Ferdinand M. Bertholet, Les Jardins du Plaisir: Érotisme et art dans la Chine ancienne / Gardens of Pleasure: Eroticism and Art in China, Paris, 2003 (rev. English ed., Munich, Berli🍨n, London, New York, 2010), front jacket, and p𝐆p. 41, 102-116. 

Ferry M. Bertholet, Concubines and Courtesans: Women in Chinese Erotic Art, Brussels, 2010, pl. 7.

貝索烈，《Les Jardins du Plaisir: Érotisme et art dans la Chine ancienne / Gardens of Pleasure: Eroticism and Art in China》，巴黎，2003🃏年（英文再版，慕尼黑、柏林、倫敦、紐約，2010年），頁41、102-116

貝🏅索烈，《Concubin🐎es and Courtesans: Women in Chinese Erotic Art》，布魯塞爾，2010年，圖版7

James Cahill et al., Le Palais du printemps. Peintures érotiques de Chine, Musée Cernuschi, Paris, 2006, pp. 70-95.

Gardens of Pleasure: Sex in Ancient China. An Exhibition of the Ferdinand M. Bertholet Collection, Hong Kong, 2014, figs 6 and 9.

高居翰等，《Le Palais du p𝓀rintem✃ps. Peintures érotiques de Chine》，賽努奇博物館，巴黎，2006年，頁70-95

《愉悅滿園：貝氏中國古代情色藝術珍藏》，香港，2014年，圖6、9

The scenes of the present album are taken from the famous story of a secret love affair between the young scholar Zhang Sheng and Cui Yingying, the daughter of a Tang dynasty minister. Originating in the Tang dynasty, the tale was adopted by Wang Shifu of the Yuan dynasty in the popular drama Xixiangji [Romance of the West Chamber], which became a major source of inspiratioꦜn for scholars and artไists for centuries to come.

Wang’s play was structured in five acts of four scenes each. However, the last act is considered inferior and is often omitted, as it is in the present album. The story opens with Zhang Sheng catching sight of Cui Yingying at Universal Salvation Monastery on his way to the capital for the civil examination (the first illustration). The couple then fell in love. With the help of Yingying’s witty maid Hongniang, Yingying consummated their love in violation of a previously arranged betrothment (the eighth and tenth illustration). Sun Feihu, a local bandit who desired Cui’s beauty, attacked the monastery hoping to abduct her but was defeated thanks to Zhang’s strategic defence. Following this, Madam Cui, Yingying’s mother, reluctantly allowed the couple to wed, partly because of Zhang Sheng’s heroic deeds and partly because she learnt from Hongniang about their shared intimacy (the twelfth illustration). However, 🍌her approval was contingent on Zhang attaining academic merits in the imperial examination. On his way to the capital, Zhang woke up from a nightmare that made him question his love affair (the last illustration). Zhang eventually succeeded in the examination. However, the good news remained undelivered, and the original fiancé deceived Madam Cui in hopes of marrying Yingying himself. The story ends with Zhang returning in time to abort the indecorous wedd💃ing and reunite with Yingying.

The idea of defying parental will in the name of love, in addition to the occasionally suggestive, licentious content, made this work a target of censorship at various times. Nevertheless, the story continued to enjoy popularity and scenes from it were retold in various formats, from paintings to decoration on lacquerwares and ceram𒆙ics.

The painting style is probably after that of Chen Hongshou (1598-1652), as suggested by Cédric Laurent (Le Palais du printemps, op. cit., p. 73). The slendꦇer and elegant figures, with their slightly oversized heads, are finely pencilled and naturally ꦑrendered.