The role of women in Chinese society and culture

Belova Dar'ya Nikolaevna PhD in Philosophy Associate Professor at Moscow State Institute (University) of International Relations of the Ministry of Foreign Affairs of the Russian Federation 119454, Russia, Moskovskaya oblast', g. Moscow, ul. Vernadskogo, 76, kab. 4105 darinda2006@yandex.ru Other publications by this author

The journey of a thousand li begins with one step.

Lao Tzu

The history of Chinese culture has more than 5,000 years and is very diverse. Chinese civilization is known for its art, science, sophisticated painting and printing techniques, fine ceramics and sculpture. Chinese language, literature, philosophy and politics influenced the formation of other cultures, in particular Japan. Chinese culture managed to maintain its unique identity until the middle of the XIX century and even after the penetration of Western trends.

Modern Chinese culture is a fusion of traditional and Western cultures, liberal values and Western philosophy, based on the harmony of yin and yang, which is clearly manifested in the architecture of cities where skyscrapers are adjacent to historical buildings, Western fashion with traditional Chinese qipao clothing, and dim sum with McDonald's.

Chinese culture was influenced by Confucianism, Taoism and Buddhism. Confucianism promoted "ren" (love) and "li" (rituals) symbolizing respect for society and social hierarchy, Taoism advocated a contradictory and complex philosophy of inaction, Buddhism emphasized the need to achieve personal liberation.

In Confucianism, it is believed that relations between people are unequal and everyone must fulfill a certain role – ruler, subject, husband, wife, father, son. "Confucianism emphasizes that people are divided into noble and low, rich and poor, it recognizes the power of the ruler and demands a "division of labor." Accordingly, a man acts outside the family, and a woman acts within it" ^{[1, p. 135]}. Natural inequality must be accepted and supported in order to create harmonious and stable relationships between people. The Confucian ethics of obedience and responsibility influences many aspects of behavior and attitudes towards virtues. The Chinese definition of duty and social cohesion is embodied in the principle of "li" – reverence and ritual. The Confucian concept of "filial piety" demands from a person respect and devotion to parents and elders, recalling the cult of ancestor worship.

The ideal political and social system in the state was seen as a repetition of the family model only on a larger scale. Early Confucian texts provided the ideological basis for this model, arguing that moral education should begin with the family, responding to the needs of society. The philosopher of the Han era Dong Zhongshu believed that wives should listen to their husbands in the same way as the children of fathers, putting marital relations below the relationship of father and son, and the thinker Zhu Xi supporting this attitude, stated that children are obliged to respect both parents, but the father is always above the mother. They insisted that it was the prerogative of women to run a household, because men's duties are much more important and responsible, so men should dominate women. In the northern Chinese provinces, women had business connections and solved family issues themselves in court. The role of a woman was not always marginalized, she focused on specific tasks. Confucianism fixed fidelity in marriage for a woman, not for a man. The general goals of the family, such as achieving financial well–being, the success of children, were allocated to separate areas controlled by either the wife or the husband "respectively, the man acts outside the family, and the woman acts within it" ^{[1, p. 135]}.

Even the poorest parents are willing to do anything to ensure a good future for their children, and since they were allowed to have only one child (due to state policy, instead of five or seven in a traditional family), he became the focus of all their hopes, ambitions and love. Traditionally in China, boys were valued above girls^[1], since in many cultures associated with agriculture, men bore the main burden, and women were engaged in the home and family. The daughter went to her husband's family after marriage, and the son stayed in the family and provided for her welfare. Modern Chinese culture is in a unique position between ancient traditions and modernization.

Many young Chinese women prefer to pursue a career as a businesswoman rather than becoming housewives. In the West, this is a common phenomenon, but in China, where a couple of generations ago women were completely disenfranchised, it means social changes. Over the past decade, Chinese women entering universities have been gaining power and status, which is an unintended consequence of China's "one family, one child" policy. In 1970, China's population grew at a rate of 23.83 per thousand people. or about 30 million births per half of the UK population per year. In 1979, under Deng Xiaoping, the government decided to introduce a brutal policy of social birth control, in which urban couples (about 20% of the population) should not have more than one child. Those living in the village were given the opportunity to conceive a boy if the first child was a girl. The law was "strictly" observed: fines reached up to ? 4,000 (salary in China for several years), ostracism, the threat of job loss, even forced abortions. However, there are many loopholes for those who have the right connections (population growth has halved). It is now that the consequences of this strategy have become noticeable: gender imbalance, aging of the population, a decrease in the working population, a sudden increase in the status of women, as well as the emergence of a generation of spoiled, overly selfish single people.

With the development of technology, women have many opportunities to provide for themselves and even earn more than their husbands. The gender preponderance towards men leads to social problems, such as an increase in crime, including on sexual grounds, an increase in prostitution, kidnapping, increasing the degree of aggression in general. Since the introduction of the "one family – one child" program, official statistics of selective abortions have appeared, in which female embryos were actively disposed of, therefore restrictions on ultrasound and a ban on selective abortions, punishable by fines, were introduced. Girls were left in orphanages in the care of the state, and the growing number of male children worries the Chinese authorities^[2]. In the past, girls often had to drop out of school to start working and support their family. Currently, they have all the opportunities that boys get. Modern Chinese women, who have a large choice of partner and husband, become very picky and demanding about the status of a man, his income level and personal qualities. Many men claim that they have virtually no chance of entering into a marriage union, because their financial situation is very modest, and the demands of women are overstated.

The marriage union is influenced by the poorly developed construction of social relations in China, until 1949 marriages were concluded by agreement, hindering the development of a culture of personal relationships (acquaintance, communication). Women are striving for education and career growth and are ready to remain "unmarried", "old maidens", "not in demand" after 27 years, which leads to a paradox – the higher the education of women, the less often they get married. Gender imbalance is currently increasing among young people with a low birth rate, because a large number of newborns are boys, which is typical for rural areas. Many women from villages leave for cities to find work and establish a personal life. Marriage is also affected by the huge gap in the level of education and culture between rural and urban populations.

Since all the attention of parents is focused on children, their desire for success sometimes becomes unbearable, which is reflected in the problems of children who are often completely unsuited to life – they recite poetry of the Tang and Song era by heart, but are not able to "tie their shoelaces", being the first generation of Chinese who are overweight and eat big macs, coca- coke.

Previously, marriage was often reduced to a housing issue, because all housing in China was allocated by the government. A single woman could not get an apartment, she had to choose between living with her parents or getting married. Currently, housing construction in the private sector has grown and women can have their own living space, which means freedom of choice. In the sixties, birth control pills revolutionized, freeing Western women from unwanted pregnancies, similarly influenced Chinese women by state-imposed fertility control in China, giving them the opportunity to receive higher education, employment, and not carrying children.

Another consequence of the "one family – one child" program is the increase in the number of divorces – in 1987 580 divorces were registered, and in 2020 3.73 million (according to Nikkei Asia). This is explained by several reasons: men are looking for ways to circumvent the birth control program and produce a long-awaited son, and women are not satisfied with this. The latest data from the national population census, published in May 2021, showed that the number of newborns in China last year was 12 million, being the second lowest since the founding of the People's Republic of China in 1949 (according to www.english.scio.gov.cn ).

China's Constitution guarantees women "equal rights with men in all spheres of life," and over the past few decades, women in China have made notable strides. Equal access to health care and education are key indicators of gender equality.  

Improving the health indicators of the population is primarily based on government initiatives. Shortly after coming to power in 1949, the Communist Party created a state health care system, which was transformed in 1980-1990 due to new economic conditions. In 2009 Chinese President Hu Jintao initiated comprehensive healthcare reforms so that everyone could use basic medical services for free. As of 2012, 95% of citizens receive a basic level of medical care and this turned out to be enough to improve many health indicators of the population and reduce mortality in different age groups. In the pharmaceutical industry and in the production of medical equipment, China demonstrates the highest growth rates in the world. In terms of the absolute size of the industry, China is catching up with Japan and is second only to the United States in terms of (according to www.medvestnik.by ).

In September 2021, the State Council of the People's Republic of China published two programs for the development of women and children in the country for the next decade. The document establishes access to medical care for women until the end of life, as well as equal rights with men in the economic, political, educational spheres, social security (according to english.www.gov.cn ).  

According to the World Bank, the maternal mortality rate in China decreased from 97 deaths per 100,000 births in 1990 to 27 deaths in 2015. This ratio exceeds that of other large developing countries, such as Brazil (44:100,000) and India (174:100,000). In OECD countries, an average of 14 deaths per 100,000 live births, while Finland's figure is 3: 100,000. The Government has also taken steps to improve postpartum care. A law introduced by the State Council in 2012 increased paid maternity leave to 14 weeks, and in some provinces – up to a year. In 2016, maternity leave was extended for another one to three months (depending on the province). The duration of maternity leave is now comparable to the paid leave that exists in many European countries, in the United States there are no such vacations at all. Pre-pregnancy screening became the main public service in 2019 and is provided free of charge. In the coming years, it is planned to reduce the infant mortality rate for children under 1 year to below five per thousand, and for children under 5 years - below six per thousand (according to www.english.scio.gov.cn ).

The life expectancy of Chinese women born in 2020 will be 79.41 years, which is 6.4 years more than in 2000, and by 2050 it is predicted that Chinese women will live to 83.45 years (according to www.statista.com ).

In 1986, China introduced the law "On Nine-year compulsory Education", and in 1995 the "Law of the People's Republic of China on Education", establishing equal access to enrollment, degrees and study abroad programs for both sexes. These measures helped to increase the literacy rate of women from 86.5% in 2000 to 92.7% in 2017, but China is still at the bottom of the world ranking, significantly lagging behind highly developed countries where literacy exceeds 99%.

The average length of schooling for women has increased from 4.8 years in 1990 to 7.6 in 2017, and primary school enrollment is universal. The vast majority of young Chinese women (95.9%) go to secondary school, which is higher than the global average – 88.3% for primary education and 75.9% for secondary (according to www.hdr.undp.org ). Since 2008, Chinese women have received higher and postgraduate education more often than men. According to the Ministry of Education, in 2017 there were 52.5% female undergraduate students. In China's leading universities, the gender ratio is still biased towards men. In 2018, the ratio of women to men at Peking University was 48 to 52, at Tsinghua University – 34 to 66. The Government is working to reduce the gap between rural and urban residents in the field of education, introducing continuing education even after 60 years. Today, a woman should play both a traditional role, taking care of the house, children, parents, husband, and a modern one, achieving success in various fields, including political.  

Out of 95 (as of 06/05/2021) million members of the Communist Party of China, 27.5 million are women – this is 30%. The 13th National People's Congress (NPC) of China was attended by 742 women out of a total of 2,975 legislators or 24.9%, which is the highest figure in the history of the legislature.  These figures inspire some optimism among Chinese women, but gender equality is still far away.

The majority of women join the party at university or at work if they want to move up the career ladder. Without having previously taken a position in a local government or a party cell, a woman will not be able to get an appointment in the highest echelons of power. In leadership positions, women often work on purely "women's issues" – health, family, etc. Paradoxically, the lower retirement age for women in China limits their opportunities for promotion – 55 years for female civil servants and employees of state-owned enterprises and 50 years for all other working women, men retire at the age of 60.

Women make up a small percentage of political decision-making bodies around the world, not just in China. As of January 1, 2021, only in Rwanda, Cuba and Nicaragua, women made up the majority in parliaments. Women make up 47.6% of deputies in Iceland – and this is a record figure for Europe. They make up 34.9% of Olaf Scholz's SPD party in Germany^[3] and about 34.6% of Conservatives in the UK. They account for only 14.9% of the members of the Indian Lok Sabha and 9.9% of the House of Representatives of Japan (according to www.data.ipu.org ).

The marked absence of women in leadership positions further exacerbates this problem. According to the WEF, only 17% of top managers, officials and legislators are women, which is typical not only for China, in Germany women occupy 29% of senior positions, and in Japan only 13%. Entrepreneurship is one of the areas in which Chinese women play a leading role. The WEF report for 2017 notes that women have created 55% of new Internet companies, more than a quarter of all entrepreneurs in the country are women. In the Mastercard Women Entrepreneurs ranking for 2018, China ranked 29th out of more than 60 countries studied, immediately after Germany - 23rd and France – 24th.

Female leadership is especially noticeable in Hong Kong and Taiwan, where women rule. Carrie Lam took over as the first female executive director of Hong Kong in 2017, a former British colony now part of China. Tsai Ing-wen was elected the first female president in early 2016 on Taiwan, an "autonomous" island that China regards as its province. The new list of the most influential women in the world according to Forbes magazine includes nine Chinese women living in Hong Kong, which indicates the growing influence of women in society. American women are at the top of this list, Chinese women are at the second, including Lucy Peng, senior head of the Internet commerce giant Alibaba, Margaret Chan, former CEO of WHO, Pollyanna Chu, executive director of the Hong Kong financial services company Kingston Financial, as well as the first lady of China Peng Liyuan. There are more billionaire women in China than in any other country in the world and their desire to enter the leadership of the country is growing stronger.

A recent study conducted by the Ministry of Human Resources and Social Security showed that 76% of Chinese women plan to become senior managers (52% in the US), in general 73% of women in China work outside the home. Leta Hong Fincher is the author of the book "Unmarried/The remaining women" (Leftover Women), believes that these statistics and the list Forbes mainly hides the low status of women in Chinese society, since this tiny part of Chinese women says absolutely nothing about the status of the vast majority of women in the country.

Many women, such as real estate expert Zhang Xin and technology entrepreneur Hu Weiwei, excel both in business and academia, but women in politics remain a rarity. Time magazine included Jiang Qing, Mao's wife and a member of the Gang of Four during the Cultural Revolution (1966-1976) in the list of the 25 most influential women of the last century. The two most senior female politicians in the country today are Vice Premier Liu Yandong, a descendant of a political dynasty (her father was a close ally of former Chinese President Jiang Zemin) and Sun Chunlan, a member of the Politburo. Currently, Liu has resigned from the Politburo, leaving Sun as the only woman. Another female politician, Fu Yin, who was not a member of the Politburo, held the post of Deputy Minister of Foreign Affairs until 2018.

There are already yuppie women in Chinese society^[4] running companies and driving expensive sports cars through the streets of Beijing. The Shanghai enterprises of three major international computer companies – Intel, Phillips and Hewlett Packard – are run by women. Interestingly, the combination of totalitarian birth control and a biased attitude towards daughters has become a prerequisite for potential progress for one fifth of the country's women.

Rapid modernization allowed China to raise the standard of living of its citizens and expand economic opportunities, but this process was different for men and women. A clear wage gap and unbalanced political representation are just two of the many problems hindering gender equality in the country. The elimination of these shortcomings is important because it ensures the socio-economic development of the country.

China's economic growth has generally improved people's overall well-being, but women still get a smaller share. During the 1980s, women's employment was high, on average about 80%, but by 2018 it fell to 68.6%, which is only slightly higher than in the US (66.1%) and almost the same as Japan (68.7%). This downward trend in employment contradicts the statistics of other large developing countries, such as Brazil and South Africa, where over the same period there was an increase in the number of women involved in the economic activities of the State.

According to Human Rights Watch, 19% of civil service vacancies in 2018 included the following requirements: "only for men", "prefer men" or "suitable for men". The reasons for the reluctance to hire women in the civil service are both social and economic in nature. The restructuring of China's state-owned enterprises in the 1990s had particularly negative consequences for women, as unskilled workers and women were dismissed during the privatization process.

The income gap between men and women in cities increased from 15% in 1990 to 25% in 2000. This inequality has persisted for the past two decades. A 2018 survey showed that Chinese women earn 22% less on average than their male counterparts. Given these factors, it is not surprising that the WEF ranked China 74th in the world in terms of wage equality (for comparison, the United States ranks 8th, the United Kingdom - 64th).  About 50% of Chinese women work in the positions of secretaries, salesmen and accountants, who are usually paid less than in positions in the fields of high technology and manufacturing, where men predominate – 58%. 

The upcoming new wave of automation and robotization in various spheres of not only production, but also the provision of services will further exacerbate the problem of inequality. At the end of 2018 The WEF reported that significant demand for the use of artificial intelligence can widen the gender gap and inequality (according to www.weforum.org ).

Currently, gender equality is enshrined in law and women can build careers, but in practice there is still a gap between the sexes in politics and business. Obstacles for women on the way to a political career are compounded by the culture of the country, which reflects both the mentality and traditions of the people. Surviving in China's male-dominated political system means playing by their rules, for example, drinking large amounts of baijiu^[5], which is an integral part of official banquets. Women are faced with a dilemma: if they take part in such an event, they may be condemned for not modest behavior, and if they refuse, they will be excluded from the "circle of trust". Baijiu, being an important part of banquets, became the target of an anti-corruption campaign fighting for the professional and open nature of such events.

The Chinese realize the cultural emphasis on unity and harmony through interpersonal relationships and attention to people's feelings. All behavior and communication are influenced by the concept of "saving face". The concept of "face" is inherent in most Asian cultures and is expressed through reputation, influence, dignity and honor of a person. Since Chinese culture has a collectivist character, conservative behavior is the norm, people do not want to stand out and risk losing their "face". The concept of a "face" is so integral to Chinese culture that the government and business structures include it in their decision-making processes. "The concept of a Face cannot be translated into foreign languages, it is impossible to find an exact definition for it. The face is invisible, however, by definition, it exists only if it is shown in public" ^{[1, p. 190]}. The concept of "guanxi"^[6] plays an important role in building interpersonal ties in Chinese culture, encouraging friends, family, colleagues to help each other. Violation of "guanxi" may lead to loss of face or honor. In business interactions, a person's "face" is not only his own "face", but also the "face" of the entire organization that he represents.

The promotion of female beauty and sexuality is an effective way to cultivate consumers of a new type of modern woman, where the external design of the female image prevails over its internal content. The "icon" of the new style is an example to follow in popular culture. The concept of "femininity" is becoming an increasingly relevant topic for discussion in China, many young women are trying to find a balance between purposefulness and femininity. The clothes, makeup, and photo editing for social networks of many representatives of generation-Z were influenced by the style of kawaii — the Japanese culture of attractiveness based on cuteness, vulnerability, tenderness, and romance. One of the most common tourist destinations for young Chinese women is a trip to Shanghai Disneyland, where they can try on the feminine image of any of the park's heroines and take a selfie. For decades, Disney princesses have served as a source of inspiration for young girls around the world. A new Internet trend has formed in China - the "escaped Disney princess" ("escaped Disney princesses"), as Chinese Gen–Z network users call themselves, showing appropriate images on social networks: lantern sleeves, skirts with frills, hairstyles with large bows and makeup in the style of a fairy princess. In the Chinese lifestyle app Little Red Book alone, more than 10,000 posts are signed with the phrase – "escaped Disney princesses". According to the Chinese news platform Sohu, brands such as Miu Miu, JW Anderson and Simone Rocha have created dreamy clothes in this style for the latest fashion seasons. According to Disney, the main categories of products under the Princess brand are jewelry, clothing, school supplies, bed linen, home textiles, role-playing games and dolls "dress up".

On the one hand, young Chinese women do not seek marriage, but want to get an education and realize themselves in the professional sphere, on the other hand, they dream of looking tender, vulnerable and protected in the eyes of men, because this is how the classic image of Disney heroines is presented. Perhaps the fascination with such images is a kind of escape from growing up, life difficulties, negative experiences, and is also a manifestation of infantilism.

Feminine aesthetics is clearly expressed in the gender fashion of China. This is a promising industry in which Chinese women are achieving significant results. One of the most influential women creating modern fashion is the editor of Vogue Chine, 28-year-old Margaret Zhang, who believes that promoting the industry, it is necessary to be a role model. Zhang's appointment marks a generational shift and is of strategic importance because she is a digital technology carrier, no different from other young people whom she will have to turn into new Vogue subscribers.

Susan Fang is a designer, entered the list of the most influential Asian artists under the age of 30, launched her own brand Susan Fang. She is one of China's most innovative aspiring designers, helped build a booming luxury industry. Her newest collection "Air Born" is a line of translucent rainbow-colored dresses that embodies a fabulous aesthetic.

Xiao Yang is a model and an influencer, takes part in inclusive fashion projects, being a disabled person prepares a collection of accessories for prostheses, the initiator of the Chinese jewelry brand – Vvmin.

Designer Feng Cheng Wang presented a collection resembling a matrix in the style of cyber-goht, and the Leaf Xia brand presented colorful kawaii models. It focuses on technological unisex outerwear, functional, but at the same time conceptual and individual. Chinese women strive for intellectual luxury, the tastes of the majority become refined, gravitating towards brands.

In 2022, at Shanghai Fashion Week, Chinese designers presented their collections in a virtual space. Digital fashion has started to gain more and more popularity.

Chinese culture differs from Western culture in form and content, paying attention to appearance, wardrobe details and fashion trends. Chinese media support the fashion industry and the emergence of new luxury brands. Generation-Z women help to develop brands and their recognition in the online environment, Chinese women are very attentive to the reputation of brands. Mass brands are conquering the Asian market, continuing to develop, following global changes. Millennials in China are becoming the largest consumer group, stimulating digital e-commerce in the country, and Generation-Z is actively promoting Western trends and lifestyle. Internet technologies create a new youth culture, and social networks offer new forms for the dissemination of subcultures^[7].

Independent women express themselves not only in clothes and make–up, but also in art, which is especially vividly represented in Chinese painting - "... painting has a double meaning, like the world itself, which, being "material", draws to the realm of the "spiritual": the artist finds material for creativity in the natural world, but the works created by him are capable of possessing even greater reality than their physical prototypes, because the flight of imagination reveals certain eternal qualities of things" ^{[2, p. 167]}.

Chinese women's art differs from European in form and idea, has a unique style and technique. Female artists compete with men, paying attention to introspection in an attempt to overcome gender inequality in art, which was especially evident in the works of Jia Lu (1954). The realist artist embodies the power of spirit and wisdom in his paintings. Her works reflect the physical beauty of women, the richness of fabrics and draperies. The play of the folds of the fabric speaks about the philosophical mood of the artist, her worldview and inner world, permeated with Chinese national character.

Taiwanese artist Der Jen (1974) – portrays beautiful Asian women, combining traditional Chinese style with elements of mango and anime, which gives the works a special charm and mystery. Much attention is paid to the refined beauty of Chinese women.

From December 2010 to February 2011, the exhibition "Self Image" was held in China, artists of different generations from all over the country took part in it. Their works are made in the traditional technique of Chinese painting, realistic, avant-garde manner characteristic of Western art. Each work reflected the unique personality of the artist and her worldview. The purpose of the exhibition is to show how artists see the world and themselves in it. The most striking participants of the exhibition: Qin Bailiang (1948) plays an important role in the life of the country as a member of the Chinese parliament, a deputy of the People's Congress, fights for the rights of women with disabilities, continues the classical traditions of Chinese art in her works; Hun Liu (1948) presents very interesting female images framed by flowers; Wang Mei Fan (1949) – a master of traditional Chinese painting, her works are in the Museum of Fine Arts in Beijing; Mei Shuai (1969) depicts long, narrow body shapes as very colorful butterflies; Zhang Ping (1971) – works resemble old frescoes, wall paintings with deformed bodies.  

Among the generation of young artists in China, women are the driving force, but they have yet to gain popularity and their place in art. "The protest against the mechanical copying of reality is another reason for the emergence of new trends in contemporary art, which reflect the desire to get away from matter, to express his "I" in the artist's works" ^{[1, pp. 274-275]}. The following women artists below are just a few representatives of modern Chinese visual art that are worth paying attention to. They form current development trends based on architectural motifs, fantasies, myths, historical and national references, changing stereotypes about Chinese art. "The desire to paint the metamorphoses of things — that is, the true life of the spirit — just pushed Chinese artists to reach the limit of expressiveness, to reduce the image to pure (but methodically learned) expression, which is carried out in a spontaneous non-duality of the innermost inner and decorative outer: both are not amenable to objectification" ^{[2, p . 172]}.

Bu Hua (1973) is an artist, engraver, works in the field of digital animation, embodying a surreal narrative about modern life, referring to childhood memories. Her character is a daring schoolgirl fighting monsters in fantastic landscapes filled with real and imaginary animals, giant birds, reptiles and insects. Thanks to his trademark clear graphic style, he creates an allegory of industrialization and related environmental problems, militarization. Deliberately combining the "cute" aesthetics of kawaii and the beauty of Chinese ornamental gardens with symbols of social decline and impending catastrophe.

The works of Han Yajuan (1980) embody the collective unconscious of modern youth, demonstrating their interest in Japanese design, animation, fashion. She paints young girls belonging to the "lost" generation, looking for their identity beyond the unrestrained, media-imposed consumption and striving for social status. Her female images are made in the style of kawaii, whose infantilism reflects the rejection of a luxurious lifestyle in favor of youthful dreams.

Wang Zhibo (1981) studied the academic traditions of oil painting at the Chinese Academy of Arts in Hangzhou. She depicts landscapes and gardens resembling gloomy visions, as well as hotel lobbies, shopping malls, deserted public parks. The artist uses the reverse perspective, creating often disturbing, complex compositions. Wang Zhibo skillfully combines historical references to Eastern and Western art, being inspired by European frescoes, their architectural geometry and transparent palette of colors, likes to include antique themes in his works. Her landscapes are based on careful observation and excellent craftsmanship.

Li Shurui (1981) graduated from the Sichuan Institute of Fine Arts, best known for her series of works "Light" (2005). Her images fascinate with light and colors, paintings, often made in a large format, create an exciting atmosphere, awakening the imagination. The artist works in the genre of op art, exploring the nature of light and color with the help of her individual approach.

Jiayi Li (1994) – graphic designer, illustrator, worked with such famous brands as Loewe, Vivienne Westwood, Bang Olufsen, Justine Clenquet. She is inspired by still lifes and airbrushed paintings. She uses bright or diffused light in her works, betraying sexual overtones to images, choosing a combination of dark and ultra-bright tones, creating an otherworldly world where everything vibrates and radiates mystical energy. The role of women in art issues at the present time indicates a rethinking of her status in society and adaptation to the new realities of socio-cultural changes.

Thus, in China, harmony is achieved by the relationship of the feminine and masculine principles – yin and yang, which is due to the worldview, religion, traditions. This helped to balance gender differences. According to Mao Zedong, "women carry half of the sky on their shoulders," which was clearly manifested in all spheres of activity. Women took care of the home, the well-being and health of the household, while in Europe they fought for political, economic and social rights the same as men. Before the Cultural Revolution of 1949, women in the country had a difficult situation (up to bandaging their feet, deliberate use of physical and psychological violence). The socio-economic changes that took place in Chinese society after the reforms contributed to the transformation of the image of a woman in all spheres, increasing her status in the socio-political, economic and cultural life of society.

The policy of the Chinese state is aimed at strengthening traditional family values, convincing relatives to support representatives of the older generation not only because of the sharp aging of the population, but also the poorly developed social insurance and pension system. However, a negative trend remains in family and marriage relations, contributing to a decrease in the stability and development of family well-being. There are changes in the orientation and motivation of young people in family matters, there is a rethinking of a person's place in society, changing his consciousness, which is undoubtedly the influence of Western culture and the consequence of the restraining policy of the state – "one family, one child". The main driving force of youth is career growth, not the creation of a family. The fear of losing personal freedom, the increase in the number of educated women and the desire for self-realization complicate the conclusion of marriages. Incorrectly placed accents in family life affect the growth of divorces. However, the Chinese value family ties, which play a central role in maintaining trusting relationships between generations. China remains a family-oriented society, despite the gender imbalance, the emergence of a spoiled, infantile generation, and the involvement of young people in various subcultures.

It is difficult to change the worldview regarding working women and their professional growth, given the historical past, echoes of patriarchy, peculiarities of religion, culture, stereotypes that have developed in various spheres of society. However, it is necessary to eliminate sexist attitudes that discriminate against women on the part of men who are afraid of professional competition.

Women began to compete with men in the cultural sphere, paying attention to the analysis of artistic works. They try to overcome gender inequality in art by showing their unique style and technique of performance, emphasizing the peculiarities of Chinese culture, which differs from European in form and ideological content, despite the interaction of these cultures. The modernization process has contributed to the emergence of women's painting, awakening new opportunities in art related to computerization and digital technologies. The integration of women into social and humanitarian fields has now increased significantly, continuing the transformation of Chinese art and women in it.

^[1] There are always more boys born: the sex ratio is about 105-107 males for every 100 females. But girls are more resistant to diseases from the very beginning; they take fewer risks, ranging from children's games to drunk driving; they are less likely to fight in wars and get into trouble, in general, women live longer than men. In developed countries, such as the United States, Great Britain and Canada, there are more women than men at about 55 years of age.

^[2] In 2020, children aged fifteen to twenty years had the greatest gender inequality – 116.1 men for every 100 women. On average, in 2020, there were about 111 men for every 100 women, i.e. 35 million Chinese men will not be able to find a mate. However, among the Chinese population over 60 years old, there is a gender ratio in favor of women (according to www.statista.com ).

^[3] By 2025, this figure should be increased to 50%. In general, women make up a third of the members of the Bundestag.

^[4] It means a young, successful person, a specialist in his field, who graduated from a prestigious university and has a highly paid job.

^[5] A clear, strong alcoholic grain drink.

^[6] Literally means – service, help, support.

^[7] The subculture of "mourning" (Sangwenhua) is of interest, it is associated with a feeling of fatigue from everyday life, lack of faith in a positive future and one's own strength due to the rising cost of living, and pressure from society. This subculture is known for creating viral memes and buzzwords, it is caused by economic problems and emotional stagnation. The subculture "Buddhist way of life" is similar to the subculture of "mourning", is widespread in social networks, preaches the desire for peace, indifference, contemplation, focusing on individual inner spirituality. The nijigen subculture based on cosplay is the desire to present oneself in the image of a famous character, who is often the hero of a manga, cartoon, computer game or movie. This trend is also popular in the West, gaining momentum in China, where numerous cosplay festivals and events with a huge monetary turnover are organized throughout the year. Its popularity is associated with the desire of Chinese youth to escape from the pressure of real life. This subculture in China differs in style and audience from Japanese and Western, is intended not only for young people, but also for the older generation. Examples of these subcultures reflect the problems of modern Chinese society, its tension, lack of life satisfaction, income level, which can lead to cultural degradation.