Women's Interest In Courtesans During The Qing Dynasty

Some courtesans used their artistic skills to make money by selling paintings to the public, also known as amateur painting in the late 17th century. Many had no choice but to sell paintings, for instance, when a husband went on long trips leaving the wife without money to support herself. Similarly, when a husband died and left inadequate money for his widow, she could sell paintings to earn a living. Buyers are unknown, but there is evidence of a substantial market because women were able to sell their paintings for an average sized profit. Other than art, courtesans were able to make money off their musical abilities.
Music and courtesan culture went well together because music was a key element when seducing a man. “Music made by women
Many writers who associated with courtesans had a strong desire for the cult of qing, associated with the love and sensuality that the courtesans represented. Men met courtesans in brothels, and the Qing was famous for paintings and scrolls that depicted courtesans residing in brothels. Figure 3 depicts the inside of a brothel, with many courtesans lounging as they await their next patron. Eight Beauties (see figure 3), a painting exhibiting courtesans engaged in daily activities, suggests multiple layers and qualities of interpretation. There are erotic touches that complicates the meaning; for example, the gentle touch of the two women on the left side of the picture, and the body position of the woman on the front right, more than casual resting. Eight Beauties is painted on a scroll, but the artist remains anonymous. The scroll belongs to a private collection in Paris. Figure 4 is another image from the album of Jin Ping Mei (see figure 4). What separates this image from others is that it shows the moment when a woman is being introduced to a male counterpart. The maid draws the curtain back and the woman enters the room. Cahill explains that “As one entered the reception room, the “adopted mother” respectfully made one welcome… As one proceeded to the balustrade, a servant-girl finished her adornment and appeared with a beauty in hand” (Cahill 2010: 156). The effect of the women both looking out of the painting draws the attention of the viewer. She uses inviting gestures, for example, pulling up her sleeve represents a sexual invitation. Furthermore, the arrangement of her sleeve mimics the shape of a vulva; the man recognizes these signs as welcoming: “A reversal of roles occur. Rather than selecting the woman he finds attractive, the reader enjoys the experience of being selected himself. He in turn becomes the object of