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erbal expressions.  Here she juxtaposes this brutal aesthetic with clothing and utilitarian found objects.  Parts of women’s bodies adorn these quotidian things.  In this way the works criticize the modern consumerist culture that focuses on [the] female body and makes it the trifling object of fetishism and increasingly subjects women to market control.  Thus for Feng Jiali, the Resurgence of the Real means a return to the authentic existence of the female.

Niu An (Ann New) does paintings of female nudes that are almost lost in swirls of acrylic paint or of calligraphic ink lines, making her work as much about energetic mark-making as it is about feeling the sensuality of the women’s bodies — the latter emphasised by the emphatic explicitness of vaginal openings.  Alonzo Emery:

New sees the blending of gender roles and sexuality as a natural result of modern urban life.  ‘I myself am not a lesbian, but there's nothing wrong with me trying to understand women and to be close to them,’ she says.  This attempt to be intimate with her subject informs her artistic process, as well.  ‘I don't like to take photos when I'm working, because the process is about intimacy, it's about making love.  How can I let people watch or photograph that?’

In ink and colour Chen Yadan does ethereal pink and blue naked woman and infants floating in the air.  Shao Fei did a screenprint, The freedom, 2004, that is virtually a montage of some of Picasso’s cubistic female nudes.  Liu Hong has painted surrealistic posed female nudes, their style and content such as the wrapping around the heads eerily reminiscent of René Magritte.  Zhang Yaxi does very strong realistic or abstract sculpted naked female figures such as The gate of life, 2001, Pregnant (Fertility), 2001, and Standing woman, 2005.  Zhang Yongping paints large female nudes, playfully exaggerating their bodies and diminishing their heads in an artfully stylised way.  Zhang Tiemei painted images of naked women sitting and sprawling in a garden on her ceramic, The landscape of life, 1998.  Feng Qianyu exhibited light box ‘advertisements’ featuring female nudes, with what (if anything) was being advertised raising questions about the advertising industry, if not about the artist’s intentions.  He Chengyao showed herself topless at a table in her Play chess with Duchamp, 2001.

Liao Haiying and Zhu Bing play in various ways with resemblances between female sexual organs and flowers, fruit, and plants.  Of Liao Haiying it has been said:

With a passion that resembles that of the ancient rite of worship of the reproductive organ, she carved out strange striking variations of bonsai-like sculptures featuring the union of sexual organs.

Outside mainland China Lin Tianmiao made Initiator, 2004, an installation in which a sculpted frog held the incredibly long hair of a sculpted naked standing woman.  Chen Yanyin has used video images of female genitalia in her installation work.   Amanda Heng in her photographic series, Narrating bodies, 1998–99, appeared topless before photographs of herself and her mother, in an effort to overcome an estrangement that began when she took up art;  she and her mother appeared topless together in 2005.  Chang Hsing-Yu in her The song of skin ‘dismembered’ a female nude in the well-worn Western way by showing only her crouched back as a limbless and headless torso.  Again, Mei-Hua Lai and Yan Ming-hui see female sexual organs in flowers, fruit, and plants.  One commentator wrote of Yan Ming-hui:

From the half covered fruit core in Three Apples (1988), to the close up of the concave part of a plum in Plum Concerto (1988), from Tomatoes and Breasts (1990) to Wax Apples and Breasts (1990).  In all of these works, the artist symbolizes the vagina or describes the breasts, as an affirmation of the anatomical characteristics of the female body and the existence of its child bearing and nurturing function.  Going still further, she uses the flavor of sub-tropical fruit as a vehicle to praise female sexuality.  From 1990–1992 the ‘core imagery’ of fruit became flowers.

Yan Ming-hui herself said:

Often when I paint fruit it is almost as if I am painting a woman, it is just that I do not know whether I am painting other women or myself.  When I am painting, a powerful emotion tells me that I am painting women.  Sometimes, when men and women get along, men make women feel that women are like fruit, tasty, sweet, soft and juicy, but I placed grapes and breasts together completely as a result of intuition.  In my experience it feels like ‘eating grapes’.  I say this in praise of women.

4.  Bodily investigation
Psychoanalytically this can be thought of as rationalisation, and it is often therapeutic.  Twenty-eight years after Judy Chicago photographed herself removing a bloody tampon from her body in Red flag, and made Menstruation bathroom, Chen Lingyang graduated from art school in Beijing and ‘found herself in a period of withdrawal.  I had no job, little communication with my friends.  I would stay at home inside all day long.’   In such circumstances she became extremely aware of the cyclical rhythms of each day, week, month, year.  One result was that she took the dozen months in a year, her own dozen monthlies over that time, the ancient poetic concept of a dozen flowers in their seasons, and a dozen mirrors based on old designs also to be seen in the doors and windows of Chinese gardens.  Each month she had someone carefully arrange, light, and photograph her bleeding genitals in one of the mirrors, matched the result with the appropriate flower, and presented the prints on paper that is round, leaf-shaped, or fan-shaped etc.  She also made a video called the Menstruation Fairy, in which ‘a fairy godmother invades a modern office and with her wand strikes workers, both male and female, with the “curse”.’

Given her psychological state at the time one critic (Zhang Li) had grounds for saying that these works represent ‘the artist’s reckoning with the complicated emotions of selfhood.’   Chen Lingyang herself admitted:

In facing the real world, I feel that I am usually frightened and at a loss.  In public places and social gatherings, I always have to force myself to remain composed, I always have to suppress inner feelings of nervousness.  I have a serious sense of inferiority, and I don’t know how to handle my affairs.  I lack a sense of security when walking down the street, I even want to become invisible, because I’m so scared of people paying attention to me; however, with art, I have a definite level of freedom.  I can transform those feelings of craziness into creative interests, and don’t have to feel ashamed when facing the deepest aspects of myself.  In addition, I can also appreciate the wisdom and humor of others, at which I feel the value of being human.

Another way she found of coping was to invent Chen Lingyang 2, so that she could ‘play different roles in different situations.’  Zhang Li may have been right in saying that by revealing something conventionally kept hidden her work is ‘a roundabout way of expressing the pressures felt by women in a male dominated society.’   All that Chen Lingyang herself would venture was that ‘When people see this work in public space, it may provoke various reactions.  But the work itself also offers the possibility of dispelling such reactions…Only through the process of provoking and dispelling can new possibilities emerge.’

The female artist and curator Xu Hong’s comment is apposite: ‘To use the body as subject to confront this notion [of body as object — that the female body becomes an object of control and suppression] is the most real and powerful of artistic choices.’   Chen Lingyang did her first menstruation work, Scroll, in 1999.  It is noteworthy that in the following year a male artist, Xu Zhen, showed ‘menstrual blood’ dribbling down a man’s leg in Problem of colourfulness.  Was the artist subjectively identifying?  Was it a sign of the patriarchy crumbling?

Xing Danwen’s photographic series I am woman, 1994–96, shows a knowing, sexy, healthy and beautiful naked young woman, sometimes posed with what look like a young man’s naked legs close by; later there are pictures of a naked pregnant woman, and one of two naked people sleeping face down.  The sexual cycle is accepted as involving bodily enjoyment, cohabitation, pregnancy and eventually the birth of a child.  Gu Zheng considered this not only ‘the earliest images of nudity shot by a woman in China’s photographic history,’ but saw it as boldly rejecting the representation of the female body under the male gaze:

In an enclosed space, Xing Danwen, through rich and varied visual angles, tricky shadows, and interwoven female bodies, concocted a private space for women, intangible for others.  This pictorial space could only be shot with the mutual trust and interdependence of the women involved…By representing the woman’s body, Xing Danwen provided for the first time a concrete shape to the existence and advocacy of the new woman in China.

Xing Danwen’s Born with the Cultural Revolution series again shows a pregnant woman, who was a close friend of the artist and a collector of Mao Zedong memorabilia.  Xing Danwen wrote of the series, ‘Under Mao, there was no separation between the private world of the individual, the family, and the public political realm.’

Cui Xiuwen did a series of photographs of naked girls (and boys) around ten years old, which Karin Bergquist pronounced ‘evil,’ probably because of its paedophile implications.   In 2003 Cui Xiuwen painted a girl of around ten with her legs up to show her vulva, which raises the same concern.

Jiang Jie used mass-produced fibreglass figures of babies in installations, fully aware of the One Child Policy and of the widespread practice of abortion, especially of female embryos: ‘I felt it was something that touched my heart.’   In Magic flower she placed a plaster female figure on the floor and linked it with threads to the acupuncture points of a male figure, the cycle of sending and receiving reminiscent of Yin and Yang in Chinese philosophy.  Jiang Jie:

My mother worked in a hospital.  I often saw this medical equipment.  Subconsciously I built this fear of anything related to medical matters.  I am actually really frightened of the smell of the antiseptic.  I almost never went to the hospital.  When I was young, I would feel very nervous at the sight of a hospital.  When I saw a bandage I imagined the blood and the wound.  But that kind of excitement and nervousness were needed in my work…If I fear something then I will make works out of those fears.  That ranges from acupuncture to a baby.

In Men in parallel with women, 1996, she posed an armless plaster model of a naked woman next to a similar one of a man, as though to counter the usual assumption that nakedness asserts one’s individuality, by showing that it can emphasise sameness, even between the sexes.

Yang Yi named a 2005 series of her paintings Dantian, after supposed primal health and nerve hubs in the human body (hence Chinese stomach protectors, as worn by ‘Alice Mannegan’ on the dust-jacket of Nicole Mones’s novel Lost in Translation ).

A Taoist medical essay says there are three such ‘crimson fields (Dantian)’ in our body.  They are located three inches under the belly button (Lower Dantian), just underneath the heart (Middle Dantian) and in the space between the eyes (Upper Dantian).  The Lower Dantian is the location of the source of life (for men, it is the sperm centre and for women, the womb).  The Middle Dantian supplies the heart and the Upper Dantian stores our spirit of life.

In Yang Yi's delicate works on silk, she covers the Lower Dantian and the Middle Dantian of a nude female body with some meticulous depictions of Tibetan religious icons, thus forcing viewers to search into their souls for sentiments that are either innate, inert or confined.  She leaves the Upper Dantian for the viewers' imagination.  She states her points and leaves without passing judgements.

Xiang Jing makes sculptures in fibreglass, plastic and bronze of modern women including adolescent girls, life-size or smaller, naturalistic or distorted, including one of a naked young woman on the toilet, and in Your body, 2005, one of an older naked woman, hairless as though undergoing chemotherapy, and slumped in a chair with legs apart.  In each case the woman appears caught up in a novel realisation that this is what she is like, or that this is what life, in its various stages, is really about.

Yu Hong’s Nude, 1988, a realistic painting of a middle-aged naked woman in a full-frontal ungainly stance contrasted with the idealised academic nudes by male artists in that year’s China Nude Art exhibition.   In 2002 she did a pastel on paper series called A woman’s life: The art of Yu Hong, showing her at the ages of 2, 4, 6, 9, 10, 13, 21, 26, 27, 28, and 34.  The one of her at age 28 shows her standing naked examining her pregnant body.

He Chengyao, as a way (she says) of dealing with childhood memories of her mother stripping off in public, has often done the same, beginning with her taking off her shirt during another artist’s performance at the Great Wall.   Her 99 needles performance was a replication of her mother’s ordeal of an amateurish village attempt at a cure with acupuncture.  In Fish-woman she stood in the ocean holding a split fish resembling female genitalia, and in Public broadcast exercises she performed naked the calisthenics done collectively in schools and work units, but having wound tape around her body sticky side out, her movements were irregular and caused tearing sounds.   Sasha Su-Ling Welland described He Chengyao’s Figure series, 2004, as:

coloured-line sketches of nude female bodies contorted to fit into the rectangular frame.  One consisted mainly of a yellow pair of legs, forming a triangle composition on the canvas, seen from behind as a woman bends forward.  Her genitalia would be completely exposed except that the figure’s hands reach back to barely cover up this area.

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