see also:
'the ecstasies of
eros'|
That is why a whole range of erotic gestures and poses haven been
developed to display erotic charms that are normally hidden or perhaps
even non-existent. Natural display can be involuntary, as is the case
with the widening of the pupil, blushing, erections of various parts of
the body, or the secretion of various smells and fluids. But it can also
be voluntary. Such is the case with smiling, presenting the breasts,
stretching the body, not to mention adopting a supine or prostrate
position and widening the thighs.
Click on the name of the
photographer or the thumbnail for a larger view. (1)
SEDUCTION More often, the face is gently inclined, forward and/or sideward:
In all cases, the mouth is relaxed and the lips are somewhat parted. When the face is gently thrown backward, that expression often unfolds to a nearly concealed kiss:
Hypnotising with the gaze is merely an advance
to mesmerising with body.
The act of presenting the breasts or the buttocks is even more seducing than the sight of what is put on display:
Splaying the thighs wide only enhances the appeal of the body exposed:
Things come to their apogee when the nude fully reclines, with its arms lifted up and its legs spread wide:
To begin with, a gaze from a gently turned away face looks even more inviting, especially when one eye goes hidden behind the hair:
Or the expression of the lips is all the more promising when their intentions are concealed by hands that cannot refrain from grasping themselves:
Even more tantalising is the lowering
of the eyelids in a turned away face, especially when the
half-parted lips cannot but betray the readiness to kiss: But even when the face does not at all conceal its intentions, the tension may be heightened by crossing the arms over the breast:
or when the nude turns
its back on us at that:
The effect of concealing is even further enhanced when it is combined with putting other alluring parts on display.
That holds especially true for a dorsal display. The sight of the back cannot but all the more stir the desire to see the hidden beauty of the front:
Displaying one's beauty, then, is not a matter of simply exposing
oneself before the gaze of the seduced. It is of necessity always a
process unfolding in time.
In a first move, the person before the
mirror identifies with the onlooker and projects his own appearance into
the image in the mirror. But the own body can also be used to embody the
appearence of the desired body. In that case, the person before the
mirror is split up in a desiring eye and the desired body admired in the
image (see the previous Chapter III).
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