A Study of the Courtesan Images in Sanyŏhwa during the Late Ming and Early Qing Dynasties

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This paper explores <i>Sanyŏhwa</i> (仕女畵, <i>Painting of Court Ladies</i>) from late Ming and early Qing dynasties, aiming to unravel the various perspectives and interpretations associated with courtesans. During these periods, economic and commercial growth in Jiangnan (江南) spurred a thriving entertainment culture, fostering intimate bonds between celebrated courtesans and intellectuals. Known for their refined poise and exceptional talents, courtesans were lauded as the epitome of beauty by the contemporary elites who frequently discussed the beauty (美人, <i>meiren</i>) within the broader discourse of material culture, with courtesans likely serving as the primary subjects.</br>If the term ‘beauty’ implies an idealized woman with knowledge, admirable character, and various talents and charms regardless of their status, then the courtesans of the late Ming and early Qing embodied this ideal. In <i>Sanyŏhwa</i>, they were depicted as adept in poetry, calligraphy, and painting, thereby demonstrating a wide spectrum of artistic talents. At times, they appeared as recluses; at other times, as symbols of nostalgia for the late Ming era. The intellectuals of the late Ming and early Qing transformed the images of courtesans from overtly sexualized and worldly figures to idealized women. Through their interactions with courtesans, they projected their own tastes and circumstances onto them, thus creating a universal image of beauty.