Due to various historical and political factors, women’s involvement in art has been very late. Moreover, it has always been accompanied by a derogatory tone, with mainstream art forces consistently viewing women’s art as worthless. Throughout the written history of art, for thousands of years, they have been absent. As a popular poem puts it, we are women with no past, no history, no one to turn to, adrift in the darkness of time. With the global cultural integration across borders, the democratization of technology, capital, and information will inevitably bring changes to art. Women’s art has more room for development within the new information order. They will no longer be mere accompaniments to male artists but independent entities cooperating and assisting each other. Women’s art is like fragmented flowers scattered throughout the long scroll of art history. Due to the influence of time, environment, and human factors, their arduous, enduring, and precious presentation can also be considered flowers of resilience. This is what the author hopes to express through the book.

Zhai Yongming, the renowned contemporary Chinese poet, was born in 1955, Chengdu, Sichuan Province, China. She graduated from the University of Electronic Science & Technology of China and previously worked in an institute of physics in Chengdu. In the early 1980s, she began writing and publishing poems in newspapers and magazines. To date, she has authored more than 10 poetry books and essay collections. Her works have been translated into English, French, Dutch, Italian, Spanish, and German, and have been published in the aforementioned countries. Currently, she resides and works in both Beijing and Chengdu.