回顾中国文化艺术史,容易被大家想起来的伟大的女性艺术家寥寥无几。问了身边的一些朋友,除了词宗李清照之外,几乎很难再举出第二个例子。造成这种结果的原因比较复杂,但主要原因是在整个中国文明史中,与处于“强势地位”的男性相比较,女性艺术家拥有的机会是少之又少的。而在这样已然很不公平的前提条件下,更为冷酷的是“伟大”的评价标准完全建立在男性中心主义的话语习惯之上。中国艺术进入当代,无论在人数,影响力以及市场上,男性艺术家都占据着绝对优势, There are only a handful of great female artists who recall the history of Chinese culture and art and can easily be remembered by all. Asked some friends around, in addition to Ci Qingzong, it is almost impossible to cite a second example. The reason for such a result is complicated, but the main reason is that women artists have very few opportunities in the history of Chinese civilization as compared with those in a “strong position.” What is even more cruel under the already unfair preconditions is that the evaluation criteria of “greatness” are completely based on the male-centered discourse habits. Chinese art into the contemporary, both in number, influence and the market, male artists are occupying an absolute advantage,