Illuminating Shadows: The Contributions of Women in Chinese Art History
The history of Chinese art is rich and multifaceted, yet the contributions of women artists and art historians have often been overshadowed or neglected. Although women were actively engaged in Chinese art, from ancient times through the dynastic periods to the pre-1900 era, excelling in calligraphy and painting, and even sometimes gaining recognition in imperial courts, their achievements were often underrepresented in historical records. During the early 20th century and after the establishment of the PRC, women began to gain more recognition and opportunities, yet they remain underrepresented in the art scene even today. According to a survey by The Art News (Chinese Edition) (TANC, 2022), exhibition plans from 47 modern and contemporary art institutions in mainland China showed that as of March 1, 2022, only 14.8% of exhibitions featured women artists.
This session aims to explore and illuminate the roles, influences, and artistic expressions of women in Chinese art history, as well as the pivotal contributions of women art historians. By bringing together scholars from diverse backgrounds, we seek to foster a comprehensive understanding of women’s impact on Chinese art from ancient times to the contemporary period.
We welcome papers that examine the historical contexts that shaped the lives and works of women artists in China. We seek analyses of the artistic contributions of notable women artists and their influence on Chinese art. We also aim to highlight the contributions of women art historians in uncovering and promoting the works of Chinese women artists.
Session Convenor:
Xue Li, Edith Cowan University, Australia/Luxun Academy of Fine Arts, China
Speakers:
Sarah Wilson, University of London
Chang Sana: more than the ‘unsung heroine of Dunhuang’
Chang Sana, born 1931 in Lyon, France, left Paris with her artist father ; his aim was to save the Mogao caves in Dunhuang (many treasures already displaced to France and Britain) Despite retrospective exhibitions such as ‘Everlasting beauty of Dunhuang’, (Tsinghua university, 2019) and her Beijing retrospective of 2024, her individual contribution to Dunhuang scholarship has not been evaluated formally or contextually in the West, nor her participation in art institutions and structures during the Mao period of the 1950s. This followed a study in Boston and a turn to applied art thank to her relationship with Lin Huiyin, China’s greatest female architect. Chang Sana, was behind the ceiling design of the Great Hall of the People, Beijing…Was she behind the Golden Buahinia Flower monument marking Hong Kong’s reappropriation by China in 1997? Chance meetings in Dunhuang with Chang Sana, and her friend the renowned French sinologist Christoph Commentale, in conjunction with her great age endow this study and rehabilitation of a great female 20th century artist with urgency.
Tiange Zhou, Beijing Normal University School of Future Design, China
Poem, Ink, and Strings: The Multifaceted Artistry of Chinese Women in the Qing Dynasty
This research explores the multifaceted artistic achievements of scholar-official class ladies in Qing Dynasty, especially focuses on 胡相端（Hu Xiangduan),also known in her courtesy name 胡智珠（Hu Zhizhu）, an important scholar-official class women character during late 18th to mid 19th century China . Hu was known for her poetries and superb instrumental skills, which has made significant contributions to the cultural scene. Her works in《抱月楼集》(“Collection of Baoyuelou”) and 散花天室稿 (“Manuscript of Sanhua Tianshi”) show her dedication and accomplishments in poetry, music, and fine arts. Hu’s spouse, a scholar official 許蔭基 (Xu Yinji), had shown her great affection and they collaborated on art and publications. Meanwhile, Hu Ruizhu was regarded as an influential instructor for female artists of the time, teaching Guqin performance, calligraphy, and poetry in her Baoyuelou home. Her notable disciples include 师妙孁(Shi Miaoling) and more. In addition to enhancing the cultural legacy of Qing Dynasty women, Hu Xiangduan’s life has profoundly questioned the gender standard of the time. Thus, the purpose of this essay is to examine Hu’s life and accomplishments as well as her impact on the context of Qing women’s art making and education, along with a vivid picture of Qing dynasty female artists submerged by stereotypical art history.
Xiaofen Xue, University of Shanghai for Science and Technology, China
The Overlooked Talent and Value: A Study of the Female Perspective in Ming and Qing Flower-and-Bird Painting
This study conducts an in-depth analysis of the relationship between flower-and-bird painting and female identity during the Ming and Qing dynasties. It argues that this genre served not only as a medium for female painters to construct their identities but also as a significant avenue for self-expression. By examining the selection and combination of subjects within these paintings, it becomes evident that female artists emphasized themes such as motherhood, love, and the flora, fauna, and domestic life of the boudoir—subjects frequently overlooked by their male counterparts.
These artworks create a spiritual and perceptual realm that mainstream male artists often find difficult to access. Through a detailed analysis of the artistic forms employed, we can appreciate the meticulous observation and unique interests that female artists bring to their work. They adeptly integrate flowers and birds with their backgrounds, vividly depicting their interactions. This not only enhances the vibrancy of the images but also imbues the works with a rich narrative quality. The paintings produced by female artists frequently exhibit delicate and profound emotional expression, oscillating between light sorrow and dynamic, liberated emotions.
In the context of a patriarchal society, these creations face various constraints, and the interplay of personal emotions and life experiences distinctly contrasts with those found in male artistry. Finally, this study further examines the unique perspectives of Ming and Qing women painters within a historical framework, emphasizing the intricate layers, influences, and insights they contribute to the evolution of Chinese art history while highlighting the new possibilities they present for contemporary artistic practice.
Lin Zhang, University of Exeter
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She-Legend: Pan Yuliang’s Works and Her Life
Pan Yuliang is a household name in China, celebrated not only for her dramatic twists in her life but also as a trailblazer in modern Chinese female art and a key figure in fostering cross-cultural exchange between Chinese and Western art. Despite her prominence, practice and research on Pan Yuliang, especially in the context of art history education and visual arts learning for children and families, remains limited— perhaps due to her controversial background as a former prostitute.
This paper addresses this gap by employing a practice-based methodology to design, implement, and evaluate a hybrid family learning project titled From Tongcheng to Paris: Pan’s Journey of Chinese and Western Art. The project, aimed at children aged 8-16 and their families, based on the exhibitions and artifacts from three significant museums—the World Expo Museum, Anhui Provincial Museum, and Liu Haisu Art Museum, to create an engaging educational experience for children and their family members.
By engaging participants in Pan Yuliang’s life and artistic contributions, the project seeks to demystify her legendary persona and present a more nuanced understanding of her real-life struggles, artistic innovations, and historical significance. Furthermore, it explores Pan’s lasting impact on both Chinese and global art from an international perspective. The findings demonstrate that this project not only an enhancement in participants’ art criticism and appreciation skills but also contribute to the enrichment of academic research and pedagogical practices concerning Chinese women artists.
Miaotong Yuan, Communication University of China
Echoes of Empowerment: Chen Yanxi, China’s First-Generation Female Recordist
Chen Yanxi, a trailblazing female recordist in the annals of Chinese cinema, has left an indelible mark on the Chinese film industry through her unparalleled expertise and relentless dedication. This research endeavour delves into her life narrative, career milestones, and industry influence, with a particular emphasis on her unique contributions to film sound recording and her pivotal role in advancing Chinese cinematographic art.
Born on August 27, 1923, into a well-to-do family in Beijing with ancestral ties to Shunde, Guangdong Province, Chen Yanxi harbored a profound love for literature and the arts from a tender age. Her passions ranged from immersing herself in novels and music to actively participating in theatrical performances. While her initial aspiration was to pursue engineering, the barriers against female admission into engineering colleges steered her towards studying at the Physics Department of Peking University’s Science College.
Upon graduating in 1943, Chen’s destiny intertwined with film sound recording as she was assigned to the Production Institute of North China Film Company. Her career trajectory began at this institute and later flourished as a sound recording assistant at the Third Studio of the “China Film Corporation” in Peiping. Post-liberation in 1949, Chen made groundbreaking strides by becoming the first female recordist at Beijing Film Studio, where she contributed to the sound recording of the seminal news documentary, “Chairman Mao’s Arrival in Peiping.” Chen Yanxi’s reputation soared in the film industry through her work on numerous classic films, including “A Million Strong Forces Crossing the Yangtze,” “Longxu Ditch,” “Blessings,” and “Teahouse.” One of her most esteemed achievements was her role as the live recordist on Tiananmen Square for the founding ceremony of the People’s Republic of China in 1949. Despite formidable technical challenges, Chen’s exceptional skills and unwavering commitment enabled her to successfully capture the audio of this historic occasion.
This paper scrutinizes Chen Yanxi’s contributions and pioneering status as China’s first modern-day female recordist. By employing historical analysis and primary source materials, the study underscores Chen’s groundbreaking endeavours in the male-dominated realm of audio engineering during the mid-20th century. It scrutinizes her innovative techniques, relentless pursuit of perfection, and the profound impact she has had on subsequent generations of female engineers. Furthermore, the research delves into the broader societal and cultural contexts that influenced Chen’s career trajectory, encompassing gender roles, educational opportunities, and the evolution of the recording industry in China. By exploring Chen Yanxi’s artistic pursuits during pivotal moments of technological advancement and female empowerment, this study offers invaluable insights and inspiration for the progression of the global recording arts.
Ina Choi, University of Pennsylvania, USA
Embracing Realism: Hung Liu’s Intermediality as Feminist Solidarity Beyond Politics
This paper aims to explore the photo-paintings of Chinese-born, U.S. immigrant female artist Hung Liu by engaging with the context of post-Maoism toward transnational/global capitalism. As an individual of the Cultural Revolution generation and a diaspora artist of the post-Mao era living in the U.S., her works run parallel to China’s crucial moment of transition from post-socialism toward global capitalism. The discourses on contemporary Chinese art in the global art world straddle a transitional moment, characterized by a predominantly male-oriented landscape of makers and distributors. Liu’s work runs parallel to this context but does not conform to such categorizations. Instead, it offers complex approaches to rethinking art, history, theory, and politics.
Her choice of specific figures for artistic inspiration—such as 19th-century Chinese prostitutes, comfort women, orphans, and migrant workers—reflects a deliberate commitment to addressing overlooked histories and human experiences. This paper explores how her visual language is deeply rooted in a rich history of realism and representation, spanning from 19th-century Europe to Soviet realism and earlier Chinese painting. Untangling this visual and historic memory reveals how her portrayal of realism testifies to the intricate nexus of power shaped by colonial, ideological, and gendered legacies. I argue that she does not reflect the past by merely “creating” objects; rather, she stays “with” them, emphasizing that both the artist and viewer are integral to the artistic practice. This cohabitation of material properties fosters an aesthetic solidarity that points “beyond” the norms of art and politics.
Guo Fengyi, University College London
Feminine space and expand the Openness of Thirdspace of Chinese Apartment Art in the Early 1990s
In 1990s China, small avant-garde circles emerged in major cities, particularly Beijing, where artists created and exchanged artworks in private spaces, predominantly homes. Gao Minglutermed this phenomenon “apartment art” (公寓艺术). This paper applies Edward Soja’s concept of Thirdspace—which refers to the actual space of everyday life, characterized by features such as othering and marginality—to examine the femininity in these spaces and its role in expanding the openness of Thirdspace. The study focuses on the works of female artists Yin Xiuzhen and Lin Tianmiao, whose innovative use of materials, particularly thread, has come to symbolize a distinctly feminine artistic language. While thread is traditionally associated with spinning and weaving—domestic activities often gendered as female.
Unlike the more explicitly feminist stances often seen in Western art, apartment art spaces integrate feminine elements and domestic themes without overtly challenging gender norms. This approach does not imply an acceptance of traditional Chinese definitions of femininity. Instead, it reflects the social definition encapsulated in the slogan “women can hold up half the sky”, which posits women’s equality with men. This paper argues that apartment art, by integrating feminine elements and domestic themes without overt confrontation, aligns with postmodern spatial feminism’s goal of moving beyond the Man/Woman binary. In doing so, it contributes to a more nuanced understanding of gender representation in contemporary Chinese art.
Tianyi Zhang, Arizona State University, USA
Women Under Fire: Chinese Female Artists and Their Role in Wartime Narratives, 1931-1945
Art that was both inspired by and reflects the struggles of war often mirrors the cruelty of war — not just as a response to the physicality and destructive forces of war, but also as an investigation into the lived experiences of its participants. Although there are many examples of artworks by distinguished male artists in China which are widely known and studied, many lesser-known wartime works by female artists remain covered by a veil of obscurity. The analysis, presentation, and preservation of wartime art by women artists is fundamental to gaining a deeper understanding of women’s experiences during wartime. Paying greater attention to these artworks also serves as an essential exploration of the impact of war on the development of women’s art in China. This paper examines women artists working across different political zones and practicing various artistic styles during the Second Sino-Japanese War in China. My paper will further analyze the forms, objectives, styles, themes, and content of their wartime art from a primarily gendered perspective. It also explores the political, cultural, and historical contexts, as well as the social trajectories that encouraged the diverse production of these profound pieces. The challenges and hardships brought about by the war are deeply embedded in their artistic production during this time and beyond. Since war is an inevitable topic in the study of modern Chinese and world art history, this study is crucial to the discourse of the development of women’s art in twentieth century China.