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Man and woman must move according to their cosmic orientation. The man should thrust from above and woman receive from below. Untied in this way, they are called

Heaven and Earth in Even Balance. In his handbook, the master Tung lists a series of playful variations evolving from four basic positions linked to the four seasons: spring, summer, autumn, and winter. He lists and describes a total of thirty love-making positions, which he claims cover the whole range of possibilities. Of these, the following twenty-six playful variations of love-making are beautifully described:

R E E L I NG O F F SILK

The woman lies on her back and embraces the man's neck with her arms, gripping the middle part of his body with both her legs. The man leans over and embraces her, pressing his lower body against the back of her thighs. He gently inserts his Jade Stalk.

T U R N I N G D R A G O N

The woman lies on her back and lifts up her legs. The man kneels between her thighs and with his left hand pushes back her feet until they are above her breasts. With his right hand he inserts his Jade Stalk into her Precious Gate.

Approach to Turning Dragon. From a nineteenth-century Chinese painting.

Variation of Reeling Off Silk. From a Japanese woodblock print by Hishikawa Moronubu (1618-1703).

A couple make love in the privacy of an inner room. The man stands and holds the feet of his partner, who rests upon an ornate bed. Painting on silk, China, early nineteenth century.

Reeling Off Silk. From a Chinese print of the nineteenth century.

Variation of Pair-Eyed Fish. From a Chinese painting of the late sixteenth century.

Pair-Eyed Fish. From a Chinese painting of the late eighteenth century.

Variation of Pair of Swallows. From a Chinese painting of the nineteenth century.

Kingfisher Union. From a Japanese print by Torii Kiyonobu, circa 1703.

Mandarin Ducks. A Chinese painting of the mid-eighteenth century.

P A I R - E Y E D F I S H

The man and woman lie side by side, facing each other. She places one leg on top of his side. Their mouths together, they kiss and suck, languorously. Extending and moving his legs, the man raises his partner's uppermost leg with his hand. Advancing, he inserts the Jade Stalk and rocks her back and forth.

P A I R O F SWALLOWS

The woman lies on her back, extending and spreading her legs. The man squats and moves between her thighs; leaning forward, he embraces her neck and breasts. She embraces him tightly as his Jade Stalk enters her Cinnabar Crevice.

K I N G F I S H E R U N I O N

The woman lies on her back, her legs raised, and holding her ankles from the outside; in this way, she is suitably open. The man kneels or squats between her thighs and embraces her waist with both hands. Advancing forward, he inserts his Jade Stalk carefully through the Strings of her Lyre.

M A N D A R I N D U C K S

The woman lies on her side and bends both legs. She places her own left leg on top of the man's kneeling right thigh. He, partly lying behind her back, puts his own left leg on top of his partner's right calf. Raising her left thigh with movements of his left knee, he inserts his Jade Stalk.

R E V E R S E D FLYING D U C K S

The man lies on his back with his legs extended and spread apart. The woman sits over him, facing his feet and straddling him. Bending her head downward, she grasps his Jade Stalk and inserts it into her Cinnabar Crevice. She flies and moves above him, this way and that.

F L U T T E R I N G A N D S O A R I N G

B U T T E R F L Y

The man lies on his back with both legs spread and extended. The woman squats over him, straddling his thighs and facing him. With her feet resting on the bed, she moves over him, delicately and vigorously, supporting herself with her hands. She plays upon his Positive Peak with her Jade Gate.

L O W - B R A N C H E D P I N E T R E E

The woman lies on her back with her legs crossed and raised. The man embraces her waist, while she holds him around his back and neck. The Jade Stalk is then inserted into her Jade Gate.

Variation of Reversed Flying Ducks. From a Chinese watercolor of the midseventeenth century.

Variation of Low-Branched Pine Tree.

From a Japanese Makimono painting of the seventeenth century.

Reversed Flying Ducks. A Chinese painting of the late eighteenth century.

Fluttering and Soaring Butterfly. From a Chinese painting of the nineteenth century.

Low-Branched Pine Tree. From a Japanese print by Okumura Masanobu, circa 1735.

A noble couple stand and make love in the Taoist posture known as Bamboo near the Altar. Their bodies are supported by servants who also aid their love movements. Watercolor on paper, China, late nineteenth century.

Variation of Bamboo near the Altar. From an engraving in the Chinese novel Su Wo P'ien (The Moon Lady), circa 1610.

B A M B O O N E A R T H E A L T A R

The man and woman stand face to face, embracing and kissing each other. As they draw closer and closer together, he presses his Positive Peak into her Cinnabar Crevice, reaching and submerging into her Inner Terrace.

P H O E N I X H O L D I N G I T S C H I C K E N

This posture is not described in the text, but refers to a particular form of lovemaking between a large fat woman and a small man.

J U M P I N G W I L D H O R S E S

The woman lies on her back. The man lifts her legs and places her feet on his shoulders, left and right. He then inserts his Jade Stalk deep into her Jade Gate and moves her about.

Bamboo near the Altar. From a Japanese Makimono painting of the late seventeenth century.

Phoenix Holding Its Chicken. From a Chinese painting of the late eighteenth century.

Jumping Wild Horses. From a series of Chinese paintings of the late Yuan period. (1280-1367).

T w o D A N C I N G FEMALE P H O E N I X E S

In this posture, a man makes love with two w o m e n simultaneously. O n e woman lies on her back with her legs open and raised. The second woman lies over her, drawing her own legs up and spreading her thighs so both Jade Gates are close to each other. The two women make love together as the man kneels between both their parted thighs and enters the upper and lower Jade Gates in turn.

GALLOPING W I L D H O R S E

The woman lies on her back and lifts her right leg. The man kneels and approaches, lifting her right leg higher, and supporting her neck with his left hand. With his right hand he holds her right foot, moving it this way and that. Together they should generate movements like the galloping of a wild horse across the grasslands.

P A W I N G H O R S E

The woman lies on her back, lifts up her right leg, and places it on the man's left shoulder as he kneels close to her Grotto. Turning her with his upper thigh, he inserts the Jade Stalk deep into her Cinnabar Crevice. The other leg of the woman moves freely, rather like a pawing horse.

Two Dancing Female Phoenixes.

From a Chinese painting of the

Ming dynasty.

Pawing Horse. From a Japanese print, circa 1680.

Humorous depiction of Galloping Wild Horse. From a Mongolian painting of the late eighteenth century.

Galloping Wild Horse. From an eighteenthcentury Chinese painting.