By Robert Hans Van Gulik, James Cahill, Wilt L. Idema, Sören Edgren

In 1949, the sinologist Robert van Gulik bought in a Tokyo curio-shop a suite of printing blocks of a Ming erotic album. years later the album, with an in depth treatise, was once released through van Gulik himself in a 50-copy print run and despatched to a small workforce of sinological libraries, as "the erotic prints and different facts ought to not fall into the arms of unqualified readers". It used to be to be the author's first paintings at the topic, previous his groundbreaking "Sexual lifestyles in historical China". Unqualified readers have now ultimately develop into certified with this legitimate version. James Cahill, Wilt Idema and Soeren Edgren offer readers with introductions to its paintings ancient, literary, biographical and ebook technical content material.

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Additional resources for Erotic Colour Prints of the Ming Period: With an Essay on Chinese Sex Life from the Han to the Ching Dynasty, B.C. 206 - A.D. 1644, Volume One

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The Su-o p’ien, a work of fiction profusely illustrated in the mature Hui-chou style, was published in four volumes on fine, white paper circa 1610. Publication of the Su-o p’ien confirms the existence of an elite market for refined books (a market for crude publications can be assumed) illustrated with explicit erotic prints, such as those contained in (a), (b), and (c). Two editions, (e) and (h), both from the X-collection, Shanghai, are reproduced in cartoon fashion, and their authenticity cannot be confirmed.

397–78. The contacts between Shen Ching and Lü T’ien-ch’eng dated back to at least 1596, see Hsü Shuo-fang, “Wang Chite Lü T’ien-ch’eng nien-p’u,” pp. 264–65. Shen Ching had asked Lü in writing not to print I-hsia-chi as “This does not concern the affairs of an age of peace,” but Lü published the play nevertheless as it had already been printed by someone else and actors loved to perform it. (Wu Shu-yin, Ch’ü-p’in chiao-chu, p. 207–08) Another play by Shen Ching that was printed and published by Lü was Ho-shan (The Joined Shirt).

Mu-tan-t’ing, which had been written for the musical style of T’ang’s Chiang-hsi hometown, was quickly adopted for performance as K’un-ch’ü, the fashionable theater of Soochow. Whether the copy Mei received from Lü Yinch’ang was a revised edition or not is not clear, but in a letter to Ling Meng-ch’u (1580–1644) T’ang would write: “My Mu-tan-t’ing has been extensively revised by Lü Yin-ch’ang, it is said to adapt it to K’un-ch’ü singing. I laughed out loud, and said: ‘Long ago there was someone who faulted a winter scene painted by Wang Wei for containing a banana tree, so he replaced the banana tree with a plum tree.

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