Description

Spring Palace paintings, a euphemism for Chinese erotic paintings, are rooted in antiquity and developed concurrently with the rise of rich mercantile cities in Southern China from the 10th century and reached their apex in the late Ming dynasty (early 17th century). In the conservative Confucian society, the topic of sex was strictly taboo and these paintings served as an outlet and a source of escapism and were only viewed in private. These paintings were also used as a tool for sexual education.

In general, Chinese erotic art can be found on inlaid boxes, sculpted as porcelain figurines or even on the soles of ceramic shoes, but paintings were the preferred medium. Such paintings were especially graphic and detailed, and their content extremely explicit. The paintings depicted an extensive range of lovemaking positions between men and women. There were paintings depicting male-male trysts, and female-female trysts to a lesser degree.

Beyond the titillating, these paintings were also a source of aesthetics pleasure. As there are no words, the scenes are layered in order to convey the message. The detailed landscapes and settings, facial expressions of the lovers and even the folds of their robes add to the sensuality of the scenes. Symbols are also commonly used. For instance, the plum blossom means purity and a gnarled tree-trunk signifies health and longevity.

These paintings were layered in ideals of feminine beauty. They were narratives on imperial and everyday life and portrayed themes of humor, tenderness and love. After 1910, Chinese erotic art in general was suppressed by modern Confucius followers, Western missionaries and the communist state resulting in the destruction of many pieces, making it difficult to find authentic examples today. Spring Palace 春宫 was launched in 2014.