Abstract:A significant number of illustrations featuring women who are sitting with crossing legs and stretching toes of the upper foot can be found in the illustrated versions of novels and dramas from the Ming and Qing dynasties. The characters or narratives depicted in these illustrations often pertaining to themes of sensuality and amorous affairs can serve as a crucial entry point for exploring the relationship between textual narratives and visual pictures. Since the Ming and Qing dynasties, the schema of crossing legs and stretching toes of the upper foot has been employed in various ways. The schema can either construct a woman’s alluring demeanor, thus expanding the narrative space of the picture and prompting readers to associate it with romantic escapades. It can also signify a woman’s coquetry, especially when combined with bedchamber scenes, creating an image of a strumpet. This results in a tension and oscillation between the enjoyment of the picture and moral admonition. By the late Qing dynasty, this schema became more formulaic. It, lacking the connections between characters and narrative, became a symbol of visual pleasure, even strayed from the original intent of the texts. Since the dynasties of Ming and Qing, there had been an ongoing competition between the desire-driven sensory world represented by popular culture and the established cultural norms, with the former gradually gaining dominance. Thus, this competition reveals a growing and vibrant visual world that contrasts with the traditional aethetics and moral frameworks.