Amidst the juxtaposition of clichéd, sentimental figures and irascible slogans, I found myself grappling with the perplexing nature of this place. What was its true essence? The collective, born in 1999 as a fleeting exhibit, swiftly garnered “the great admiration of the masses,” per the guidebook’s proper Marxist tone, leading to its permanent residence at 1133 West Ding Road. I was informed that this monument in China showcases an enigma, provoking questions amidst the clichéd and sentimental.
Halfway up the stairs, encountering a kitschy 19th-century porcelain statue of Guanyin, the goddess of compassion, holding a child in her arms, reminiscent of a Madonna and child, I couldn’t help but question the nature of this place. The museum, initiated as a temporary exhibit in 1999, proclaimed to have won the “great admiration of the masses,” following Marxist sentiment, ultimately securing a permanent spot at 1133 West Ding Road. This unique museum, according to my sources, displays rare, even one-of-a-kind pieces, asserting itself as a must-visit
in China, as declared by a flyer from my hotel.
As I delved deeper, the mission of the museum became evident. The introductory brochure, albeit charmingly awkward in English, elucidated its purpose. Professor Liu Dalin of Shanghai University, an expert in Chinese sex culture, amassed a collection of over 1700 sexual artifacts for research. The museum aims to aid understanding of the impact of traditions on modern China. Liu’s influence permeates the museum, with his books displayed in the entrance foyer, covering topics like Chinese Sex Culture, Sexual Behavior in Modern China, and A Dictionary of Sexology.
Ascending the stairs to the galleries after paying my thirty yuan, I entered a realm with a distinct mission. The introductory brochure articulated the cause, stressing the historical prejudice against sex culture. Professor Liu’s efforts aim to rectify this, encouraging a concrete analysis of specific conditions rather than discrimination. Despite the awkward language, the artifacts reflect an intriguing sampling of ancient Chinese sexual practices.
The museum’s artifacts offer a fascinating glimpse into ancient Chinese views on sex. Small porcelain pieces, known as “trunk bottoms,” served as a medium for teaching inexperienced individuals about marital consummation. Erotic dowry paintings, tucked away for future brides and grooms, depicted intimate poses for newlyweds to emulate. The museum’s collection also includes stone, bronze, and jade penises, including the oldest stone penis found in China, dating back to around 3000 BCE.
Exploring the museum’s artifacts reflecting homosexual behavior, my primary interest, proved somewhat disappointing. The official brochure struggled with language when addressing “Unusual Sexual Behavior,” which included homosexuality. Despite the awkward language, the museum presented a tantalizing glimpse of ancient Chinese homoeroticism through several artifacts, including glass paintings and various representations of homosexual acts.
Despite the limitations, I spent delightful hours examining Professor Liu’s extraordinary collection. The artifacts ranged from 10th-century paintings of home prostitutes to tiny shoes worn by women with bound feet. The extensive and diverse collection included a Han dynasty tile depicting an orgy in a mulberry field, a Song dynasty plate with delicate erotic scenes, and a clay sculpture of a dog masturbating. Professor Liu’s eclectic collection left me pondering its origins and the enigmatic manner in which it was amassed.
As I exited, statues of jolly old sages greeted me with messages like “Welcome to guests from afar” and “It was the source of life.” Leaving the museum, I felt a blend of amusement at its quaint philosophy and a heightened awareness of China’s marvelous past, characterized by artistry, cleverness, enthusiasm, and good-natured insanity.
