CHINESE EROTIC ART

The tradition of erotic painting in the Ming and Qing Dynasties (1664-1911) also develop between two cases: the delicacy of images where presence becomes more subtle and others more explicit that do not hide what the text describes.

In the Chinese language in a generic way images related to the ceremony, rite or interpretation beyond sexuality and procreation, are called spring images (Chung hua 春 画) or images of the Spring Palace (Chungong 春宫 画 hua).

The tradition of these representations artifacts dating back to the Han Dynasty (206 BC-280 AD), if we take as reference the representations of sexual practices as well as scenes alluding to decorate the walls of the funerary enclosures.

The erotic paintings that are made from and to the court in successive dynasties, in a special way in the Tang (618-907) and Song (960-1279), they strengthen the representation of the erotic with new keys in each period are valued and judged with a different fortune.

During the Ming Dynasty (1368-1644) are seeing significant development of the erotic image in different ways and were recorded on paper in album format, as well as decorative objects in porcelain, lacquer and textile.

During the eighteenth and nineteenth different illustrated editions were made either with text or, as in this case, without him. In this type of work is common anonymity because the erotic paintings do not include the signatures of the authors although preference is known artists in this genre relevant and of course collecting from the learned class and the Imperial House.

The cultural elements that recreate the erotic rite albums Ming and Qing dynasties, manifest in the spaces and objects that comprise them. The interior and exterior intersect in the privacy of the game and action. 

The use of such erotic images has some doubts. The literature related to benign want them instruction to young girls before their marriage and sexual behavior manuals, but literature itself tells us more pleasurable purposes.

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