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Lehnert & Landrock: Rudolf Franz Lehnert (Czech) and Ernst Heinrich Landrock (German) had a photographic company based in Tunis, Cairo and Leipzig before World War II. They specialised in somewhat risque Orientalist images of young Arab and Bedouin women, often dancers.
Foot binding (pinyin: chanzu, literally 'bound feet') was a custom practiced on young girls and women for approximately one thousand years in China, beginning in the 10th century and ending in the first half of 20th century. There is little evidence for the custom prior to the court of the Southern Tang dynasty in Nanjing, which celebrated the fame of its dancing girls, renowned for their tiny feet and beautiful bow shoes.<br/><br/> What is clear is that foot binding was first practised among the elite and only in the wealthiest parts of China, which suggests that binding the feet of well-born girls represented their freedom from manual labor and, at the same time, the ability of their husbands to afford wives who did not need to work, who existed solely to serve their men and direct household servants while performing no labor themselves. Bound feet were considered intensely erotic in traditional Chinese culture. Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet.<br/><br/> Some men preferred never to see a woman's bound feet, so they were always concealed within tiny 'lotus shoes' and wrappings. Feng Xun is recorded as stating, 'If you remove the shoes and bindings, the aesthetic feeling will be destroyed forever' - an indication that men understood that the symbolic erotic fantasy of bound feet did not correspond to its unpleasant physical reality, which was therefore to be kept hidden. For men, the primary erotic effect was a function of the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound.
Japan: 'A Man Reclines with one Wakashu and Converses with Another'. Ukiyo-e 'nanshoku' woodblock print by Hishikawa Moronobu (1618-1694), c. 1680.<br/><br/> Shunga is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex. The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life.
The Polish–Soviet War (February 1919 – March 1921) was an armed conflict that pitted Soviet Russia and Soviet Ukraine against the Second Polish Republic and the Ukrainian People's Republic over the control of an area equivalent to today's Ukraine and parts of modern-day Belarus. At some points the war also threatened Poland's existence as an independent state. It followed on from the Soviet westward offensive of 1918–19.<br/><br/> A formal peace treaty, the Peace of Riga, was signed on 18 March 1921, dividing the disputed territories between Poland and Soviet Russia. The war largely determined the Soviet–Polish border for the period between the World Wars. Much of the territory ceded to Poland in the Treaty of Riga became part of the Soviet Union after World War II, when Poland's eastern borders were redefined by the Allies in close accordance with the British-drawn Curzon Line of 1920.
The earliest description of the use of opium as a recreational drug in China comes from Xu Boling, who wrote in 1483 that opium was ‘mainly used to aid masculinity, strengthen sperm and regain vigor’, and that it ‘enhances the art of alchemists, sex and court ladies’. He described an expedition sent by the Chenghua Emperor in 1483 to procure opium for a price ‘equal to that of gold’ in Hainan, Fujian, Zhejiang, Sichuan and Shaanxi where it is close to Xiyu. A century later, Li Shizhen listed standard medical uses of opium in his renowned Compendium of Materia Medica (1578), but also wrote that ‘lay people use it for the art of sex’, in particular the ability to ‘arrest seminal emission’. This association of opium with sex continued in China until the twentieth century. Opium smoking began as a privilege of the elite and remained a great luxury into the early 19th century, but by 1861, Wang Tao wrote that opium was used by rich peasants, and that even a small village without a rice store would have a shop where opium was sold.
Lehnert & Landrock: Rudolf Franz Lehnert (Czech) and Ernst Heinrich Landrock (German) had a photographic company based in Tunis, Cairo and Leipzig before World War II. They specialised in somewhat risque Orientalist images of young Arab and Bedouin women, often dancers.
Lehnert & Landrock: Rudolf Franz Lehnert (Czech) and Ernst Heinrich Landrock (German) had a photographic company based in Tunis, Cairo and Leipzig before World War II. They specialised in somewhat risque Orientalist images of young Arab and Bedouin women, often dancers.
An untitled cover from 'Shanghai Manhua' (Shanghai Sketch) shows a naked young woman in flames surrounded by demons about to devour her. Later social critics have interpreted this as a portrayal of Old Shanghai as an urban dystopia.<br/><br/> The pictorial 'Shanghai Manhua' (Shanghai Sketch), published between April 21, 1928 and June 7, 1930, was a mixture of drawings, photographs and images ranging from advertisements to social criticism and political caricatures.<br/><br/> Shanghai Manhua was an outlet for professional cartoonists and sketch masters, generally of an avant garde or progressive nature. Many of the images printed in 'Shanghai Manhua' are observations of urban life in contemporaneous Shanghai, as well as often critical comment on the social mores of the time.
Lehnert & Landrock: Rudolf Franz Lehnert (Czech) and Ernst Heinrich Landrock (German) had a photographic company based in Tunis, Cairo and Leipzig before World War II. They specialised in somewhat risque Orientalist images of young Arab and Bedouin women, often dancers.
France: 'The Slave Market'. Oil on canvas painting by Jean-Léon Gérôme, 1866.<br/><br/> Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period.
The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).<br/><br/> Historically, they spoke the Ainu language and related varieties and lived in Hokkaidō, the Kuril Islands, and much of Sakhalin. Most of those who identify themselves as Ainu still live in this same region, though the exact number of living Ainu is unknown. This is due to confusion over mixed heritages and to ethnic issues in Japan resulting in those with Ainu backgrounds hiding their identities.<br/><br/> In Japan, because of intermarriage over many years with Japanese, the concept of a pure Ainu ethnic group is no longer feasible. Official estimates of the population are of around 25,000, while the unofficial number is upward of 200,000 people.
Chinese erotic art was a tradition that spanned from antiquity until its apex in the late Ming Dynasty (early 17th century). This art was not just produced for stimulation. Chinese erotica portrays ideals of feminine beauty, narratives on imperial and vernacular life, humour, tenderness and love. However, traditional Chinese erotic art remains a little known tradition because so much of it was destroyed during the Maoist era.<br/><br/> Foot binding (pinyin: <i>chanzu</i>, literally 'bound feet') was a custom practiced on young girls and women for approximately one thousand years in China, beginning in the 10th century and ending in the first half of 20th century.<br/><br/> Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet. For men, the primary erotic effect was a function of the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound.
France: 'Phryne before the Areopagus'. Oil on canvas painting by French artist Jean-Léon Gérôme (11 May 1824 - 10 January 1904) from 1861. The painting depicts the legendary Greek courtesan Phryne, as she is put on trial for impiety. She is acquitted after her defender Hypereides removed her robe to expose her nude form, 'to excite the pity of her judges by the sight of her beauty'.