The Capital "WOMAN" – Xiang Jing's Body Narrative

doubtless signifies the growing power of the group. In any case, the group cannot change its disadvantaged position without giant-like figures that belong to the group. In this regard, what is really important is whether there are some female individual artists who have reached the top.
Only the powerfulness, preeminence, excellence, and uniqueness of the individual can change the status and dignity of the group. If Nochlin's question – “Why have there been no great women artists?” – refers to the injustice against women's access to art education in our paternal society, then, what we should consider today is “Why must there be great women artists?” In the history of western classic art and modern art, there have been no “great women artists”, but in western post-modern art, the existence of “great women artists” has been a widely acknowledged fact. These female artists thoroughly deserve to be regarded as the first-rate male artists’ equal. Chinese female artists such as Xiang Jing, Yin Xiu-zhen, Lin Tian-miao, Yu Hong, Chen Xi, Cui Xiu-wen, etc., were great artists that emerged in 1990s; Xiang Jing is of course one of the best of them.
Therefore, in order to discuss Xiang Jing's works, we have to start with the feminine art. Chinese feminine art has been developing for over twenty years since 1990s. “Feminine Art”, as a concept, a topic, or a fact, has its real starting point in 1990s. In the “New Wave Art” of 1980s, there were no gender-related topics, and feminine art did not have its presence. Even the concept of “Feminine Art” did not appear at that time. Only in 1990s did female artists become active more and more frequently. The feminine art gradually evolved and rose to its first climax in 1995 when the Fourth World Conference on Women was held in Beijing. Also in this year, Xiang Jing graduated from the Department of Sculpting of the Central Academy of Fine Arts, and “The Four-Person Show in March”, a joint show she and her three female classmates put, became the starting point of her artistic career path.
Xiang Jing’s first works displayed on “The Four-Person Show in March” already had a keen gender perspective. First, aware of the disadvantage of being a “woman”, the artist realized that her art was actually a journey towards the field of her own experience from the feelings of her body. This became the orientation