The female writer in Ching Dynasty, Wu-Zao, expressed different types of self from her works with different life stages. We especially need to notice that her awakening of gender consciousness made her works more valuable to be explored. This paper is discussed by four parts as follows: 1.The brief introduction of her background: I investigate the background and social networks of Wu-Zao. 2.The situation in real world--the symbol of a woman with green sleeve leaning against bamboo tree: The early work of Wu-Zao, Hwa-Lien Tsh, often contained the terms of "green sleeve" and "learning against bamboo tree". These terms implied that her marriage seemd not to be happy and she was a fatalist. The self image of disregard, loneliness, and pride also can be shown in these terms. 3.The intimate friend in the picture--the self projection: the play, Chao-Ieng, contained strong color of self description. By means of the female protagonist wearing male clothes, she boldly vented her grievance and resentment for being a woman. In order to understand the spiritual world of another self for Wu-Zao, the analyses of this part are approached deeply from two dimensions: the pain of tender awakening, the symbolic meaning of a woman wearing male clothes. 4.The feeling of middle age--staying beside the lake in the rest of life: The feeling of Wu-Zao after middle age transformed to be plain, and she devoted herself to religion. These facts can be found from her late work, Xiang-Nan Xyue-Bei Tsh. On the whole, the works of Wu-Zao not only reflected the common fate of women in traditional societies, but also built up a clear and unique female image for the women in Ching Dynasty.