Children in Chinese Art

Notes

Chapter 1: Introduction 1. Kinney, “Infancy and the Spirit World in Ancient China”; K. E. Brashier, “Death as Controlled Transformation ,” paper presented at the Annual Meeting of the Association for Asian Studies, 1995. 2. Michael J. Carr, “Personation of the Dead in Ancient China,” Computational Analyses of Asian and African Languages 24 (March 1985), 1–108. 3. For examples, see Wu Hung, “Private Love and Public Duty”; idem, Monumentality in Early Chinese Art and Architecture, 192–217. 4. Translated and illustrated in Wu Hung, Monumentality in Early Chinese Art and Architecture, 201–203. 5. Kinney, “Dyed Silk: Han Notions of the Moral Development of Children”; idem, “Attitudes toward Child’s Play in Han China,” forthcoming in Kinney, Representations of Childhood and Youth in Early China. 6. Published in Zhongguo meishu quanji, vol. 8, pl. 66. 7. Isabelle Robinet, Taoism: Growth of a Religion, translated by Phyllis Brooks (Stanford: Stanford University Press, 1997); Livia Kohn, The Taoist Experience: An Anthology (Albany: State University of New York Press, 1993). 8. Robinet, Taoism, 135. 9. Kohn, Taoist Experience, 181–188. 10. Illustrated in Kohn, Taoist Experience, fig. 17. 11. Clunas, Pictures and Visuality in Early Modern China, 117–118. 12. Illustrated in Michael Gough, The Origins of Christian Art (New York: Praeger Publishers, 1974), fig. 70. 13. Examples are illustrated in Jessica Rawson, Chinese Ornament: The Lotus and the Dragon (London: British Museum, 1984), 40. 14. Translation from Ryoichi Hayashi, The Silk Road and the Shòsò-in (New York and Tokyo: Weatherhill/ Heibonsha, 1975), 30. 15. Laing, “Auspicious Images of Children in China,” 47–48. 16. Furth’s contributions in this area include A Flourishing Yin: Gender in China’s Medical History, 1998; “From Birth to Birth: The Growing Body in Chinese Medicine,” 1995; “Rethinking VanGulik: Sexuality and Reproduction in Traditional Chinese Medicine,” 1994; and “Concepts of Pregnancy, Childbirth, and Infancy in Ch’ing Dynasty China,” 1987. 17. Furth, “From Birth to Birth: The Growing Body in Chinese Medicine,”168–169. 18. Illustrated in Shen C. Y. Fu, Traces of the Brush: Studies in Chinese Calligraphy (New Haven, Conn.: Yale University Press, 1980), fig. 32. 19. Translated by Patricia Berger. The painting is illustrated and discussed briefly in James Cahill, ed., Shadows of Mount Huang: Chinese Painting and 179 Notes Printing of the Anhui School (Berkeley, Calif.: University Art Museum, 1981), 111–113. 20. See examples in Hans H. Frankel, The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry (New Haven, Conn., and London: Yale University Press, 1976), 95–103. 21. Ibid., 99–100. 22. Pei-yi Wu, “Childhood Remembered,” 145–148. 23. Li Zhi, Fenshu (Book burning [Li’s collectanea]), 1590. Reprint (Beijing: Zhonghua shuju, 1961), 97–99. Translation is rephrased after Pei-yi Wu, ibid., 147. 24. Scarlett Ju-yu Jang describes in depth the ox-herd metaphor used by Chan monks to explain the ten stages of enlightenment in “Ox-herding Painting in the Sung Dynasty,” Artibus Asiae (1992), 54–93. 25. Angela Ki Che Leung, “Relief Institutions for Children in Nineteenth-century China,” in Kinney, ed., Chinese Views of Childhood, 251–278. 26. One of the Yangzhou Eccentrics, Hua Yan (1682– 1765), painted Children’s Games in Four Seasons, 1737, an album of 12 leaves that depicts the activities of ordinary children, entertaining themselves in a rustic village setting. Several versions of the album are extant, including complete sets in the collections of Wango H. C. Weng, Dr. S. Y. Yip, and the Shanghai Museum. [Portions of the version by Wang Su (1794– 1877) in Dr. Yip’s collection are published in Anthology of Chinese Art: Min Chiu Society Silver Jubilee Exhibition (Hong Kong, 1985), no. 90; and Brown and Chou, Transcending Turmoil, no. 38.] Hua Yan’s move away from showing well-dressed children, with expensive toys, playing in the elaborate gardens of the wealthy was a refreshing innovation, typical of his playful treatment of other traditional themes. The spontaneous play of real children is e¤ectively conveyed by loose, whimsical brush strokes. At the same time, many of the conventions of auspicious imagery are still intact in this album. For example, five boys are included in each of the twelve scenes, the youngest of which usually wears a red jacket. The number of boys is a reference to the story of the five sons of Dou Yujun of the Song dynasty, all of whom passed the imperial examinations and entered o◊cialdom. 27. James Cahill letter to Ann Wicks, 1996. 28. This painting is...