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This exquisite line drawing (baimiao) is a fragment of a Song copy after a scroll by Zhou Wenju (active 961–975). 29 This girl looks unusually solemn for her size. Her ride in the sedan chair may be an imitation of a wedding procession, playacting an adult role in anticipation of her future as a wife or concubine. Two more young girls romp playfully with a small dog at the far left of the Cleveland piece. 30 Like other paintings of court women made in the Tang manner, the Gongzhong scrolls still show only a few girls, growing up and learning their roles in the company of the many palace women.
14 As Pei-yi Wu points out in his analysis of sources on Chinese childhood from the Tang to the Qing, this tradition of poetic expressions of grief over children continued later in China, flourishing in the Tang and beyond in two forms—lyric poetry lamenting the death of a child or a separation due to o◊cial posting far from home, war, or other circumstances; and ritual forms, such as the requiem, grave notice, or tombstone inscription similar to that described by Wu Hung. ”15 Especially in the Tang and Song, the death of a child inspired some of the most poignant, deeply personal images of childhood, as we can see in a poem Mei Yaochen wrote following the death of his younger son, Shishi, soon after his ﬁrst wife’s death, and even more movingly in a three-part poem written after the loss of his baby girl, Chengcheng, who was born to his second wife.
For example, in a painting by Cheng Sui (active ca. 1650–1680), a scholar seated in a garden pavilion instructs a young boy in the classics (ﬁg. 16). The inscription on the painting reveals that the idyllic setting frames the artist’s memory of his own childhood tutor, his great-uncle Cheng Yuanji: Mr. Yuanji was a member of my family—my father’s uncle. Once he retired from the Hanlin Academy and returned home, he cherished righteousness and kept to himself. Brushing aside the confusions of the outer world, he would not set foot in the marketplace.