a solution typical of the Early Gothic or First Pointed style and of the Early English Gothic.[76][1] Plate tracery was the first type of tracery to be developed, emerging in the later phase of Early Gothic or First Pointed.[76] Second Pointed is distinguished from First by the appearance of bar-tracery, allowing the construction of much larger window openings, and the development of Curvilinear, Flowing, and Reticulated tracery, ultimately contributing to the Flamboyant style.[1] Late Gothic in most of Europe saw tracery patterns resembling lace develop, while in England Perpendicular Gothic or Third Pointed preferred plainer vertical mullions and transoms.[1] Tracery is practical as well as decorative, because the increasingly large windows of Gothic buildings needed maximum support against the wind.[77] Plate tracery, in which lights were pierced in a thin wall of ashlar, allowed a window arch to have more than one light - typically two side-by-side and separated by flat stone spandrels.[76] The spandrels were then sculpted into figures like a roundel or a quatrefoil.[76] Plate tracery reached the height of its sophistication with the 12th century windows of Chartres Cathedral and in the "Dean's Eye" rose window at Lincoln Cathedral.[78] At the beginning of the 13th century, plate tracery was superseded by bar-tracery.[76] Bar-tracery divides the large lights from one another with moulded mullions.[76] Bar-tracery, an important decorative element of Gothic styles, appeared first at Rheims and was employed in England around 1240.[76] After 1220, master builders in England had begun to treat the window openings as a series of openings divided by thin stone bars, while before 1230 the apse chapels of Rheims Cathedral were decorated with bar-tracery with cusped circles (with bars radiating from the centre).[78] Bar-tracery became common after c.1240, with increasing complexity and decreasing weight.[78] The lines of the mullions continued beyond the tops of the window lights and subdivided the open spandrels above the lights into a variety of decorative shapes.[76] Rayonnant style (c.1230–c.1350) was enabled by the development of bar-tracery in Continental Europe and is named for the radiation of lights around a central point in circular rose windows.[76] Rayonnant also deployed mouldings of two different types in tracery, where earlier styles had used moulding of a single size, with different sizes of mullions.[78] The rose windows of Notre-Dame de Paris (c.1270) are typical.[78] The early phase of Middle Pointed style (late 13th century) is characterized by Geometrical tracery - simple bar-tracery forming patterns of foiled arches and circles interspersed with triangular lights.[76] The mullions of Geometrical style typically had capitals with curved bars emerging from them. Intersecting bar-tracery (c.1300) deployed mullions without capitals which branched off equidistant to the window-head.[76] The window-heads themselves were formed of equal curves forming a pointed arch and the tracery-bars were curved by drawing curves with differing radii from the same centres as the window-heads.[76] The mullions were in consequence branched into Y-shaped designs further ornamented with cusps. The intersecting branches produced an array of lozenge-shaped lights in between numerous lancet arched lights.Y-tracery was often employed in two-light windows c.1300.[76] Second Pointed (14th century) saw Intersecting tracery elaborated with ogees, creating a complex reticular (net-like) design known

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