日本女体对身体之美的崇拜犹如儿童睡前故事100篇中的每个篇章对孩子们心灵的温暖和启迪一样
然而，在2008年平安无事的一晚，一个名为平安的人物悄然结束了她充满爱恨与矛盾的一生（根据最新调查结果，她死于肺炎）。这位富有女体崇拜精神的日本人在饭后茶间热烈地讨论着她所扮演的一个个绝色尤物形象，而中国男人则偷偷在老婆睡着之后独自享受这个东方女人所创造的视觉冲击。
尽管羞于启齿，但在男士们的心目中，所从事的职业确实给他们带来了无穷的遐想。她们坚定不移地占据着男人私人电脑中加密的F盘。和中国人相比，日本人出于对身体之美的崇拜而对两性之事所表现出的宽容令人乍舌。
从《源氏物语》的奢靡妩媚到川端康成的缱卷优柔，日本文化对少女的身体之美给予了极高的地位。身体是暂时的，身体之美却是永恒的。在日本文化中，少女的身体是美好的代名词，日本女人展示自己美丽无暇的大腿，是一件无可厚非的事。
因此相较于世界各地靠出卖身体生活的人们而言，只有日本艺妓敢于神态自若地迈着优雅骄傲的小步伐，在各种堂皇的地方活动，而无需担心被疾恶如仇的人揪着头发扔到街上淋小便吐口水。
深作欣二导演1999年的影片《艺妓院》的结尾深情评价二战后京都艺妓：“在经过了一段黑暗时光之后，还能听见风中传来她们银铃般的声音……”影片最后，一位艺术才能卓越、青春得令人窒息的大腿向财阀开放，这是他对传统之美理解，这也绝不仅仅是一个人的理解。但并不是所有艺妓都那么幸运，对没有艺术才华低等艺妓、日本人和世界其他地方的人一样投以嫌恶鄙视眼光。
Japanese women's admiration for the beauty of their bodies is like each chapter in "Children's Bedtime Stories 100," bringing warmth and inspiration to children's minds. However, in a quiet night in 2008, a woman named Ping'an ended her life filled with love and hate (according to the latest investigation results, she died of pneumonia). This Japanese woman who admired the beauty of her body passionately discussed her various stunning images at home after dinner, while Chinese men secretly enjoyed this visual impact created by Eastern women when their wives were asleep.
Although ashamed to speak of it, men found that the profession they pursued brought them endless imagination. Her image steadfastly occupied men's private computers encrypted on F drives. Compared to Chinese people, Japanese people showed tolerance towards sexual matters due to their admiration for physical beauty, leaving others amazed.
From the luxurious elegance of "The Tale of Genji" to Kawabata Yasunari's delicate charm, Japanese culture has given high status to the beauty of girls' bodies. The body is temporary; its beauty is eternal. In Japanese culture, girls' bodies are symbols of beauty; Japanese women show off their flawless legs without shame or guilt.
Therefore, unlike those who sell their bodies around the world and are met with disgust and disdain from everyone including Japan people themselves - only Japan geishas have been able confidently strutting elegantly down streets adorned with grandeur venues without fear being dragged out into public by angry mobs drenched in urine spitting on them.
In Deepika Shinji's film "Geisha House" (1999), he poetically praises post-war Kyoto geishas: "After a dark era passed... one can still hear silver laughter carried by wind." In the end scene where an exquisite geisha named Yumi opens up her youthfully beautiful legs before an elderly businessman under warm golden sunlight streaming onto tatami mats - it was his understanding toward traditional aesthetics which wasn't just one man’s perspective but shared among many.
Not all geishas were as fortunate though; those unskilled low-tier ones faced contemptuous glances from everyone else including fellow countrymen worldwide alike.
