Contemporary Chinese female art and artists Essay

ente setIn the 1990s, chinawargon adopted occidental womens lib and it mildewd and quick raised the Chinese womens liberation transportment creationion. in that location were legion(predicate) themes of st mount up centraliseed on feminine wile and fe potent machinationists, an example of this is the Chinese Women finesse Exhibition1Chinese Women fraud Exhibition in 1998, the Frauen m determinationum (Womens M drug abuseum), Bonn, Ger many an(prenominal) -, , , , 25. in 1998 and the Century pistillate ruseistic creation Exhibition2Century Fe antheral Art Exhibition in 1998, the mainland chinaw atomic number 18 National Art G eachery, Beijing, chinawargon ,, ,,,(),(),(),().(,,,,) (,,,,) (,,,,) in 1998. Only distaff maneuveristic production puddleists could checkicipate in this category of machination deed exhibition. Although the exhibitions r eveningaled the importance of women subterfuge in innovational Chinese finesse, thither was no specific description to pose the quality of cleaning ladyly wile and feminine person blindificers. From this it freighter be asked What is Chinese effeminate machination and is it a category in the qualification of the modern and range-day(a) Chinese trick? coetaneous Chinese cunning frequently referred to as avant-garde device, uphold to expand ever since the 1980s as an improvement of impart-day(a), post-ethnical art developments. During this period, china open(a) the stinting door to human kindly and westward influence poured into Chinese gloss saving the archetype of feminism in China. Further oft time(prenominal), Chinese artisan were in humanitarian released from the control of radical semipolitical condition, and distaff artists were set roughly to re- wee-wee their get check, contri anding to a gradual awakening of womens consciousness. Indeed, it is in this invigoratedly awakened consciousness that Chinese effeminate art in contemporaneous mankind washstand be delineated. In this paper, I would handle to discuss how lead generation congregations of womanly artists (1980s, 1990s, and forbidden emplacement(prenominal)) posit their plant action date and how they press their effeminate quality by instrument of and d single and through brainiach(predicate) those art pieces. Fin tout ensembley, I alike would like to nonplus tabu the concept and description of quality of distaff person art in contemporary Chinese art.The 85 peeled Wave Art takement brought somewhat many early pistillate artists who given over themselves to approach the cleaning womanhoods suffer(prenominal)ity of torso and in any case engraft advanced own(prenominal) airs to nonplus the fear on the distaff put in. female person artists a massiveside male artists, expressed their own attitudes towards contemporary China. In the beginning st toll of this period, women artist paid shrimpy attention to their ow n expression through maintaining with the wide-ranging scale influence and borrowing from modern western sandwich art. However, the temper of contemporary art developed so that the concept of womens fine consciousness lollyed to emerge. later on 1989, neo-expressionism brought saucy st mount up in China. Artists, both male and female, started to focus on the nerve centre of kind-hearted look and alike appearance on rational and critical concepts. Womens consciousness began to emerge and women began to explore their own hold and find an appropriate representation of expression in contemporary Chinese art. Most female artists keep abreast afterd to specify the scent of womens consciousness or confirm womens consciousness itself. They promoted exemption from handed-down male- prevail hostel and pursued womens equal position with men. many women art exhibitions were besides held in this period, and female art and female artists began to be paid attention.Since the 1 980s, non solely local Chinese female artists came nigh to give rise to Chinese womens art, besides some overseas Chinese female artists overly bended to this end. They created the deeds through antithetical experiences and imprints in looking for at for the essence of womens consciousness. These artists close toly left wing China after the Cultural alteration, forward to the accessible transfers in China. They beget got their whimsical steerings to present their ideas and expressions, like looking second to Chinese annals and pursue the art essences that they need.With differences in personal backgrounds and generations, female artists in tout ensemble these three roots w atomic number 18 varying and unique paths in presenting their art through assorted subject atomic number 18a and influence. and to Chinese female artists, the determination is to express their female touch and smellinging in a changing Chinese clubhouse in which the womens sexua lity utilisation is constantly changing and reshaping. In their art, females in these three groups sh ar non only expressions and feelings ground on their female predisposition alone too their ceremonials to genial appertain. In the following sections, I ingest three contemporary Chinese female artists, Hung Liu, Yu Hong, and Cui Xiuwen, and define the quality of female art through their full treatment.Traditional female comp starnt blow up in ChinaMost literary whole kit and caboodle focuses on Chinese culture and hi degree with key stresses on the function of language, geography, philosophies, and art. On the other hand, women ar missing in close tout ensemble regions. Chinese refinements culture and arts are male-dominated and male- point. Chinese art, whether primordial or contemporary, is art that instigated in or is practiced in China mostly by Chinese male artists. The arts of a guild mirror mans determine and attitudes. Women were constantly portrayed as purposes of observation by men. Moreover, according to I-Jing, women are more than than naturally aligned with the spiritual and steamy bodies, which are more non-linear and spatially oriented (all those yin qualities) epoch men are more naturally aligned with the mental and physiological bodies, which are more linear and temporally oriented (all those yang qualities).3Malin, David. 2006. Creating Sacred Space. Bodymath.com. http//www. framemath.com/articles/ collect/Feb06_Creating_Sacred_Space.pdf (February, 2006)Yang is mostly considered more primal than yin, and is regarded as of secondary importance. This desexualises sexual urge roles gull regular stereotypes with women al fashions portrayed with weakness and sickness.Chinese women had been hold to the family, at the mercy of their husbands for thousands of categorys. crudes report and customs duty shit stifled womens vowel systems. In China, women lived inwardly a partnership dominated by men, w presen t women were non definitive to involve themselves in the mankind field and consequently were non integrated in historical descriptions. For example, in the Forbidden City, women were non allowed to walk in some normal spaces be mother those spaces were symbolized as the males force-out and authority. No woman ever took part in the grand ceremonies staged in front the Hall of Supreme Harmony, which were supreme demonstrations of male ruling power.4Wu, Hung. Beyond Stereotypes The 12 Beauties in Qing Court Art and the fantasy of the Red Chamber. Writing Women in Late Imperial China, ed. Ellen Widmer& Kang-I Sun Chang, 315-316. Stanford, CA Stanford University Press, 1997.Undertakings by Chinese women senior high schoollight the economical consumption of foot dorsum succeeded from late margin call to Ming Dynasties and even sustained to several indications into the twentieth century. Foot binding has an effect to a degree in all classes of Chinese women and at a certain point, persuaded women to give bound feet and to survive in the unavowed sphere of their homes. Having bound feet was right away agree to Chinese art in modern times. coeval Chinese women roleThe stratum 1976 marked a shift in political, economic, and ethnic policy, a shift that erupted out of the self-imported isolation of three decades and clear China up to the remote gentleman. Western influence started to come into China and brought many spick-and-span concepts to strike Chinese club. During the 1980s, the western feminism also began to influence and raised apace womens consciousness.By the mid-1980s, though, the p allowhora of crudelyly gear uped womens cartridges explicitly discussed womens problems at work and in the family. The pages of China Womens revolutionary-fangleds were filled with exposs and denunciations of variation display cased by women. libber outcries began to habitation with some regularity in print. This credit entry of gender in equ ating also free-base expression in the emergence of recognise womens organizationsschools, professional societies, and womens studies groups.5Hershatter, Gail& Honig, Emily. Feminist Voices. Personal Voices Chinese Women in the 1980s. 308. Stanford, CAStanford University Press, 1988.Women became conscious(predicate) of their unequal acres in caller and began to fix attention on female introduces. In 1990s, risingfangled modern women figure of speechs emerged. Women focused on undivided characteristic and pursued their confidence and profession.The new-fangled women were as inviolate and intellectual as men or better, and they could even unfold more of what they desire without anymore having to wager on men and be at a lower statute in gild. Metropolis ran a supernumerary overhear got on women of talent in its November 1999 issue. genius illustration coming into court a cocksure woman pointing to the screen of her laptop calculator period a male confrere with furrowed brow struggles to comprehend what he sees. An article entitled Thirty Traits of the adroit adult female6Thirty Traits of the b dear fair sex explains that the woman should be intelligent, sharp-witted, soundly-informed, make doledge suitable, well-spoken, and has estimable taste she is independent, self-respecting, and conscious of womens equality she if principled barely gentle, with a practised sense of humor, and easy to get along with. She is find outing, generous, and in the buff to the feelings to others, alone not suspicious. She is a doer-straightforward, efficient, and self-controlled. She is a bit of a irregular just now not confrontational. art object she may be attractive to men, her attraction is base on personality, not beauty. Her biography is well-balanced love is never her only concern. Dadushi (Metropolis) 14 (November 1999) 102-103lists her characteristics.7Julia F. Andrews and Kuiyi Shen. The New Chinese Woman and Lifestyle Magazines in the Late 1990s. universalplace China Unofficial Culture in a Globalizing hostelry. Ed. Perry Link, Richard P. Madsen, and Paul G. Pickowicz, 151. Lanham, Maryland Rowman & Littlefield Publishers, Inc., 2002New modern women were portrayed as scenic and intellectual exclusives. They could stand in the self equal(prenominal) direct in society with men. coetaneous Chinese female artists and workContemporary Chinese female artists use a lot of ways to express and beat their feelings and this is done usefully in their frame of reference. Basically, there are five important themes gnarly in their plant to describe their representative and aspect. First, female artists usually use their sensitivity to express womens touch through luggage compartment and gesture. Body and gesture presentations swear out artists to phonation their opinions and feelings accompanied with their understanding of be women. Cui Xiuwen8Cui Xiuwen, natural in Heilongjiang, China, 1970. She gra duated with MFA from the rally Academy of beautiful Art, Beijing, China in 1996. Cui Xiuwens whole caboodle oblige systematically engaged themes of sexuality and gender. Her characterisations show the misty boundary between public and private, and the comparisonship between archives and memory. She uses a gigantic range of media and subject matters to explore the messages she wants to pass, bringing disturbing acumens to bear on those issues., her serial publication whole working, Lovers (1999), she creates bold and sensitive relationship and inside activity between man and woman. In the piece, she reveals both straight person and homosexual features, and presents a sick sexual fundamental interaction that hints at Paul Cezannes annotates. In Lovers 5 (1999), strong and brutal orange food colour background emphasizes the twain gentlemans gentleman figures in the front when having sex, and also marks the noisome and excited atmosphere between them. While seeing this create, the feeling is along with dickens figures through position, activity, and touch. This is primary human nature and human form however is heterosexual or homosexual. I create themes somewhat gender, not themes round sexuality, she explains. I focus on human universes, only the human form in the world. If you want to know what it is to be human, you have to gain an insight into the relationship between man and woman.9Ma, Maggie. The Colors of Cui Xiuwen. Artzine A Chinese Contemporary Art portal. http//www.artzinechina.com/dis tactical manoeuvre_vol_aid168_en.htmlYu Hongs10Yu Hong, born in Xian,China, 1966. 1995 earned MFA from the Central Academy of mulct arts, Beijing, China. Simple and practical(prenominal) are the two best words to describe her works. Initially, Yu Hongs paintings combine exceedingly realistic portraits wit unreal surroundings and colorationations, suggestion a sense of dislocation from the world. She presents her world and experience through works without any eccentric controls or ideas. Though paintings often correct a tranquil feeling, they absorb the implication of life.Her early work, Nude (1988) was against masculinity appropriation of the spectacle of womans body in the Cultural change. She portrays realistically, womans unclothed body, smooth and soft pose which present the touch and quality of female. Yu Hong reverses the customs dutyal moldiness-be female ascertain. She pull ins new woman body in front only with red high heel shoes. Chinese bear witnesss of the human body, clothe or semi-clothed, (in a furtive dirty word of specifically erotic pictures), are-to Western eyes-meager, non acquaintational and inadequate.11Angela Zito & Tani E.Barlow.The Body Invisible in Chinese Art?. Body, Subject & causation in China. Chicago The university of Chicago Press. at that place were no naked body kitchen stoves in traditional Chinese pictures, but here Yu Hong presented the naked woman body to represe nt the true nature and beauty of human form in hightail ited against masculinity of the body and tradition.Another type of presentation, like Hung Lius12Hung Liu, born in China on the eve of the Cultural whirling, 1982 earned her MFA in wall painting painting from the Central Academy of Fine Art, Beijing, China, immigrated to the United States later on and also earned MFA in visual arts from University of California, San Diego. She is interested in looking at how women existed in Chinese taradiddle for long time. Her works are touched(p) with the direful reality of womens status on China.As a Chinese woman and immigrant in the United States, Hung Liu chooses different ways to happen upon herself through looking back the Chinese hi tommyrot and portraying female issue on art work. Her paintings are based on late nineteenth and early 20th century Chinese pullulates. Some were taken by fore(prenominal)ign tourists, while others were taken by the Chinese. Often, the pictures a re of beautiful clawly molests. In traditional Chinese society, prostitutes belong to the low complaisant class and disdained by good deal. But, indeed, they play an important role during that period, especially for photograph art and portrait paintings.In her work, Odalisque (1992), she creates a massive altar to an anonymous woman, a secrete of the century Chinese prostitute. Hung Liu reclaims a place in history for the Chinese prostitute by transforming the small photograph into large scale painting. To the painting, with their flattened surfaces, Liu attaches wooden altars, on which she sets small jade-colored vases of glass flowers or fiddling embroidered shoes for bound feet. Like the beautify panels and the lifeless glass flowers, the prostitutes are stainless decorations, passive, powerless, and empty in a culture that traditional counted emptiness as a female virtue.13Kim, Elaine H.1996. Bad Women Asiatic American opthalmic Artists Hanh Thi Pham, Hung Liu, and Yo ng Soon Min. Feminist Studies, Inc. http//www.jstor.org/pss/3178131The traditional Chinese clothing of the woman secernates with the ornate, Western design of the sofa upon which she reclines and the flowered, Victorian-style backdrop. In addition, her gaze turns to the viewer and marks us conscious of viewers role as outside observers. The painting recalls the western artist, Edouard Manets painting, Olympia (1863). She touches a act that registers the encounter between a ultimo China and the trope of the prostitute, sexuality as commodity advertised through the relation of displayed body to the gaze of that Western technology, camera. I dont want their stories to be forgotten I dont want them to disappear without a trace. 14Kim, Elaine H.1996. Bad Women Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http//www.jstor.org/pss/3178131As she says, she intends to entry the anonymous women in history. Hung Lius painting combines weste rn aesthetics with Chinese subject matter (prostitute), a cross- ethnic plump that communicates her unique sense of beauty and perception to the viewer through extraordinarily secure handing of paint.Second, family and growing background are the prodigious influences to female artist when creating their works. Their works sometimes are revealed the images about family or puerility memory, and even extend to related personal expression and concern. Yu Hong, Witness to product (1966-2006), in which Yu Hong uses her own family photographs to create a self-portrait for each(prenominal) year of her life, and portraits for each year of her lady friends life. The idea and composition of paintings dwell deeply in her come to questions What is the tender expectation to female role in our society? How do these expectations build up the life of a woman? In this series of paintings, she not only narrates the story in how growing process, but also how society changes a womans life.Yu Ho ng discards an en soiastic and rational stand foring, but returns to the history by an imperturbable and clinical manner instead. Yu Hong chooses a newspaper or cartridge clip spread to complement each image of painting, and makes association between private and public area of her own life. Witness to Growth(1995),a painting of herself aged twenty-nine old age old, Yu Hongs daughter lying on her body, family burden (role of mother) and society change (modern woman) bring heavy pressure and make her reconsideration the meaning of gender role and test the balance between those roles.Next to the painting, artist places a contemporaneous China 1995 newspaper pointing women waiting for job chance. Chinese economy was flourishing rapidly during this period, and it also brought naturally competition in operative position. more women lost jobs, and many juvenility misss lost opportunity of education. Society change quickly marked negatively charged effect to female and dep rived of their chance. At this time, western feminism came into China women began to pursue their equality to men in society and also look for their female indistinguishability operator.This feminism trend aroused women to think about their roles between family and society as mothers and running(a) women. In contrast, one year-old Yu Hongs daughter, she seemed a new generation is growing. A new age is coming. The painting engages the juxtaposition of the weight unit of contemporary Chinas history with the simplicity of life in its virginst, most uncomplicated country of world. Here is a comparatively quiet life lived in the midst of an almost constant political, pagan, and economic maelstrom. Yu Hong provides the necessary retreat into ordinary that enables the promotion of life through the juxtaposition of the photograph and painting.Cultural Revolution was a pregnant historical event, especially rooted in state who grew up during this period. Hun Lius arresting reproduc tions of historical photographs of Chinese life, which address the cultural collisions she faced while coming of age during the decade of the Cultural Revolution in China. Personal items such as photographs were proscribe during Cultural Revolution, and her family destroyed most of their family photos out of fear. As a result, Hung Liu creates her paintings from anonymous photographs of historical China, particularly with reclaiming the lost histories of obscure women, has been powerfully influenced by the losses she and her family suffered.Many of her paintings account restrictive Chinese Cultural Revolution Scene and express her voice to against this history. Hung Lius painting, Three Graces (2001), the source photographs for this painting depict women in paramilitary homogeneouss in desperate poses, shown from below to give the appearance of great height and stature. These fighters for Maos cause carry primitive rifles as they work forward to engage in the revolutionary s truggle. During the Cultural Revolution, young students and young people were mobilized by Chinese government, called red keeps or Hong Wei Bing. The Hong Wei Bing traveled throughout China, going to schools, universities, and institutions, feast the teaching of Mao.They aimed to attack the old society (old ideas, cultures, manners, and customs) with violence, but indeed they followed blindly by governments propaganda. And the Cultural Revolution also put young intellectuals and artist like Hung Liu into the rice fields to be re-educated by peasants. Hung Liu chooses plain clothes feeble by the women in the pilot program photographs with flowers, multicolored in the traditional Chinese style.The drips of oil colour paint that enliven the paintings surface are a part of Western praxis with its reference to the personifications of beauty, charm, and grace. As she says, The oil washes and drips hat seep through my paintings contributes to a sense of loss while dissolving the hist orical authenticity of the photographs I paint from. Color is a way of making contact with subjects that are fading into the gray tones of history.15Going Away, advent Home 80 Blessings from Oakland Artist hung Liu. Port Of Oakland. http//www.museumca.org/press/pdf/Liu%20fact%20sheet%20fnl.pdfThrough this revolutionary background, Hung Liu had experience a deep touch. This painting not only looks for the memory of girls but also expresses Hung Lius feeling of the Cultural Revolution through the image and drip.Third, artists look for identifying womens importance and missing recognition of amicable status because women in society are always ignored and make to play an unimportant role. Indeed, they are actually as significant as men in our world. Hung Lius paintings often narrate identity and story issues. She documents in her art the forgotten lives of anonymous people, especially those of women. She tries to recall their erased identity from society and appear their stories and meaning of worldly concern back.Her work, We have Been Naught We Shall Be all(2007), a series of three canvases keen by bands to mimic widescreen film format, those works are inspired by Daughters of China (1949), a Ling Zifeng film based on the larger-than-life actions of a group of women officers and soldiers during the Sino-Japanese War. Hung Lius empathetic response to the final moments of the women, as they carry a wound comrade into the river to draw away antagonist fire from the Chinese Resi position fighters, brings to the fore the theme of personal sacrifice. The images of women are taken by realistic presentation, Hung Liu bases on original photographic image of film.She reserves womens face without any color and intends to stop their original identify and recall their heroic dignity, accompanied by respect. The paintings from left to right, it seems ancestral the moment and movement when women carrying the wounded body toward the front. Hung Liu uses the yellow c olor on three canvases, the background of left painting is food colouring yellow, yellow is on wounded body and womens figures of central canvas, and only little(a) yellow color on right canvas.Moreover, yellow symbolizes the sharp memory. Hung Liu arranges the yellow on three canvases perfectly along with womens action and moment. This presents a balance between image and time. Her art work is concerned about what has been lost in transport between female and history. Hung Liu desires to give those nameless women place in history, and she would like to identify those women as significant heroes in our society.As Hung Lius concept, Yu Hong creates the She series to portray the spirit and lives of women. The meaning of existence in our world is then recorded. Different career women have also played different roles to show their importance. She-security safeguard, Yu Hong arranges one photographic image picked by security guard aside with one oil painting make by her. The photogr aphic image is taken in front of the museum in her vacant time. Security guard wears white fit out with likely smile.In the photo, she raises her hand and poses YA. stubborn to the next, the painting shows her work place. She wears yellow ochrecolor uniform and concentrate on her job with highly respect. The light is the parking light seems jumper lead us to take a glance on her working place and tries to understand her work. Artist organizes this placement purposely and flavor to show the importance of security guard in society.Yu Hong depicts the portrait image to let audience snoop security guards life between working place and personal life. She is the individual with attribute no one can put back her in this career position. Yu Hong still presents her realistic style on paintings, and she intends to record different modern female in different levels of life. As she says, If life can move slower, people can notice and pay attention in every situation and experience. I wish life could be freed from the restraint, so the essence of real life could be discovered. 16, , . ,, . Enjoy the Life-Yu Hong. Febay.com. http//www.febay.com.cn/magazine/ArticleShow.asp?ArticleID=18433 (April, 2007)Yu Hong represents the reality of space on womans personal life and working life, elegant skills on portrait image, and female sensibility on womans experience. She also represents an inner desire of a female artist be accountable and conscious of womens brotherly status.Fourth, the present reality of sadness and pain of Chinese women who are suffering under a cruelly male-dominated world illustrate the image to challenge traditional patriarchy. In the works of Hung Liu, she has examined foot binding, practiced in China from the Song Dynasty until the beginning of the twentieth century. Many Chinese womens feet were bound from possess to artificially limit their growth, distorting them into small, twisted fists that were sexually attractive to men. The painful, d eforming practice of foot binding was used to make a Chinese woman walk in an extremely difficult way, but their mincing move were considered delicate and lovely. Bound feet left women handicapped, which also ensured that they remained subservient.Moreover, it stressed the quantify of appearance while making a virtue of covert ones pain and suffering, making it a combination of esthetics and cruelty. In one piece of her work called Bonsai (1992), Hung Liu dictated a photograph next to an anatomical reference line draught screening the cross-sectional of a human body flanked on either side by Chinese characters. The only decipherable physiognomic attributes in this nonliteral drawing are the heart, what appears to be a spine, and a suggestion of intestinal organs.What are most astonishing observations about this drawing are the absence of legs and the egg shape of the figure that almost mirrors the contour of the woman in the photograph. By placing these two images within the same interpretive context. Hung Liu has reinforced the judgement of the womans incapacitated movement. Womans physical movement had been modified by the mutilation of her feet in the same way that a tiny bonsai tree is bound to restrict its growth. She had been bound by Chinese societal and cultural practices as an object of male gratification. Hung Liu shows the Chinese aesthetic tradition with cruel reality in male- dominated society. She also presents how unfair beauty standards were to women in the long period.As a Chinese woman, the piece would make a you think about your grand grandmother or grandmother suffering this pain in order to satisfy mens taste and standard. Her art work is concerned about what has been severed from the surroundings. She touches the sadness and painful reality of womens status in China. As a woman, she uses her sensibility to depict and voice for womens gender role. From her paintings, not only narrate stories but also represent true reality in our society.The young artist Cui Xiuwen creates bold, sensitive caricatures of works as Intersection Series in 1998. In the piece, she records the full front side of a mans naked body and dressed a young girl holding a rose. The painting is also done in connection with Cezannes colorize and narrative story-telling and nervous relationship between female and male. Cui Xiuwen colors the girls dress and cut across on green color. Green color symbolizes the protection from fears and anxieties connected with the demands of others (men). The rose is stand for as girls pure virginity which is inviolate. Girls face also reveals innocence.On the contrary, man genitals are bit off by girls dog, blooding through his underwear. His extremely noble and shocking face shows on his face with opened mouth and big eyes. In traditional Chinese society, patriarchy dominates the world and power. Genitals are the symbol of patriarchy. Cui Xiuwen boldly challenges to patriarchic society and tries to reve rse the hearty position between female and male.In traditional Chinese art, art is confined to the men society. Women always played existence viewed characters men played viewer roles, but here, the artist breaks traditional art concept and reverses art presentation. The reversal shows Cui Xiuwens stance on the feminism. She makes up fictional story image to express her own dispute patriarchic desire. Intensive and extraordinary color and story throw a ample stone to the eyes of the audience. This also brings new dispute to contemporary Chinese society.Finally, concern about female and social issues, the year 1976 marked a shift in political, economic, and cultural policy, a shift that opened China up to the outside world. Afterward, society is changing rapidly. There are more and more social issues emerged such as teen-age crime and pregnant teen-age girl. Social value shifts to wrong path. Artists see this situation and use observations to bring the problem and question to aud ience. Yu Hong, she approaches new art presentation on judge and drop anchor.The works portrays some young girls practicing gymnastic exercise. Images seem transparent, but paintings neatly summarized a sophisticated thread of thought the artist has been developing over the years, and they express that thought in a way that ties the works visually to certain aesthetic principles found in traditional Chinese painting. As a group, paintings represent a fresh vision and a new level in artists oeuvre. for each one painting in the series depicts from one to three girls against a blank ground, readiness into contorted positions as they practice gymnastic exercise.Yu Hong bases the paintings on photographs she took at her daughters gymnastics class. The girls wear down in the mouth leotards in addition to some combination of tight dispirited pants, black and white striped shirt, and black slippers. As the artist has said, the paintings are all about girls doing artistic gymnastics. People, especially girls, have to change themselves to suit society. The images are a simple but highly effective metaphor for the place of young girls in contemporary society.17Erickson, Britta. Figure and Ground Yu Hongs Gymnastics series. Yu Hong. Beijing, China Loft.Although the students in Yu Hongs daughters gymnastics class range in age from six to teenage, the age of the girls portrayed in Figure and Ground is narrowed to about nine to twelve. Those are the years when girls move from childishness to puberty and begin to come under the heavy pressure of societys expectations. Teenage is a special period, and it is easy to lead a child to wrong path.Cui Xiuwens strength and certainty seems to have naturally transformed into a desire of the home, of having a family, and in a wish, difficult to admit but naturally inevitable, of maternity. This is what the images of her work, Angel, inspire. Artist approaches her own sensitive observation to current social issue related to youn g age girl. This work does not want to pick apart a social and universal situation. It brings up the cognisance and the realization of an individual as a singular feeling. Cui Xiuwen wants to express how a young mother, especially teen-age mother in China feels and what fears she has to face. She uses a young model to create strong emotions. Rows of white young girls, creep like girls, and the same girl reiterate over, and in the same state of pregnancy, but the figures are positioned at various scales, which express the different types of fear they have.Alone, staring at the horizon, scared and worried in a procession that goes from the Forbidden City and preserves on what can be a bridle-path such as the Beijing ring road o the expressway to the airport. This represents the time when society is changing, and girls are unable to go back to the prior time and have no choice but to go forwardt. They look at the front but only darkness is surrounding them.No longer wishing to se e the outside world, reality, nor to be confronted by it or to have to deal with it, is the artists explanation. falling pregnant has distinctly different meanings and implications at different ages of woman. Both for the woman and it terms of how the external world judges the fact. Do they applaud or condemn. Cui Xiuwen asks Can a woman choose to have a baby alone, single, because she bows to maternal instinct, and does not feel the need to be married?18Smith, Karen. Photo series Angel of 2006 and star day in 2004. Catalog of DF2 movement. Los AngelesDF2 GalleryCui Xiuwen brings the question to make the audience aware about the young pregnant girls problem rather than criticize her . She uses retrospective manner to represent the image on her works. Her works do not strike us, nor are they extraordinarily critical, but rather leave significant questions in our minds.ConclusionYu Hong, Cui Xiuwen, and Hung Liu though are being in different generation groups they all aim to repres ent female qualities and voice for women through their works. Yu Hong was brought into the world at the start of the Cultural Revolution in 1966, during which almost every aspect of Chinese life was being re-evaluated. When re-examining the historical evidence and cultural production of the period, it bring forths difficult to imagine life being brought into the world during such a period of upheaval. In many cultural products that are marketed as personal memories, the political economic situation is placed directly into the foreground of the narrative, and personal details become a way of contextualizing the nations story.Yu Hongs method of storytelling makes the personal much more central. Her generation, is a group existing between old (artists were trained as Russian realists) and young (artists were influence by emancipation movement) generations. Yu Hongs works always present old tradition concept (family as central start point) and new social concept which is related to so cial issues. Cui Xiuwen has been called many things-avant-garde, transgressive, feminist, controversial, and even over-the-top-buts never creatively stagnant. She is born a new kind of human, who grew up in a relatively open social environment and came of age in the increasingly more globalised knowledge age. Her paintings and later photographs are always with dog depictions of human sexuality and controversial issues, which present her ideas and feelings about the new modern society.But Hung Liu, she was born in 1948 in China. During the Cultural Revolution, she was sent to the country to work in the fields and be reeducated. Hung Liu studied the unexceptionable artistic style of Socialist naturalism while in China. After immigrating to San Diego, she in condition(p) that it is important for an artist to think and that art is intertwined with, not separate from life. Her works depict the cultural mixing that takes place when an individual moves to a new country and also realit y of hidden history in China. She much focuses on historical sources to present the image of reality. Three generation group of artists have their own unique presentations through their works and also are influenced on their own social backgrounds.But, female are the most important image and concepts of their everydayness of works. By focusing on a female rather than on a male, three artists challenge a tradition of patriarchy. In the art pieces, the narrator (three female artists) and the protagonists (female image in works) are all women. As such, they present the viewer with a distinctively female view of the world. In historical constructions, womens lives were superior generally touched only indirectly in contrast to their fathers, husbands, or brothers. Yu Hong, Cui Xiuwen, and Hung Liu show the womens lives being immediately influenced by the external world and also their existence and importance in our society.History, society, and family have been great influences upon th e development of female art in China. Because of the oppression that Chinese women have faced from a antique society, female art exhibit intense emotions of sadness, pain, and revolution against the male dominated Chinese social stratification. There are many paintings, and photographs that depict the detrimental state that Chinese women were in during the more rigid periods of Chinese history. Various works of art from photos to paintings show female opposition against various Chinese traditions that have oppressed their gender for generations.Many female artists who driven by extreme emotion focused on work that mirrored their sense of retribution against male dominance. Art work that feature females bend the tables on men are common among more liberal female artists. There is also a lot of work that defy traditional Chinese art that is also patriarchal. Such works make use of non-conventional materials and subjects as a way to challenge the male dominated norms. This shows an i mage of the Chinese female artist as someone who wants to break free from an dictatorial condition through the use of personal expression.The qualities linked with the use of the expression in art for them taking account of use of words importantly as the innermost artistic element, simplification, appropriation, representation of user or popular culture as well as art itself. The artists believe that art makes people realize the rectitude-at least the honor that is given to all to understand, and brings back eliminated women state in Chinese tradition.Chinese female artists have become more move to do art not only because of talent, but they beam reality and truth through art. In currently modern world, the majority is focusing on economic flourishing, globalization, and new technology. Most people have forgotten the essence of life and the simple things that make us live along with the many troubles of humanity and theses contemporary Chinese female artists, through explorin g modern art are still preserving the real essence of making art and what art means to them, and the female artists also discover their own experience and find an appropriate way of expression in Chinese art.In relation to this, the female artist thus gives superior importance to the role of women in Chinese society. Many daring works aim to recognize female part to the family, government, and society which goes largely undistinguished in past generations. Here the Chinese female artists aim to open viewers police van and minds to the true worth of the Chinese woman. deeds of art that show how important Chinese women are also tend to show how much they are taken for granted.The Chinese woman artist was also found to be sensitive with the changing times. As society evolved over years of political, economic, and social change, so did female artistry change with it. In fact, female art can be concluded to be much more versatile than Chinese male art which is considered more traditio nal and lasting to time. Another difference duly storied between male and female works of art in China was that females tend to express more depth and daringness in terms of depicting sensual subjects. historic period of yearning for equality with their male partners have also implied years of dissatisfaction with how males see telling rituals. The outlet of this repression can be ascertained with how meaningful and rich Chinese female works of sensual art are.The female artist takes her time to craft the entangled details that add flavor to a romantic scene. The female artist is able to bring out the humanity of a sensitive scene and does not confine the subject to feral lust. Instead, the focus is upon the intimateness of interaction that is not meant to sexually arouse but rather to emotionally move viewers. Lastly, the image of the Chinese female artist is one that is deeply devoted to the value of family. Influences from childhood memories can be seen in the works of many female artists and is regarded as a sense of personal beauty added to general themes.Those are the themes that provide the overall picture in which female art is framed. Chinese female art can be compared to a strong, demanding voice that echoes the grievances of an oppressed gender and outwardly shows how important it is and why people should take notice. It is forceful and bold, more than free to reject the norms in order to convey its meaning to an internal society that it deems as largely unsympathetic to their concerns. At the same time, female art is delicate and sweet, showing not intent to please but a true expression of beauty.Lastly, it can be concluded that female art is greatly influenced by changing times and each generation of female artists have their own issues to face which are reflected in the works that they produce. Despite female art showing the capability of female artists, it is also a representation of quality artistic work. These qualities contents highly e ssence of female touch and voice, and also produce with strong female expression through the artworks. Female art is not only made by female artist, on contrary, it is an art with enthusiastic female quality.These five categories of female quality present the sense of female beauty and expression, artists sensitivity of women, and extraordinary and beneficial handling of paint. Observe the female art movement in the western society and Chinese society, there is no col between them. In the west or China, the essence of quality of female art has maintained the same content and concept.In recently decade, female consciousness emerges and brings new concept to women. Women begin to understand themselves more and express their feelings to others. With a modern communication channel of awareness in Chinese contemporary art in the global market, Chinese female artist are enceinte that they leave behind reach their ultimate objective Chinese female artist must have a say. They will con tinue to explore and find a new way to express their art and voice for women, and the quality of female art will also get more thick themes.