Francios Jullien, the well-known French Sinologist who is familiar with both Chinese and European art, observes the main difference between them: the European art prefers Form, the Chinese, movement. European art is keen on body as its subject. With the restriction of the Form, body is transfigured into the artistic nude. However, Chinese art cannot take body as its subject, since the moving body is not the artistic nude but the erotic naked. Therefore, Jullien asserts the nude is impossible in Chinese art.

Liu Jun takes the bodies as his painting’s subject and makes them in an extreme movement, which makes us dizzy and disoriented. According to Jullien’s theory, Liu Jun’s paintings are not only erotic but super erotic. However, Liu Jun’s paintings are actually not erotic. On the contrary, Liu Jun’s paintings are somehow real artistic because of their excessive erotic. The strong movement distances the paintings from the everyday life and functions as transfiguration. The erotic naked are transfigured into the artistic bodies in their extreme movement.

Therefore, Liu Jun is still an artist in the academy. He is not a sociologist who is interested in the anthropological investigation of the lesbian. However, Liu Jun’s art indeed arouses our attention and interest to lesbian. In this sense, Liu Jun could be the only male feminist artist in China. But Liu Jun is different from the female feminist artists who are, normally, very aggressive and critical. Liu Jun is a romantic rather than cynic. In this prosaic world, Liu Jun’s new romantic would more attractive and impressive.