Page 44 - For the Love of Porcelain

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3 which are associated with feminine beauty For women this was completely forbidden.
Detail of ig. 2 and sensuality. The scene is set in a garden, There were many different types of brothels,
considered an ideal place for intimacy and ranging from high-class teahouses, in which
lovemaking. Last but not least, her sleeve entertainment played an important role, to
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covers her right hand, which was also used prostitutes selling themselves on the street.
to indicate a lonely woman longing for her A man’s choice highly depended on his
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husband. budget, since the high-class teahouses were
very expensive. In Japan one of the most
A blue-and-white saucer from the same famous pleasure quarters was Shimabara
period is also worth discussing (fig. 4). In in Kyoto. Courtesans of the highest class
the centre two ladies are depicted in a garden living there were admired for their beauty
setting. The two white rabbits to their left and great talent in singing, dancing and
are clearly mating, while being petted by one reciting poetry. For a man to gain access to
of the ladies. The other lady’s body is turned these courtesans he would not only have to
in the opposite direction, but her curiosity pay a huge sum of money, but also charm
prevails, as is revealed by her eyes, which are her by buying expensive gifts and writing
drawn to the rabbits. In Chinese art a man love letters. Only after protracted wooing
4 and woman looking at a (mating) black and and several visits would a successful man be
Saucer with decoration of white rabbit is a romantic and often erotic ‘rewarded’ with sex. This all might sound historical example is a poem written by 5
two women and reference to caizi jiaren, a genre of Chinese quite idealistic, but the reality must have Guan Daosheng (1262–1319), whose name Detail of ig. 4
mating rabbits, the Manchu court officially banned the love literature. The Xī xiāng jì (Romance of been far from romantic for these women. is frequently mentioned as one of China’s
Qing dynasty, mid -18th tradition of foot binding, but it still persisted the Western Chamber, Yuan dynasty, 1271– Since the seventeenth century, the idealised greatest female painters. In 1289 she married
century, d. 11.8 cm, in society as the epitome of feminine beauty 1368) is one of the most famous examples of view of high-ranking courtesans was a great Zhao Mengu (1254–1322), a famous Yuan-
porcelain, Princessehof and sexual attraction. 6 It is rare that a this genre. It symbolises the longing of two source of inspiration for ukiyo-e paintings, dynasty calligrapher. Both were born to
National Museum of woman’s feet or legs are shown in Chinese lovers for each other, the black rabbit referring woodblock prints and ukiyo ningyo (Japanese prominent families. It seemed that their
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Ceramics, Leeuwarden, art, making this a rather unique piece. The to a man and the white to a woman. In the dolls), collectively known as bijin (beautiful marriage was a happy one, but at one point
inv. no. NO 00191 scene is further eroticised by the presence of scene on this saucer, however, both animals women). In all likelihood, these dolls and Zhao considered taking a concubine. Guan
(on loan from the Ottema an erect rock behind the bench symbolising are white. The two rabbits could therefore prints were the inspiration for Imari and was deeply saddened by him wanting to
Kingma Foundation) male virility, and the blossoming red flowers, allude to lesbian love, which seems to be Kakiemon porcelain figurines of beautiful share his love with another woman and
supported by the gestures of the two ladies. ladies. This year the Princessehof was succeeded in convincing him to change his
In China it was not uncommon for a well- fortunate in being able to add two of these mind with her poem Married Love:
to-do man to have several concubines as well impressive Kakiemon figures to its collection
as a wife, who all lived in the same house. (fig. 6). 12 Both are wearing beautiful
The man had to divide his attention between kimono, one decorated with maple leaves
his women and moreover, many men often and the other with wisteria leaves. Their You and I
travelled for work. Since women were hair is styled according to the gosho-mage Have so much love,
usually forbidden from leaving the house, (palace chignon) style of the Edo period. That it
this meant they spent a lot of time with each These sophisticated figures were produced Burns like a fire,
other, giving rise to strong friendships (or for the Japanese market, but also exported In which we bake a lump of clay
rivalry) and it does not seem unlikely that to Europe. They became true collectors’ Moulded into a figure of you
sexual relationships developed sometimes. items in the eighteenth century and are still And a figure of me.
In eighteenth and nineteenth century erotic cherished today because of their refinement Then we take both of them.
paintings love between women is also a and elegance. And break them into pieces,
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recurring topic. And mix the pieces with water,
The objects discussed above all testify to And mould again a figure of you
Marriages in China and Japan were generally the use of erotic symbolism in East Asian And a figure of me.
arranged – especially among elite families, love art. This was not restricted to ceramics: I am in your clay
between a man and a woman was secondary similar symbolic references can also be You are in my clay.
to marrying for status. Men therefore sought found in paintings, lacquer and jade. There In life we share a single quilt.
romantic love outside their marriages by is, however, a more direct link between In death we will share one coffin. 13
taking a concubine or by visiting brothels. ceramics, eroticism and sensuality. A striking

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