Nude women. Swinging in Fuzhou
Single girls from China wanting couples looking for men looking for friends and perhaps more.
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See other girls from China: Nude women. Swinging in Manzhouli, Nude women. Swinging in Buizhou, Nude women. Swinging in Ningan
She is waiting for a friend to go traveling. She is straight and slim, shoulders back, posed under a weeping willow budding in spring green. She is wearing a white cheongsam, embroidered or printed with red chrysanthemums and green leaves, of a silk so soft that the shape of her breasts is visible. She has a soft grey overcoat or shawl draped over her left arm, and her right hand is raised, perhaps in greeting and also to brush a strand of willow away.
She is smiling, and looks slightly to the left, her gaze is welcoming. Such prints advertised nothing except perhaps a certain aesthetic, but were popular as a cheap form of interior decoration.
Famous for its pleasure houses and bookshops, the road was also the city's printing centre. Spatial geography ran parallel to cultural geography—like Fuzhou Road, the advertising art produced there was a space of leisure, desire, temptation and consumption, and therefore perched uneasily on the borders of social acceptance. Highly successful as a marketing tool, accepted by the urban populace as decorative items in their homes, these works posed a problem for, and a challenge to, Chinese intellectuals.
If we intellectuals wanted to hang something on the wall, we would choose a reproduction of a real artistic work, something more classical, like David's portrait of Napoleon, for example. Feng insisted that she and her husband had nothing to do either with such art or their artists. Still, these intellectuals refused to reserve any space in their cultural memories for calendar art other than in the back alleys and back rooms of the lower classes.
