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is one of ‘mutual (reciprocal) gaze’.  The ‘viewer’ and ‘the one being viewed’ can exchange positions anytime.  ‘They’ (the pictorial imagery) send out a strong hint: that we do exist, and moreover, we are capable of thinking in our own ways; we long for an equal relationship with the world.  Because such longings are often frustrated in real life, ‘they’ intentionally or unintentionally show expressions of loneliness, detachment, wonderment or even helplessness.

Liu Manwen sometimes paints naked female figures, perhaps with white paint on their faces like dancers in tribal ceremonies (compare Feng Jiali who gave her women bright pink faces ‘to illustrate,’ according to Sue Dewar, ‘the ambivalent and sometimes duplicitous nature of their roles’ ).  Xu Xiaoyu’s photographic work Super image – Guangzhou, sex product, made in China included a street poster advertising sex, and was one of a series of juxtaposed photographs that drew attention to the Westernisation of many aspects of Chinese life, and the Chinese manufacture of many consumer products for the West.

Yuan Yaomin places images of seductive and combative women over pictures of the terracotta soldiers from emperor Qin’s tomb near Xi’an, and paints women in sexy underwear incongruously wearing face-masks of the soldiers.  Yuan explained: ‘I remember visiting Xi’an for the first time as a university student…When I saw there was not a single female warrior, it led me to wonder [about] the long history of inequality between the sexes in China.’  ‘The main thing is to attract the viewer’s attention.  Then people will see that my paintings are a challenge to a world dominated by male power.’   In 1995 she did a series of a pair muscular women being sexy together.  Gao Xiaolan, in bra and G-string, asked viewers to write ‘woman’ or ‘female’ in their language in lipstick on her body.  Zhang Jihong has written Chinese characters on cards while naked in a performance piece.

Not all of Fu Xi’s work is sardonic, but her 01, 2005, is a painting of a skinny woman sitting back on her heels and naked except for a pair of red high-heeled shoes and a bra with big red plastic flowerpots for cups.  As well as anorexic nudes she does overweight ones with drooping bellies, all marked and scarred as though battered, which takes away any sense of fun.

In 1990 in Berlin Qin Yufen performed Painting happening naked, playfully smearing paint on herself and on paper spread on the floor.  In Kan Xuan’s 2001 video, Looking, looking, looking for…, a spider explores all the recesses of a naked man and woman lying side by side.

Yin Ling was born in 1978 in Taiwan, and grew up in Japan.  A model and actor at sixteen, she met a Russian photographer named Hiraokanovsky Kuratachenko when she was nineteen, and they began collaborating on performances and photography that are sometimes political and always erotic.  In Let lovemaking lead the world towards peace anti-war slogans are written on a dressmaker’s female dummy; in another work a clothed Yin Ling poses in front of a sign reading: ‘People from various sectors in the motherland strongly condemn Japan's Koizumi visiting the Yasukuni shrine.’

Discussion
For Chinese female artists the unclothed woman is a sign of their new liberty, of their freedom to fantasise, to discover what they are like, to experiment with who they are, to be honest about themselves and their desires and needs, to find new identities as individuals in a capitalist economy.  In their authoritarian society, where governments do not speak truth to the people, and the people cannot speak truth to governments or to each other, their portrayal of the naked body is a powerful example of candour, and a resounding condemnation of secrecy and hypocrisy.

That so much of their work is similar to the Western tradition of the nude is not surprising, for they live in a patriarchal society, and have inevitably absorbed prevailing attitudes about appropriate behaviour for women and approved notions of what constitutes art.  Even when they rebel against that conditioning they may still choose to exercise their new freedom by making art that offers the female body as a passive and available sex object for the gaze of heterosexual men.  They may do so because that is the art that sells, or because it is in line with their own fantasies, or because they think it is the most challenging gesture they can make against their parents, teachers, government etc.

Lynda Nead wrote that Western feminists of the 1970s fought ‘for representations of the female body that express women’s identities, desires and needs.’   We can conclude that so do many Chinese female artists now; but the dominating patriarchal culture of China is somewhat different:

(a)       China maintains, officially and with many tokenistic gestures, that there is already equality between the sexes
(b)       China’s official art history does not boast a long tradition of the nude, male or female
(c)       It is only in the past fifteen or twenty years that sex, the body, contraception and prophylaxis, and bodily functions in general have been re-allowed into public discourse, including their representation in art
(d)       Extreme overcrowding in most places makes heterosexual sexual relations extremely difficult and often impossible, even between married people, but encourages and facilitates (because of the widespread sharing of beds) same-sex sexual relations
(e)       China has a One Child Policy
(f)       There is a long history of female infanticide, now changing into the termination of a high percentage of pregnancies when ultrasound scans reveal a female foetus; with the resulting surplus of 41 million men (on the way to 120 million), Chinese women can afford to luxuriate in their privileged position, to primp and plump themselves, to shop around and to take their time until the very best father for their single child comes along; the shortage of women may also explain the Communist authorities’ tolerance of prostitution, with hundreds of thousands of brothels masquerading as beauty salons, barber shops, truck stops, and karaoke bars throughout the country, one estimate being that in Shanghai there are more than 100,000 female prostitutes, equal to the number before 1949
(g)       There is an expectation that all women should participate in the (under-)paid workforce
(h)       Female artists, feminists and non-feminists alike are able to draw inspiration from Western feminist or feminist-inspired works of art produced over the past forty years
(i)       Traditional erotica in China shows ‘people indulging in every single aspect of sexuality to a mutual satisfaction.  This is quite different from the erotic imagery in many other cultures where there is often an element of violence, particularly violence against women.  In Chinese erotic art one does not see that…It is a culture that traditionally adored sex, with all kinds of rationales and philosophicals as to why one should have sex.  There was the belief that sex existed for both genders, not just for the gratification of the male’

Nead saw two historical periods in feminist art in the West.  The objective of feminist art in the first period ‘was to transform woman from the passive object of representation to the speaking subject.  Feminist art articulated the right of women to represent their own bodies and sexual identities through vaginal imagery, performance work and the body, the representation of previously taboo subjects such as menstruation and so on.’  Much of it implied a ‘universal category of “woman”.’

The theory is that women have a womb, menstruate, become pregnant, lactate, have pre-menstrual tension, go through menopause etc, and that therefore they live inside their bodies, identify with their bodies, and take a greater interest in their own bodies than in men’s bodies, and a greater interest in their own bodies than men do in theirs; and this all makes them closer to nature than men.

Maryse Holder wrote, ‘Women are more interested in sex and sexual relationships.  And women are discovering themselves.  It is therefore not surprising to find that their work is often biomorphic, sexual, narcissistic, and mythic.’   And Gill Saunders wrote, ‘In many ways the female nude is a natural and inevitable subject for the woman artist; women have a stronger awareness of their bodies than men: their physical cycles are more insistent…’   Pam Meecham and Julie Sheldon: ‘…women have historically been seen as in thrall to their bodies to the detriment of their mental development.’

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