Feng Shui practitioners rely on directional energy to plan a space, and the Luopan is their compass. Authentic Chinese luopans are beautifully crafted devices, tuned to produce accurate readings within complex scenarios. Dating back 2,000 years to the birth of Taoist Feng Shui, the luopan contains rings of information, each concentric circle relating to different heavenly and earthly energies. At the center of the luopan is a direction finder-the “Heaven’s Pool”-fitted with a magnetized needle that points south.

Luopans come in a variety of sizes, and scale generally increases with complexity. The traditional luopan is composed of two interconnected, rotating dials: a heaven plate (usually made of metal) and an earth plate (often composed of wood). The luopan allegorically embodies the union of heaven and earth; its name translates into “a plate (pan) that holds everything (luo).”

Unlike a normal compass, the luopan is divided into 24 directional lines that radiate outward from its center. These represent the “24 mountains,” a series of directions that correspond to yin or yang elements. A Feng Shui expert uses these 24 directions to determine the facing and siting of a building, ultimately mapping that building’s “birth chart.”

Each degree of the compass gives a reading that allows the Feng Shui practitioner to pinpoint what is right or wrong with a certain area. The practitioner reads the geomantic calculations-contained within the rings of the luopan-and uses this information to derive a solution to the problem. Comparing the luopan’s calculations with other factors, such as the homeowner’s birth chart, the Feng Shui expert recommends ways to promote a room’s inherent good qualities and minimize the harmful features of a space.

Luopans of high quality are rare objects. Contemporary versions often fuse the heaven and earth plates, undermining the luopan’s ability to accurately read a space. Well-crafted luopans, with rotating parts made from traditional materials, are highly valued among Feng Shui experts and lovers of Chinese objects.

The language of symbols pervades Chinese writing, painting, and thought. There are two levels of communication in China: the practical function of speech and writing, and the symbolic meaning that hides just beneath the surface. Chinese symbolism adds depth to seemingly ordinary objects.

Wordplay and Symbolism
Symbolism is an essential part of Chinese culture, contained within fundamental methods of communication, such as speech patterns. Chinese languages are tonal, resulting in a fondness for puns and wordplay. In Mandarin Chinese, four distinct variations in tone are used to distinguish words from one another. For instance, “fu” can represent either good fortune or a winged bat, depending on the intonation used. For this reason, bats and their depiction are considered good luck.

Pictographic Symbolism
The written word in Chinese is also symbolic. Objects and ideas are symbolized by graphic characters rather than phonetic letters. Pictographic symbolism extends to Chinese art as well. A painting of bamboo and a plum tree, for instance, represents a man and his wife. Landscapes often contain mountains (symbols of longevity) and water (representing the sea of happiness). The union of male stone and female sea also refers to the harmony of yin and yang. Objects in Chinese paintings are almost always more than meets the eye.

Animals
Animals appear in abundance throughout Chinese culture, in drawings, on clothing, in statues, and in furniture carvings. They are harbingers of good luck, wealth, and happiness. Many Western animal associations are reversed in Chinese mythology. Bats-feared in the West-are symbolic of good fortune in China, while butterflies-representative of new life in Western folklore-have the same phonetic root as the word for a seventy-year-old man and are, therefore, associated with the wish to live to an old age. Animals can have male or female associations. Bears and dragons are male symbols of strength and vigor, while snakes are associated with seductive female beauty.

Colors
Often colors are symbolic and, like many Chinese symbols, take on different meanings in different contexts. Blue flowers, for instance, are unlucky when worn in the hair, yet blue clouds represent scholarly pursuit. Red and green are the colors of life. Redwhile green is the color of family and fertility. White symbolizes old age, wisdom, and purity. Its opposite, black, is often associated with honor and death. Yellow, symbolic of earth elements, is a lucky color representing progress and fame. Purple is an imperial color, symbolic of the Emperor and the heavens.

Five Elements
In Chinese philosophy, the five elements represent states of being that balance one another. Each element is associated with a direction and a color: water is northern and black, fire is southern and red, wood is eastern and blue, metal is western and white, and earth is the yellow center. Fire ascends, while water descends. Earth encases seeds, while wood grows towards the heavens. Fire burns wood and bends metal, while water overcomes fire and wears away earth. Together, the five elements create harmony in the natural world.

Flowers and Plants
Flowers are associated with beautiful women and seasonal changes, and each variation has its own hidden power. Spring flowers include magnolias and peonies, both symbols of wealth. The lotus is the flower of summer’s purity; the chrysanthemum represents the longevity of autumn. Bamboo is a winter plant, symbolic of long life and peace. Plants are central to the art of Chinese garden design. Symbolic of vitality and longevity, evergreen plants are the stalwarts of the garden, while spring and summer blooms represent renewal.

Household Objects
The items that make up daily life acquire deep meaning as symbols of the home and family. Vases, for instance, carry special significance. The word for vase is pronounced, “ping,” a homonym with the Chinese concept of peace. Objects such as writing brushes and inkstones are associated with scholars, while horn cups (symbolic of health and happiness) and branching coral (representative of wealth and status) are among the eight precious objects of the Buddha. Bowls, shaped like the Buddha’s round stomach, are also associated with enlightenment.

Numbers
Chinese mysticism is grounded in numerical systems: the twelve months of the year, the five elements, and the eight emblems of Buddhism, for example. Numerical systems are subject to change-numerology varies from person to person. Odd numbers are seen as masculine, while even numbers are considered feminine. The most auspicious numbers are generally one (symbolic of the undivided whole), two (representing balanced pairs), three (associated with the religious trinities of Confucianism, Taoism, and Buddhism), eight (phonetically connected with the word for prosperity), and twelve (symbolic of the lunar calendar). Four is usually considered unlucky, as it a homonym with the word for death, although four can also symbolize the four seasons, the four journeys of Siddhartha, or the four cardinal virtues of Confucianism.

Mei Ping Vase:  Admirers say the “mei ping (梅 瓶)” vase, which translates to ‘plum vase’ (pictured far left) embodies ideal feminine features–large “bosom” and narrow waist.  It is a shape often found in Cizhou stoneware, the common ware of Northern China, named after the kiln-site town of Cizhou.  Others note the vessel’s pursed lip and delicate neck which dramatically opens to a broad shoulder and gradually tapers to a narrow foot.  It is believed that the narrow mouth was intended to hold a single plum blossom branch, thus showcasing the subtle elegant beauty of nature.  Hence the wonderful play of words, with mei (美) also meaning ‘beautiful’. 

A pair of jade glazed Mei Ping vases with lids

Bottle Vase:  The bottle vase (pictured below) is purely a ceramic form, however, scholars believe ceramists were likely imitating similar silhouettes from ancient bronze vessels.  It’s bulbous belly that barely tapers to the foot balances it’s dramatically long neck. Hard and soft, slender and round, the bottle vase embodies the spirit of yin and yang, harmoniously matching opposite aesthetics in one silhouette.     

Pair of miniature 19th century Satsuma bottle vases, 10" tall

An early 19th century Chinese Sang-de-Boeuf elongated bottle vase

A petite Chinese ginger jar with painted crane from the 1920's

A 19th century Chinese blue and white ginger jar with swirling dragons and lotus

An early 20th century Chinese baluster jar with peonies and cranes

Double Gourd: China’s decorative arts borrowed inspiration from the natural world. The double gourd vessel (example below) demonstrates the integration of nature, function and technical agility. As the technical knowledge of ceramics improved amongst Chinese potters, the shapes and sizes of pieces became more elaborate, thus sophisticated shapes such as the double gourd emerged. The tight tubular mouth and neck juxtaposed against the graceful curves of the double gourd highlight how effortless and fluid the vessel appears to be crafted.

A 19th century Chinese double gourd vase with famille rose decoration

Fish Pond / Dragon Urn:  The fish pond is named so due to it’s large size– enabling an indoor or outdoor fish pool, a creative alternative to the modern aquarium.  Such large works demonstrate tremendous technical ability.  It is likely that their shear size contributed to the traditional name ‘dragon urn.’  These urns are either rendered with straight sides and a squared lip or slightly rounded sides with a large rounded lip.  The ornamentation is alive with movement. Our examples show a dragon chasing a flaming pearl, and butterflies flitting through a melon patch.  Naturally, the viewer’s eye follows the urns’ turns and form, reinforcing the imagery.  Dragon urns are a wonderful example of form and function.

An early 20th century blue and white dragon urn with two dragons chasing a pearl

A 19th century Chinese fish pond with unusual melon and butterfly motif

Phoenix Tail Vase:  Another feminine shape is the phoenix tail vase (below), with it’s delicate hourglass form.  One might see a narrow waist and wide hips in between it’s flared mouth and petite foot.  This shape was first produced with celadon ware in the Yuan dynasty.  As time went on, and it became more common, it could also be found in a variety of colors.  The exaggerated mouth and belly require perfect proportions in order for the piece to maintain its balance, both functionally and aesthetically. Although significantly smaller than the dragon urns previously mentioned, the creation of the dramatic form of the phoenix tail vase demonstrates a potter’s skill.

A blue and white phoenix tail vase with peacocks

Yi Tong Bottle: ‘Yi Tong’ means ‘being straight’ in Chinese due to the straight body of the ceramic.  It is also a pun on ‘unification,’ implying a kingdom unified. Unlike the curvaceous sensual shapes previously mentioned, the Yi Tong is a clean, cylindrical silhouette. Our example is adorned with figures in a scene from court life.  Like a simple floral design emphasizes form, the narrative of a figure painting requires the viewer to engage with the piece, circumambulating it in order to take in the entire scene.

A 19th century yi tong bottle with figures in a scene from court life

Pair of 19th century Chinese yi tong bottles with gilt and painted vases with peonies and incense burners

Chinese ceramics remain the admiration as well as the despair of the modern potter.  They are the classic expression of ceramic art, achieving an unsurpassed integration of shape, glaze and decoration.  The shapes, many rooted in the style of the Song dynasty (960-1279), appear to be extremely simple, with wonderfully fluid design, making it hard to know where the neck commences, the body leaves off, or the foot begins.  Since a textural history tracking the evolution of a ceramic silhouette is not always available, collectors and curators alike prioritize visual observations of shape as the dominant aesthetic element.  Tall, short, curvaceous or slender, Chinese ceramics highlight that beauty comes in all shapes and sizes.

Collection of 18th and 19th century hardwood brush pots and calligraphy brushes

The Evolving Role of the Scholar Reflected in his Instruments

Whether poet, painter, calligrapher or writer, Chinese artists are often historically referred to as scholars and enjoyed varied status in Chinese society depending on the culture and politics of the time.  The craftsmanship of scholarly instruments was a reflection of the ever-changing position of the scholar in Chinese society.  Prior to the Yuan dynasty (1279), to be a scholar meant passing a series of exams in order to demonstrate mastery of calligraphy, poetry and ancients texts. It was a government position and many works were commissioned by the court.  The Mongol occupation of the Yuan dynasty forced scholars to choose between working for a foreign ruler or reclusion.  Many historians argue that the Yuan period forever altered the perception of the scholar.   Their forced reclusion elevated their position beyond title or tests. They were a singular creative force, preserving ancient traditions while expressing the incredible solitude of this time. The Ming dynasty (1368-1644) brought wealth and again another evolution of the scholarly life.  Under some Ming emperors, scholars enjoyed support by the imperial court.  However, some emperors suspended acquisitions for the imperial collection, spurring private collections and an active art market.

The tools of the scholar reflect these many changes; from simple travel-friendly tools of the hermetic scholar to jade-embellished opulent instruments of the Ming dynasty.  As the decorative elements of the tools changed, the tools themselves remained constant: an ink slab, a large wooden pot to hold brushes, scholars’ rocks, and libation cups to name a few.   Although these tools have been in use for hundreds of years, they still inspire and aid the creative process for artists today.

Calligraphy Brushes and Brush Pots

Calligraphy brushes take many forms, but the right brush with the right artist can produce brushstrokes with dimensionality and deep emotion.  The better quality the brush, the better the calligrapher is able to maneuver. The brush moves from left to right, up to down, it bends and spreads wide as more downward pressure is applied. Brushes have two or more layers; an inner core of shorter hairs and an outer layer of longer hairs that make the tip of the brush.  Brush pots can be made from a variety of woods, such as burl wood, bamboo, boxwood, and even prized hardwoods. They can be made to follow their natural form, highlighting the natural beauty of the wood, or they can be intricately carved.

A 19th century burlwood brush pot, reflecting the appreciation for the spontaneity of nature during the Ming and Qing Dynasties

Ink Stone

Ink was purchased and transported in the form of a solid ink stick.  The ink stone provided a flat surface to grind the ink stick into liquid.  Early ink stones were made out of pottery, but by the 7^th century natural stones were introduced.  Like brushes and brush pots, ink stones come in a variety of shapes and sizes–highlighting that every element of the creative process was both functional and a source of inspiration.

Two ink stones; one is peach-shaped (a symbol of longevity) and the other is carved with a Phoenix in a bamboo forest

An 18th century green agate ink stone with peach-shaped water well.

Scholar Rocks

Scholar rocks started as inspirational tools.  Similar to their larger counterparts, the garden scholar’s rock, these strangely shaped stones with jagged interlocking crags and ravines conjure images of remote mountain grottos of ancient sages and monumental cliffs of the immortals.  The scholar rock could be placed on a desk or travel with the artist to inspire the painting of mountain scenes. Although scholars originally collected these rocks to inspire the creation of mountain motifs, they eventually were collected for their natural beauty. Beyond their unique form, some rocks have patterns of fantastic deep greens, icy grays and desert reds, such as the Dahua Red River Stones. Some popular stones, such as the Peony and Chrysanthemum stones have natural incredible bursts of white, resembling flowers.  In each case, these rocks transport the viewer to another place wherever that may be.

Collection of Scholars' Rocks, or meditation stones, in a garden for creative inspiration

This 19th century red Taihu (Lake Tai) Scholars' Rock on a hand-carved rosewood stand would have been placed in a Scholars' studio to inspire creativity.

Taihu stones are cherished by the Chinese because of their resemblance to the unique mountains of Guilin. This collection has been "planted" in a private garden in Chicago.

A late 18th century Scholars' Rock named, "Ox on a Mountain". Scholars' Rocks were often named after the creatures they mimic.

Libation Cups

Libation cups could be considered more of an interesting companion to the scholar than a tool. These drinking vessels traveled with the artist to the many social gatherings held by fellow scholars.   Paintings and calligraphic works were frequently created at such social gatherings.  Artists observed each other’s work, sometimes recording the night’s events on scrolls.  Drinking was another component of such parties. Even today it can be difficult for art historians to reconcile a subtle change of the hand in a painting or inscription, often pointing to an intoxicated artist as a possible alternative to forgery when faced with inconsistencies.  Like brush pots, libation cups are made in a variety of sizes and woods.  Some maintain the natural contours of the wood, others enjoy skillful carvings. They are extraordinary objects, situated as both drinking vessels and witnesses to the creative process.

18th and 19th century lacquered and burled libation cups with brass hardware

An 18th century scholar's libation cup carved with Shou Hsing, the god of longevity, in a garden with attendants mounted on custom stand.

Detail of Palace Park, a set of eight Yaji hanging scrolls

Detail with scholars practicing calligraphy

Detail with attendants floating cups of wine on lily pads

Detail with scholars admiring and critiquing painted scrolls

Why blue and white?

Cobalt oxide, found in various regions of China as well as in many parts of the world, is used to create the designs that adorn blue and white pottery.   Cobalt is naturally black but when it is covered with a transparent glaze and fired, cobalt becomes blue.   Depending on where it is found, cobalt’s composition can vary;   hence the different shades of blue found on various pieces of pottery.

 Is all blue and white pottery Chinese?

The use of the blue color can be traced to pottery decoration in Iraq during the 10^th century.  The technology then spread via trade on the Silk Road to China, where decorating porcelain with blue designs was refined during the Ming dynasty (1368-1644).   

 Very little was known about porcelain in Europe prior to 1600.   In 1604, a Dutch ship captured a Portuguese merchant vessel returning from a voyage to China. On board were approximately a hundred thousand pieces of hand-painted blue and white porcelain. These porcelains were auctioned off in Amsterdam igniting the West’s fascination for Blue and White.  The Chinese then began exporting wares around the world which inspired the Dutch to initiate their own style (Delft ware).  When Spanish ships brought Chinese export wares to Mexico, a unique variation of the craft, (Talavera ware) was born.

 How do Imperial pieces differ from other examples?

There are several methods of deduction used to determine if an object was produced in an Imperial kiln or by a provincial kiln: technical standards, marks and inscriptions, and motifs.

 Imperial porcelains were made by mandate at kilns established by an Emperor or produced by other kilns that adhered to imperial production specifications. All imperial porcelains had to meet a list of production and artistic requirements to be included in the Emperor’s collection or to be offered as gifts from the Emperor to foreign guests. Most kilns would inscribe or stamp the bottom of a piece of pottery with the kiln name, as opposed to the signature of an individual artist. A kiln name would indicate location and the type of wares produced there during which imperial reign.

Many types of porcelain never made it to the Emperor’s table. Named ‘provincial,’ this pottery included vessels made for general consumption as well as objects made for imperial use, but rejected based on technique or motif. Pottery produced for general consumption may have been fired at lower temperatures, resulting in a glaze with a matte finish. Often, the decorations on these provincial pieces are more freehanded and, as such, have become appreciated as Chinese folk art. 

 Why do some blue and whites have Arabic patterns on them?

Chinese pottery is often decorated with Arabic script or floral motifs native to Iran. This can be traced back to the Mongolian invasion of China during the Yuan Dynasty (1279-1368), a time when social hierarchies were changed and Chinese scholar-officials were given low rank. At the time, foreigners living in China became particularly involved in the supervision of traditional crafts, roles previously claimed exclusively by Chinese people.   The Muslims played an influential role in the construction and supervision of Chinese porcelain kilns.   With this influence, Islamic tastes, techniques and materials were introduced and culturally transmitted via pottery.

 Why dragons?Dragons are often rendered on blue and white pottery among flowers, clouds, waves, lotus ponds, or chasing and/or fighting over a flaming pearl. The setting in which the dragon is situated and how the dragon itself is presented is not only decorative, but also a deliberate choice to represent a specific dynastic tradition. For example, a dragon in waves, facing forward, with its gaze on the viewer indicates the Qianlong reign.

Is blue and white pottery being produced today?

The old imperial kilns at Jingdezhen in Jiangxi province are still busy with traditional porcelain production.  Additionally, there has been resurgence in the production of blue and white porcelain among contemporary Chinese artists.  Taikkun Li is one artist working in traditional porcelain practices, combining them with a modern twist.  His work reflects the changing social and political ideas of contemporary China. 

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To view a selection of Chinese blue and white pottery from Pagoda Red’s collection, click here

Right now, all over the world and especially Asia, people are celebrating the arrival of the year of the Tiger. In addition to having enjoyed a delicious Chinese banquet, we hung a folk portrait titled “Two Tigers” front and center in our Bucktown gallery to mark the start of the new year. The painting of two tigers in conflict is an exquisite example of Eastern painting traditions from the late 18th and early 19th centuries. Minimal use of color and shading, cropped composition, and ‘bird’s-eye’ view are all elements that were uniquely Asian and not utilized in Western painting at that time.

“Two Tigers” was created in Korea during the late 18th c. when Europe was primarily producing historical paintings, which were highly representational, containing one focal point. That primary figure was engaged with the viewer, as if only created to be observed, as opposed to having been captured in a moment, almost accidentally. The Western perspective was distanced from the focal figure and depth was created by shading. The primary object was situated in a fully developed scene that gave the image a context, narrative, and visual interest. For example, if the figure was a reclining woman, she would be in a room with furniture, drapery, and perhaps attendants.

Nearly everything is different about the Korean folk painting “Two Tigers”. First, the tigers are two-dimensional, with only minor attempts to achieve an image of what is actually seen in nature. The curved lines on the tigers’ backs outline the muscles and movement of the animals, which are also repeated in the gnarled branch in the background. However, the blades of grass, the fanned leaves, and even the tigers themselves produce a flat image due to the lack of shading and color variation. In Eastern techniques of the time, depth was created by layering rather than shading. The tigers are in front of the trees so we know they are closer to us. The tiger on the left has one leg positioned in front of the boar, informing us of his dominant position, protecting his kill. The Eastern tradition of layering instead of shading is very purposeful and not utilized due to lack of skill. In Asia, shading was believed to be a means of hiding mistakes. In the Asian tradition, painters left mistakes along with their triumphs on the canvas. The tigers are executed within a cropped frame, barely contained within the borders of the frame, without much story around them. We look down on the scene from above, another reoccurring perspective in Eastern painting of the time.

“Two Tigers” is a great example of late 18th and early 19th century Eastern folk paintings. This type of painting would rarely have been created in Asia during the late 19th century when this aesthetic lost favor amongst many painters who ‘modernized’ and adopted Western techniques.

“Two Tigers”

Korea
Late 18th century
Pigment in Plaster on Board
43″ w x 33″ high
$5880

In China, September is welcomed with “Chrysanthemum Day,” a celebration of autumn. The chrysanthemum is an auspicious flower, also referred to as one of the “Four Gentlemen of China” along with the plum blossom for spring, the orchid for summer and the bamboo plant for winter. Chrysanthemum, pronounced “ju” in Chinese, is phonetically similar to the word “jiu,” which can mean either “long time” or the number “nine”. And so, chrysanthemums are honored on September 9^th (9/9), considered to be one of the luckiest days of the year. Moreover, since the word nine is homophonous with the word for “long time,” Chrysanthemum Day is also a day for honoring elders.

According to one legend, Fei Ch’ang-Fang, the legendary clairvoyant of the Han dynasty, advised a follower to take his entire family far from their home to a distant hill on the 9^th day of the 9^th month to avoid hardship. He told each family member to carry a red bag with a spray of dogwood inside. Each person was told to wear the dogwood while climbing the hill and then to drink chrysanthemum wine at the top. Upon retuning to their home, they realized the trip was a lucky excursion, averting them from great tragedy. Therefore, on September 9^th, climbing hills, wearing dogwood sprays and drinking chrysanthemum wine have become traditional activities believed to invoke good luck and the avoidance of misfortune. The date continues to be celebrated today by visiting gardens, creating paintings and poetry about flowers, drinking chrysanthemum wine and eating rice cakes.

More than 3,000 varieties of chrysanthemums bloom in China today. Cultivated over hundreds of years, many of the earliest varieties are documented in the Chrysanthemum Book of the Song Dynasty (960-1279). The flower itself has proven medicinal properties, and chrysanthemum tea is used to treat a variety of ailments. The tea is prepared with dried chrysanthemum blossoms steeped in hot water and mixed with sugar or wolfberries.

Chrysanthemum stones are found in China’s Hunan Province. They are dark gray limestone specimens of volcanic origin embedded with celestite crystals that look like Chrysanthemums, the official symbol of the Imperial Family of China. The availability of these stones will soon be limited because areas where they are mined will be flooded with water released by the Hunan Dam. Some reports indicate that this will occur as soon as this year. Chrysanthemum stones possess deep symbolic meaning and are truly collectors’ items. Some believe that having a Chrysanthemum stone helps one experience the passage of life in the same way the petals of a flower unfold: a process in which the occurrence of change is not perceived as unsettling or disruptive; instead, it is embraced as fluid and harmonious.

There was once a boy named Shen. But he was no ordinary boy. Shen was blessed with extraordinary talent. When he dipped his brush in paint and stroked the color on a surface, his paintings came to life.

One day, Shen heard the sweet chirping of crickets. It made him want to paint a cricket. So he dipped his brush and began painting on the road.

A herald from the Imperial palace happened to be walking along. “Stop!” he cried, “you are defacing the property of the Empress of China!” The man looked down and saw Shen’s cricket. Suddenly, the cricket came to life and jumped up.

“I can’t believe it!” the man said. “It’s magic!” He brought Shen to the Imperial palace to meet the Empress.

The Empress looked at Shen and said, “I am very unhappy. My palace is dreary. And I am weary. Paint me something extraordinary to make me happy.”

Shen thought for a moment and then bent down. He dipped his brush and painted something extraordinary. When Shen was finished, he picked it up. It was a colorful, ripe peach.

The Empress cried, “A peach! You paint me an ordinary peach?! You should be punished!” She ordered him to the dungeon and took away his brush.

The Empress said, ”It must be his brush that contains the magic–Paint me a golden throne!” The herald picked up the brush and began painting but nothing happened. Many tried but no one could get the brush to work.

Frustrated, the herald threw the brush into the dungeon. Shen was lonely in the dungeon by himself but now he had his brush so he began painting. With every stroke of the brush, he felt better.

Shen painted rolling hills, tall bamboo, a beautiful panda, and a majestic stallion. The walls shimmered with beauty and then came to life. The horse looked at Shen and whinnied.

“Yes,” said Shen, “I would like to go home.” He climbed upon the horse’s back. The Empress heard the sound of the horse and ordered the dungeon door opened. Everyone was surprised to see Shen galloping away.

The royal herald and the Empress’ guards jumped on their horses and chased after Shen. Shen painted a large waterfall but they passed right through it. Shen then painted a grove of bamboo trees but they stampeded through it.

Finally, Shen painted a valley behind him. The royal herald and the Imperial guards saw too late. Down they fell!

The Empress followed too but on foot. She became lost forever in Shen’s elaborate landscape. As for Shen, he returned home to his family. He never once painted for gain. Shen only painted things that made the world more beautiful.

Erotic Chinese art in letters and pictures was a tradition that spanned from antiquity until its apex in the Late Ming Dynasty (early 17^th Century). This art was not just produced for stimulation. Chinese erotica was layered in ideals of feminine beauty, narratives on imperial and vernacular life and most importantly, humor, tenderness and love. However, after the last dynasty and between the two republics (1912 and 1949), Chinese sexual art was suppressed by modern Confucius followers and Western missionaries resulting in the destruction of many pieces. Today it is very rare to find authentic Chinese erotica.

 
Why is Chinese erotic art called spring palace painting?

The word ‘Spring’ refers to the archaic springtime rituals during which girls and boys separated by a brook sang love-songs to each other. Later, when love-making became part of refined imperial court culture, the word ‘palace’ was added as an allusion to the emperor’s residence. Erotic fiction in China spun tales of the misbehavior of rulers and their consorts. Fervid imaginings of what happened behind the walls of the Forbidden City and the pleasures one might enjoy if in the possession of absolute power were irresistible to novelists, painters and the audiences for whom they were created.  Erotic art developed concurrently with the rise of the rich mercantile cities of southern China from the 10th century on. 

 
What is a Pillowbook?

In China, the long tradition of erotic literature, or pillowbooks, ranges from poetry and novels to instructional manuals. Like spring palace paintings, erotic poetry typically embodied attributes of humor and flirtation. However, novels often blurred the line between fiction and non-fiction, integrating a mixture of historical figures, and narratives that are themselves factually questionable. The ambiguity of what is real and what is not, is due to the fact that sex attracted its share of bad writers and poor artists, as well as the inconceivable idea that tales of imperial sexual escapades could ever leave the palace walls.

 
What are the Mediums and Motifs of Chinese Erotic Art?

Chinese erotic art can be found on inlaid boxes, porcelain figurines, silk or rice paper paintings, and even on the soles of ceramic shoes. However, the album (a series of paintings loosely bound in book form) was the preferred form of erotic art. album is not unified by a narrative, and the participants in the scenes do not reappear from leaf to leaf. Also found in albums are non-erotic or subtly erotic leaves that serve to contextualize the sexual acts depicted.

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 To view a selection of Chinese erotica from Pagoda Red’s collection, click here