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Soaring Sea Gulls. A Chinese painting of the mid-eighteenth century.

Jumping White Tiger. From a Japanese print by Sugimura Jihei, circa 1680.

S O A R I N G S E A G U L L S

The man approaches the side of the bed on which the woman is lying with her thighs open. He draws her to him, lifts her legs, and inserts his Jade Stalk deep into her Precious Gate. Standing firm and holding her by the legs, he makes her soar up into the heavens.

J U M P I N G W H I T E T I G E R

The woman is on her hands and knees, bending her head downward. The man kneels behind her, embracing her waist with both hands. He inserts his Jade Stalk into her Precious Gateway.

D A R K C I C A D A F I X E D T O A T R E E

The woman lies face downward, with legs extended and open. The man approaches from behind, moves between her thighs and lifts her lower body slightly. He thrusts his Jade Stalk into her Precious Gate and embraces her neck with his hands.

Soaring Sea Gulls. From a Chinese painting of the nineteenth century.

T H E J U N G L E F O W L

The man squats or sits on the bed and his partner stretches her legs wide, facing him. A second woman is in attendance and helps by inserting his Jade Stalk into his partner's Precious Gate, uniting them by bringing their bodies together. Standing or sitting behind, the second woman aids the movements of the first woman, pushing her backward and forward. This brings the greatest of pleasure.

P H O E N I X PLAYING I N T H E

C I N N A B A R C R E V I C E

The woman lies on her back, raising her legs and holding them under her thighs. The man kneels facing her and inserts his Jade Stalk into her Cinnabar Crevice. This love-making position very quickly brings gratification.

M O U N T A I N G O A T F A C I N G A T R E E

The man sits comfortably and has the woman sit on his lap, her legs astride and her back to him. She bends her head and considers how to insert the Jade Stalk into her Treasure House. Reaching down, she effects entry; the man embraces her waist and thrusts upward. Rhythmically they move their bodies this way and that.

Continuation of Jungle Fowl. From a

Chinese print of the Ming dynasty.

Jungle Fowl. From a Japanese scroll of the seventeenth century.

Phoenix Playing in the Cinnabar Crevice. From a Japanese print by Sukenobu, early eighteenth century.

A couple making love in the Taoist posture known as Mountain Goat Facing a Tree. A Shunga print on paper, school of Utamaro, Meiji, Japan, early nineteenth century.

Cat and Mouse Sharing a Hole. From a Chinese painting of the Ch'ien Lung period (1736-1796).

Variation of Cat and Mouse Sharing a Hole. From a Chinese painting of the early nineteenth century.

A couple make love in the Taoist posture known as Shouting Monkey Embracing a Tree. Scroll painting on silk, China, circa late eighteenth century.

C A T A N D M O U S E S H A R I N G A H O L E

The man lies on his back, with legs extended and apart. The woman lies down on him and inserts his Jade Stalk deep within her. A variation is for the man to lie on the woman's back and introduce his Jade Stalk into her Precious Gate from above.

M Y S T I C B I R D S O A R I N G O V E R

T H E O C E A N

The woman lies on her back and the man rests her legs over his upper arms. Leaning over, the man embraces the woman's waist and then inserts his Jade Stalk.

S H O U T I N G M O N K E Y

E M B R A C I N G A T R E E

The man sits with legs outstretched, with the woman riding on his thighs. She embraces him with both hands and he supports her buttocks with one hand and inserts his Jade Stalk with the other. Then, supporting himself on the bed, he moves rhythmically.

Mystic Bird Soaring over the Ocean. From a Japanese anonymous print, circa 1680.

Shouting Monkey Embracing a Tree. From a Chinese painting of the Ming dynasty.

Variation of Shouting Monkey Embracing a Tree. From a Chinese painting of the eighteenth century.

D O N K E Y S I N T H E T H I R D M O O N OF S P R I N G

The woman crouches on hands and knees, or with her legs straight. The man stands behind her and embraces her waist with his hands. Then he inserts his Jade Stalk into her Precious Gateway and moves her body to climax.

H O U N D S O F T H E N I N T H

A U T U M N D A Y

The man and woman face away from each other, both crouching on all fours. Each looking between their legs, they bring their buttocks close together. Lowering his head and reaching under, the man inserts his Jade Stalk into the Jade Gate.

The Taoist master Tung of the Sui dynasty (A.D. 590-618) places great emphasis on the need for absolute harmonization of the couple's mood. He states, "If the man shakes and the woman doesn't respond, or if the woman moves and the man doesn't follow, not only is there injury to the man, but there is also damage to the woman." He goes on to explain that, by correct use of sexual positions, "The man attains an increase of life-force and the woman eliminates all illness. Sex should be leisurely; smoothly inserting and languorously moving, rarely fast and vigorous."

Long ago in the Orient, before her marriage a bride was traditionally given books illustrating love-making positions. There are accounts of these sexual guidebooks in all Oriental cultures. A poem of the later Han dynasty (circa A.D. 25-220) refers directly to the use of illustrated sexual guidebooks:

While the precious girl spends the night You feast and play with her;

Pointing out the pictures of love,

You observe and enact their sequence.

In an erotic novel of the Ming period,

The Way to Holiness through the Flesh, the hero introduces his prudish new wife to the joys of sex. The story tells how he purchased a book of love-postures, which were accompanied by beautifully poetic texts. From reading and viewing them, he managed to introduce her to the Art of Love. Five postures are illustrated, which our hero describes:

Variation of Donkeys in the Third Moon of Spring. From a Chinese painting on silk, K'ang Hsi period (1662-1722).

Hounds of the Ninth Autumn Day. From a Japanese print, circa 1680.

F L U T T E R I N G B U T T E R F L Y

S E A R C H I N G F O R F L O W E R S

T h e w o m a n is shown with parted thighs, seated on a rock by the side of an ornate pool. The man carefully "feels out the lay of the land." Gently her inserts his Proboscis into the depths of her open Flower. Since the lovebattle has only just begun, both have relatively normal expressions on their faces. Their eyes are open.

Donkeys in the Third Moon of Spring. From a Chinese color print of the Ming dynasty.

A couple make love on a low bed. As the man takes the active role, his partner turns on her side to complete a therapeutic love-posture devised to aid the concentration of semen. Album painting on silk, China, late nineteenth century.

Q U E E N B E E M A K N G H O N E Y

The woman lies on her back, with pillows all around and under her delicate body. Her legs are parted and raised, as if hanging in mid-air. Her gentle hands press against his Fruit, guiding him directly to the entrance of her Flower. Her face has an expression of hunger and thirst, while he looks intensely excited.

B I R D F I N D I N G I T S W A Y

T O T H E N E S T

The woman lies slightly to one side, one leg stretched high, supported by cushions; she clutches at his thigh with both hands. It is as if his Faithful Servant has finally reached her Sensitive Cave, and she fears that it might move away and get lost. This is the reason why a slight shadow of anxiety is depicted on her otherwise blissful face. They are making love passionately.

G A L L O P I N G H U N G R Y H O R S E

The woman lies flat on her back and presses her partner's body with both hands. Her feet rest on his shoulders as he enters to her right, up to the hilt. That they are approaching ecstasy is depicted by their eyes, which are as if veiled beneath half-closed lids. Their tongues are in intimate union.

D R A G O N S W E A R Y O F B A T T L E

The woman's head rests sideways on one of the many pillows. Her arms droop, looking like silken threads. The man rests his head on the side of her neck and looks very relaxed. Their Perfumed Soul (ecstatic spirit) has fled; only the barest thread of life is discernible. This depicts Bliss savored to the very end.

These beautiful and poetic descriptions of love-making are clear indications that sexuality was viewed as a high art form in the East. Most of the postures depicted in Chinese art are relatively easy to practice. Many are identical to postures described in Indian and Arabian texts, though the names differ. If modern couples explore these ancient love-postures, they will find their lives are enriched and self-confidence will pervade their relationship.