James Cahill et al., Le Palais du printemps. Peintures érotiques de Chine, Musée Cernuschi, Paris, 2006, pp. 172-179.

Gardens of Pleasure: Sex in Ancient China. An Exhibition of the Ferdinand M. Bertholet Collection, Hong Kong, 2014, fig. 18.

高居翰等，《Le Palais du printemps. Peintures érotiℱques de Chine》，賽努奇博物館，巴黎，2006年，頁172-179

《愉悅滿園：貝氏中國古代情色藝術珍藏》，香港，2014年，圖18

Homosexuality was celebrated among the literati as early as the 17th century but only enjoyed great popularity later between Qianlong and Tongzhi period (Éric Lefebvre, Le Palais du printemps, op. cit., p. 173). The present album, exclusively painted with homoerotic scenes, reflecꦗts the broader social trend at the time. 

The paintings indulge in various forms of homosexual joy and love, from voyeurism to group activities involving masters and servants. While similar compositions and symbolism can also be seen in contemporary heterosexual🤪 erotica, certain attribu🎶tes of masculinity are emphasised. For example, studios and scholarly paraphernalia, which symbolise formal education more accessible to men than women, are repeatedly featured throughout the album.