Even though Chinese and Turkish societies come to the fore as patriarchal, the influence of women as “mother, wife” etc. is always in the background when we look at the historical management processes of these societies. In order to understand the place of women in society, whose presence we often feel in the background, this study highlights the “female figure” in miniature art, which we can call the historical catalog of societies. While the first applications of miniature, which are attributed to Eastern countries, were seen in Central Asia and China, the introduction of the concept of “woman” into these applications took place at various times depending on culture. While the female figure existed in Chinese miniatures from the very beginning, in the Ottoman Empire, with the policy of opening up to the West, female figures developed within the framework of the social and cultural community structure. The aim of the study is to show the interaction of these two cultures in miniature art by explaining the place and importance of women in the history of the two cultures through female figures. In order to collect data in the study, the information obtained from the CNKI database and open sources and books written in this field were used, the artists dealing with the female figure in traditional Chinese miniature were treated in a mixed manner. Female figures that emerged in Ottoman miniatures, were discussed through the drawings of Nakkaş Abdülcelil Çelebi (Levnî/ ?-1732), Enderûnlu Fâzıl (1759-1810) and Abdullah Buhari (?-?). In this direction, it has been inferred that there are Chinese interactions in Ottoman miniature in general. However, when it comes to the subject of “woman”, it is concluded that female figures in Chinese miniatures express the maledominated society, while female figures in Ottoman miniatures represent the women themselves.