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Since The Turkish Baths (1863) by the French painter Ingres, the Far Eastern woman has, to many, been a symbol of out of reach or forbidden pleasures. Seafaring explorers, military adventurers and simple travellers from Europe over the centuries have all been enthralled by the exotic nature of the Asian woman, her foreignness accentuated by the gentle pallor of her skin. Thus arose the myth that she, of all women, was in possession of the knowledge of certain refined pleasures.

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Title Statements

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Summary

Since The Turkish Baths (1863) by the French painter Ingres, the Far Eastern woman has, to many, been a symbol of out of reach or forbidden pleasures. Seafaring explorers, military adventurers and simple travellers from Europe over the centuries have all been enthralled by the exotic nature of the Asian woman, her foreignness accentuated by the gentle pallor of her skin. Thus arose the myth that she, of all women, was in possession of the knowledge of certain refined pleasures.

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Edition Statements

  • Publication Date:2012

Publication Statements

Notes

Includes index.

The Physical Object

  • Description:1 online resource (255 pages) : : illustrations

Edition Identifiers

  • ISBN:9781780427218, 1780427212
  • oclc:on1091645525
  • LC Classification:N8217.E6
  • Dewey Decimal:704.9428095

Table of Contents

Main Artists; Bound happiness -- Chinese eroticism; Between the sublime and the grotesque -- Japanese erotic engravings; Index

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Subjects

Art érotique -- Asie Asia Erotic Art Erotic art -- Asia

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