Image:Chinese homoerotic print Hua Ying Chin Chen.jpg
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Chinese_homoerotic_print_Hua_Ying_Chin_Chen.jpg (66KB, MIME type: image/jpeg)
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The two-dimensional work of art depicted in this image is in the public domain worldwide due to the date of death of its author (if it is was published outside of the U.S. and the author has been dead for over 70 years), or due to its date of publication (if it was first made public in the U.S. before 1923). Therefore this photographical reproduction is also in the public domain, at least in the United States (see Bridgeman Art Library v. Corel Corp.), in Germany, and in many other countries.
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The Way of the Academicians
from “Hua Ying Chin Chen” (Variegated Positions of the Flower Battle),
China, Ming dynasty (1368–1644)
The text to the picture reads:
Surrounded by a lingering fragrance, and so handsome as to make the ladies pelt him with fruit till his carriage is full, who is that gentleman of dignified mien? In order to explore the Charm of the Rose he has inveigled his partner into allowing him to try the Flower of the Hindgarden. The other is a little bashful and gently pushes him away, for this is quite a departure from the ordinary! Looking over his shoulder he calls out softly: “Hurry a bit! And please don’t say anything to the others!”*
Signed: The Candidate from the South
- Note: The translator of this text (R.H. Van Gulik, the well known sinologist and author of the Judge Dee mystery novels) strangely introduces feminine pronouns (corrected here) into the description, making the pair appear a male-female couple. That interpretation flies in the face of all the cues to the contrary:
The title: Male love was common, not to say universal, in the exclusively male world of the scholars.
The image: In all Ming period erotic depictions of couples, the women are shown with bound feet, demurely hidden by tiny shoes. Thus the bare foot, dangling for all to see, is the conclusive signifier of the male partner.
The signature: The South was traditionally known as the seat of male love in China.
It is impossible to believe that Van Gulik would have been so naive as not to realize this. The only question is whether he merely kow-towed to mid-twentieth century convention (his book on Ming erotic prints came out in 1951) or whether he chose to misrepresent the image due to personal bias. Or was he a secret sympathizer, carrying on in western style the venerable Chinese tradition of encoding?
