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《Forbidden Asia (Mega Square)》.mobi .txt
基本信息：
    书名： Forbidden Asia (Mega Square)
    作者： Hans-Jürgen D?pp
    出版社/出版时间： Parkstone International2014-01-06
    国际标准书号： 978-1-78160-583-7
    电子版包括 .mobi .txt等格式：
    Forbidden Asia (Mega Square)-D?pp, Hans-Jürgen-.mobi 文件 10670 KB,
    Forbidden Asia (Mega Square)-D?pp, Hans-Jürgen-.txt 文件 2.7 万字，52 KB。
pdf部分截图：
目录：
        Main Artists
        Bound happiness - Chinese eroticism
        Between the sublime and the grotesque – Japanese erotic engravings
        Index
        Main Artists
        Anonymous Master of the Kangxi Period
        Anonymous Master of the Kangxi Period
        Eisen, Keisai
        Eisho, Chokosai
        Harunobu, Suzuki
        Harunobu, Suzuki
        Hokusai, Katsushika
        Hokusai, Katsushika
        Hokusai, Katsushika
        Koryusai, Isoda
        Koryusai, Isoda
        Kunisada, Utagawa
        Mei, Xu
        Morohira, Hishikawa
        Pupil of Utagawa Kuniyoshi
        Shun’ei, Katsukawa
        Utamaro, Kitagawa
        Bound happiness - Chinese eroticism
        The aim of Taoist art and culture was to reach a state of harmony that would lead Man, confronted by a chaotic universe, towards a new serenity. In this spiritual context, love represented for the Chinese a force which was supposed to unite sky and earth in balance and maintain the reproductive cycle of nature.
        Illustrations from Qinglou Duoying, published
        as ‘Selected Scenes from Verduous Towers’
        Colour woodcuts from an album, late Ming period
        (first half of the 17th century), 26 x 25 cm
        The Muban Foundation Collection
        ‘Verduous Towers’ is the veiled Ming term for a brothel
        * * *
        Eroticism thus became an art of living and formed an integral part of religion (to the extent that such western notions can be applied to philosophical thought of this kind).
        Taoist religion assumes that pleasure and love are pure.
        Anonymous Master of the Kangxi period
        (1662-1722)
        Painting on silk from an 8-page album, 39.5 x 55.5 cm
        * * *
        ‘In order to gain some understanding of Chinese eroticism,’ writes Etiemble, a great connoisseur of Chinese art, ‘we need to distance ourselves from the notion of sin and the duality between the corrupt body and the holy spirit.’ This ideology lies at the very base of Christianity. Erotic Chinese art reflects the extent to which we are ‘morally corrupt’ and ‘full of prejudices’.
        Painting on Silk from
        an 8-page album, Kangxi period
        Xu Mei, (1662-1722)
        Silk, 42.5 x 74.5 cm
        Courtesy: Collection Guy & Myriam
        Ullens Foundation, Switzerland
        * * *
        The Yin-Yang pairing introduces us directly into the world of Chinese eroticism: The ‘path of Yin and Yang’ signifies nothing less than the sexual act itself. One of the best-known sayings of ancient Chinese philosophy, ‘Yi yin yi yang cheh we tao’ (‘On the one side yin, on the other yang, this is the essence of Tao’)
        Anonymous Master of the Kangxi period
        (1662-1722)
        Painting on silk from an 8-page album, 39.5 x 55.5 cm
        * * *
        indicates the fact that sex between a man and a woman expresses the same harmony as the changes between day and night, or summer and winter. Sex symbolises the order of the world, the moral order, while our culture stigmatises it as evil.
        In this sense, master Tung-huan wrote in his Art of Love, ‘Man is the most sublime creature under the skies.
        Scene from Rouputuan,
        ‘The Prayer Mat of Flesh’
        18th century
        Painting on paper, 37.5 x 37.5 cm
        * * *
        Nothing which he enjoys can be compared to the act of sexual union. Formulated according to the harmony between the sky and the earth, it rules Yin and dominates Yang. Those who understand the sense of these words can preserve their essence and prolong their life. Those who do not grasp their true significance are heading towards their doom.’