The Tao Sex Positions — Part 2 (301–320), Mapped
Twenty more Taoist positions — grouped into four families and rated for intensity. Twelve of the twenty hand control entirely to her, and the chapter is built as that handover.
A Chapter Built as a Handover
Part 1 covers positions 275–300, weighted toward slow, mutual, side-lying arrangements. Part 2 does something more deliberate: it opens with eight assertive positions where he leads, then spends the remaining twelve handing control to her — and never takes it back.
That structure follows from Taoist sexual philosophy rather than being incidental to it. The tradition holds that a man's wellbeing depends on his partner's satisfaction — an energy-balance argument, not a courtesy — which is why the text keeps instructing him to remain a passive participant. Position 309 puts it plainly: you need not always initiate; sometimes receiving has its own rewards.
The animal names carry weight too. The dragon in position 307 is the masculine principle, counterpart to the phoenix that appears in Part 1 — the pairing is a fixture of Chinese symbolism, not decoration.
Three That Demand Real Fitness — Two From Her
Flower Among Bamboo (305) and Rock in a Flowing River (312) put the strain on her core and shoulders, despite looking passive — she should set the duration. Flying Fish (310) is demanding for both. And Seagulls on the Wing (303) has her head hanging back, which sends blood to the head: keep it short and come up gradually.
The Assertive Openings
Eight positions where he leads — rear entry, kneeling and deep-contact arrangements. The Taoist catalogue front-loads these, then spends the rest of the chapter handing control away.
She crouches with hands braced on the floor while he stands behind, holding her hips. The bracing is what makes it stable — without hands firmly planted, this arrangement drifts. The Taoist naming convention draws from animals throughout, and the tiger signals the register: this is the most assertive entry in the second half of the catalogue.
She lies with one leg raised over his thigh and the other extended; he positions on his toes with hands flat near her shoulders — the frog posture the name describes. She holds his neck for support. It's demanding on his legs and works in intervals rather than continuously, but the angle it produces isn't achievable any other way.
She lies back over a firm stool or cushion block that supports only her hips and lower back, head hanging clear, knees bent wide; he kneels upright and holds her hips. The block sets a height and angle no floor position matches. Head-hanging positions send blood to the head, so this one should be shorter rather than sustained.
He leans against a wall with one foot planted and one leg braced behind him; she leans back against his body for rear entry. The wall carries the work, which makes this one of the few standing positions that lasts. One of his hands stays free throughout. The text frames it as something that starts mid-activity around the house rather than being arranged.
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He kneels upright behind her while she braces on all fours with one leg lifted and her toes resting on his thighs. Genuinely demanding on her core and shoulders — the text acknowledges it needs fitness and endurance from her specifically. Brief intervals, and it's entirely reasonable to substitute a simpler rear-entry posture.
She lies flat with knees bent toward her chest; he kneels close with one hand braced and the other holding her legs in position, while she rests her hands on his chest. Her hands on his chest are functional — they let her control distance and push back when depth needs adjusting. The text notes she opens or closes her legs to steer the angle.
She lies back with both legs lifted and stretched sideways so her hips twist slightly; he kneels close, hands on her thighs and hips. The twist is the innovation — rotating the pelvis changes which internal surfaces receive contact, producing something no straight-on position achieves. The dragon is the masculine principle in Chinese symbolism, paired with the phoenix in Part 1.
He positions on all fours with hands braced near her shoulders and legs extended; she wraps her legs around his hips and locks them above his buttocks, hands on his shoulders. The leg lock is the mechanism — she controls how close he stays and therefore the depth, from underneath. One of the most sustainable deep-contact positions here.
She Takes Over
Four positions marking the turn. The text's own line is worth quoting: you need not always initiate, and sometimes receiving has its own rewards.
He lies flat; she lies above him, legs over his, holding his hands for grip and moving at her own pace. The text is explicit about his role — remain a passive participant — and adds a line worth keeping: you need not always initiate; sometimes receiving has its own rewards. Full body contact throughout leaves plenty of room for conversation.
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He sits on a stool or block; she lowers onto him then stretches forward and back into the extended shape the name describes, legs behind his back gripping his torso while he holds her hands. Real strength and endurance required from both. The text suggests water settings, where buoyancy takes some of the load — sensible advice.
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She sits astride his prone body with knees bent near his hips, leaning back to rest her hands on his calves while he holds her hips. Leaning back onto his calves is the detail — it opens the angle and gives her a stable brace to work against. She sets depth, friction and pace entirely. One of the most sustainable her-led positions in the catalogue.
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He sits on a cushion or block; she supports herself on her hands on the floor with legs stretched behind his back, thighs clasping his waist — suspended, hence the flowing metaphor. Demanding for both and best in short intervals. The text recommends open-air settings, which suits a position that needs floor space more than furniture.
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Angles & Small Spaces
Three positions built on unusual geometry or confined settings — a right-angle approach, a lift, a full role inversion.
She lies flat; he positions at ninety degrees across her, hands near her thighs. The perpendicular angle contacts internal surfaces that face-on positions simply cannot reach — the text's own reasoning, and mechanically sound. It's an experimental position rather than a staple, and the text suggests trying it later in a session rather than opening with it.
He takes a semi-seated position leaning against a wall with one foot planted; she sits over him facing away, using her hands on the wall for leverage. Built for compact spaces and short encounters — the text names lifts, small rooms and secluded corners. She controls the pace because the position gives him almost no leverage to do so.
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She lies fully on top with legs either side of his — missionary inverted, with him pinned beneath. She sets pace and depth entirely. The text adds an unusual suggestion: try swapping vocal roles too, each mimicking how the other normally sounds. It reads as a joke and works as an intimacy exercise, which is a very Taoist combination.
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Her Command
Five closing positions where she controls depth, pace and angle completely. Twelve of this chapter's twenty are hers; the balance is the point.
She lies aligned along his body then lifts her upper body by holding his hands — the cobra shape the name describes — while the rest of her stays in contact with him. The lift changes the internal angle while preserving full-length body contact below the waist, a combination that's genuinely rare. She controls depth throughout.
He lies with knees slightly bent; she squats over him, holding her own legs while he holds her hips. The squat gives her total control of depth and angle but demands thigh strength, so it works in intervals. The text describes it plainly as femdom — she does whatever she wants and he spectates.
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He lies with knees bent; she sits over him and leans back onto his thighs, feet on the floor, moving her torso up and down. Leaning back onto bent thighs is the mechanism — it both opens the angle and gives her a brace, which is why she can sustain this far longer than an unsupported ride.
He stands with his back to a wall, body stretched; she stands with one leg lifted, one hand on the wall and the other on his thigh. Built for very short encounters in confined spaces — the text names corridors, garages, backyards. It needs no setup, no furniture and almost no time, which is precisely the design brief.
The catalogue closes with a seated semi-twist: he sits with legs stretched and one hand braced; she lowers onto him with legs behind his back, one hand at his neck and one on his leg, twisted slightly. She rides at her own pace. Of the twelve her-led positions in this half, it's the one with the most body contact — a fitting close.
⭐ The Atlas Table
| # | Position | Intensity | Act | Pairs With |
|---|---|---|---|---|
| 301 | Crouching Tiger | ●●●●○ | Act 1 | Bleu Spiral Toxin Free → |
| 302 | Frog on a Lily Pad | ●●●●○ | Act 1 | Love Light Xtra Super Thin → |
| 303 | Seagulls on the Wing | ●●●●○ | Act 1 | Bleu Dotted → |
| 304 | The Gentle Incline | ●●○○○ | Act 1 | Love Light Glow Condoms → |
| 305 | Flower Among Bamboo | ●●●●● | Act 1 | Bleu Ultra-Thin → |
| 306 | Horse Crosses Feet | ●●●●○ | Act 1 | Love Light Xceptionelle → |
| 307 | The Dragon Turns | ●●●●○ | Act 1 | Love Light Capsules → |
| 308 | Approach to the Gates of Heaven | ●●●○○ | Act 1 | Bleu Spiral Toxin Free → |
| 309 | Butterflies in Flight | ●●○○○ | Act 2 | Love Light Glow Condoms → |
| 310 | Flying Fish | ●●●●● | Act 2 | Bleu Ultra-Thin → |
| 311 | Butterfly | ●●○○○ | Act 2 | Love Light Xtra Super Thin → |
| 312 | Rock in a Flowing River | ●●●●● | Act 2 | Bleu Dotted → |
| 313 | Plucking an Instrument | ●●●○○ | Act 3 | Love Light Xceptionelle → |
| 314 | Private Chamber | ●●●○○ | Act 3 | Bleu Spiral Toxin Free → |
| 315 | Cat and Mouse Sharing a Hole | ●●○○○ | Act 3 | Love Light Glow Condoms → |
| 316 | Rising Cobra | ●●●○○ | Act 4 | Love Light Capsules → |
| 317 | Birds Fly Back on Back | ●●●○○ | Act 4 | Bleu Ultra-Thin → |
| 318 | The Floating Lily | ●●●○○ | Act 4 | Love Light Xtra Super Thin → |
| 319 | The Farewell | ●●●○○ | Act 4 | Bleu Dotted → |
| 320 | The Singing Monkey | ●●●●○ | Act 4 | Love Light Xceptionelle → |
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Reading the Handover
Laid out in order, this chapter argues something most position lists never attempt: that who leads is itself a variable worth exploring, and that a man who never receives is missing half of what's available. Two thousand years before anyone wrote about mutual satisfaction in clinical terms, the Taoist tradition built a catalogue that spends its second half teaching him to stop working. That's the part worth taking from it.
Frequently Asked Questions
How does Part 2 differ from Part 1?
Part 1 covers positions 275–300 and is weighted toward slow, mutual, side-lying arrangements. Part 2 runs from 301 to 320 and splits sharply: eight assertive positions where he leads, then twelve where she does. The chapter is structured as a handover.
Why do so many Taoist positions hand control to the woman?
Because the tradition holds that a man's wellbeing depends on his partner's satisfaction — an energy-balance argument rather than a courtesy. Twelve of this chapter's twenty positions have her setting pace and depth, and the text repeatedly instructs him to remain a passive participant.
Which positions here need real fitness?
Flower Among Bamboo (305), Flying Fish (310) and Rock in a Flowing River (312) demand genuine strength and endurance — and notably, 305 and 312 demand it from her rather than him. Seagulls on the Wing (303) involves the head hanging back, so keep it brief.
Which are the practical everyday ones?
The Gentle Incline (304) uses a wall and lasts; Butterfly (311) and The Floating Lily (318) give her a stable brace so she can sustain them; Butterflies in Flight (309) asks nothing of either partner. Private Chamber (314) and The Farewell (319) are built for very short encounters in confined spaces.
What's the significance of the animal names?
Chinese classical naming draws from nature by convention, and the pairings carry meaning — the dragon in position 307 is the masculine principle, counterpart to the phoenix that appears in Part 1. The tiger, cobra and monkey all signal the intensity and register of their positions.
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