'The Splendor of Dream of the Red Chamber' at National Palace Museum, Taiwan
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TAIPEI - Dream of the Red Chamber is a remembrance. The novel, written by Cao Xueqin (fl.1716 –1763), reminisces about the bygone days of a prominent noble family gilded with opulence and prestige during the High Qing era. Emanating throughout this novel are the author’s retrospection and fixation with the past, as well as his laments over a family on the decline after reaching its prime. With Dream of the Red Chamber as the overarching theme, this exhibition unfolds through the collections of the National Palace Museum, National Central Library and National Taiwan University Library. The objects and materials will take us into this fictional world, through that bygone era, and through the unparalleled beauty and sorrow of Dream of the Red Chamber.
The Splendor of Dream of the Red Chamber consists of three sections. The first section, The Stately Elegance, presents the captivating side of the novel. That is the sophisticated material culture of the noblesse, which is based upon the upbringing of Cao, having been born into generational wealth of the family running the Jiangning Weaving Bureau. The second, The Exotic Novelty, features the foreign objects depicted in the novel, alluding to Cao’s placing imported novelties to highlight the chic style of the Jia family. It also suggests the trend of imitating the imperial preference of foreign goods during Cao’s time. The third is A Fancy Dream, which illustrates that through the portrayal and association of objects and materials, Cao developed different characters and metaphorical meanings. He also brought to existence the short but spectacular lives of women, lives that evoke sympathy and commiseration.
One cannot explore Dream of the Red Chamber without the subject of “love,” be it family or romantic love; be it the love between friends or between the noblesse and their staff. Such love is interlaced within interactions among the “people,” while the portrayal of these people is given emotional depth through “objects and materials,” creating vivid imageries that materialize Dream of the Red Chamber.
The Stately Elegance
Dream of the Red Chamber, also known as The Story of the Stone, begins with the tale of a stone forsaken by goddess Nuwa after she patched up the collapsed heaven. The stone eventually reincarnated into the human form as the protagonist, Jia Baoyu, who was born with a piece of jade in his mouth. Jade, a stone of beauty and virtue, has always been associated with the noble class and a gentleman’s merits. The author, Cao Xueqin, was born in a family that had been running the Jianging Weaving Bureau for three generations. He used “a stone forsaken” after the heaven was patched up as a metaphor for the sense of powerlessness when it came to contributing to the family and the empire, a sentiment shared by Cao and his protagonist as both were witnessing their families’ fall from century-old glory. Thus, Cao cleverly merged his nostalgia with fiction. While highlighting the aesthetic value and taste of the noblesse, the novel was also Cao’s final solace in life.
A Clan of Civility and Prominence – The Cao Family and the Jiangning Weaving Bureau
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Memorial on Respectfully Greeting the Emperor and Requesting Permission to Journey to the Capital to Express Gratitude After Attending to the Salt Affairs by Cao Yin on the 29th Day of the 7th Month of the 43rd Year of the Kangxi Reign, Qing Dynasty, Gu Gong 002712. Length 20.5 cm Width 48.2 cm. © The National Palace Museum, Taiwan
A clan of civility and prominence refers to aristocratic families that had been learned and cultured in traditional rituals and classical literature with prominent official status for generations. It was such a family into which Cao Xueqin was born. His grandfather, Cao Yin, who was well versed in poem writing and textual criticism, edited Yu Ding Quan Tang Shi (Imperially Approved Complete Poem Collection of the Tang Dynasty) on the imperial order. Cao Xi, Cao Xueqin’s great-grandfather, was the first in the family to serve as the Commissioner of Jiangning Weaving Bureau, a hereditary position that was eventually held by the Cao family for four terms over the course of three generations. The position, which had been held by the emperor’s closest confidant, is responsible for the production and procurement of textiles and other supplies for the imperial court, such as the textile cover of the Tibetan Dragon Sutra. It was this unique backdrop in which Cao Xueqin was immersed; this upbringing that gave way to the eloquence, fluidity and finesse in the poems, verses and passages describing the fine objects and materials in Dream of the Red Chamber.
Serving as the Commissioner of Suzhou and Jiangning Weaving Bureaus while inspecting the salt administration in the Lianghuai region, Cao Yin was a heavily relied upon and trusted confidant of Emperor Kangxi. Aside from procuring and producing supplies for the imperial court, Cao also collected intelligence for Emperor Kangxi in southern China. When called for, Cao asked for instructions through secret palace memorials to the emperor. “Caution! Caution!” Such warning and secretive tone was meant to ensure confidentiality.
The Words of Absurdity – Cao Xueqin and Dream of the Red Chamber
Hongloumeng Tu Yong (Dream of the Red Chamber with Illustrations) Written by Gai Qi (1773-1828), Qing Dynasty. Published in the 5th year of the Guangxu Reign (1879), Qing Dynasty, Gu Guan 003571- 003574. Length 22.5 cm Width 15 cm © The National Palace Museum, Taiwan
Many puzzles are yet to be solved about the life of Cao Xueqin. Having witnessed the demise of his family, the grief-stricken Cao Xueqin returned to Beijing, and passed away in the 27th year of the Qianlong reign (1762). “On the new year’s eve in the Ren Wu year, with the novel yet to be completed, Qin had shed all tears and passed.” He passed away before reaching fifty. Regarding his short life; regarding his unfinished Dream of the Red Chamber, what the world perceives has been fragmentary and incomplete, as though his very existence is an enigma. Though unfinished, the charm of the novel is unharmed and perhaps contributed to the intrigue, thus inspiring multiple versions, critiques, commentaries and even illustrations.
The inception of Dream of the Red Chamber inspired illustrations for characters and scenes from the novel. The format, “tu yong (illustration and praise),” reversed the conventionally supplementary role of illustrations. Painted by Gai Qi, this is the earliest illustrated version of Dream of the Red Chamber. With ethereal nuance constructed through delicate lines, the images radiate a poetic sense of aesthetics.
The Homecoming of Yuanchun – The Construction of Daguan Yuan
Gold Finial Inlaid with Dong Pearl and Cat's Eye Gemstone for the Imperial Consort's Court Hat, Qianlong Reign (1736-1795), Qing Dynasty, Gu Za 4837. Length 16 cm Diameter (Base) 4.8 cm © The National Palace Museum, Taiwan
Jia Yuanchun is Jia Baoyu’s eldest sister. She became an imperial consort around the age of thirteen or fourteen. When she was given the title, guifei (noble consort), it brought the Jia family to the peak of its glory. Jia Yuanchun was granted a homecoming to visit her parents or family elders, and fulfill her filial duties. In order to give the imperial consort a proper reception, the Jia family constructed an exclusive residential complex – Daguan Yuan (Grand View Garden). To Jia Yuanchun, Daguan Yuan was the personification of her lost youth, a brief moment of reunion with her family. To Jia Baoyu and the women residing within, it was a haven sheltered under Jia Yuanchun’s power; a land of innocence isolated from the rest of the world. To Cao Xueqin, it was a paradise lost, a remembrance of the splendors that had come and passed.
The design of a finial was regulated based on the wearer’s status, including the type and quantity of decorative materials such as pearls and gemstones. This finial is decorated with two layers of filigree phoenixes and eleven round Dong pearls, a type of pearl harvested in northeastern China. On the head, belly and tail of the phoenix are smaller pearls in irregular shapes. Crowned by a brown cat’s eye gemstone, this is likely the finial on the court hat for an imperial consort.
A Wisp of Fragrance – The Three-piece Altar Set
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Bronze Incense Burner, Vase and Box with Kui-dragon Decoration, Late Ming to Qing Dynasty, 17th Century, Zhong Tong 1565, 1820, 1819. Height (Incense Burner) 15 cm, Height (Vase) 13.8 cm, Height (Box) 7.9 cm © The National Palace Museum, Taiwan
A wisp of fragrance has lingered throughout Dream of the Red Chamber. Incense burning is called for during all occasions, those formal and those mundane. During the homecoming of Jia Yuanchun, the imperially bestowed lily-scented incense was burning in the cauldron of Daguan Yuan (Grand View Garden). During the Jia family banquet, the same incense was burning using the three-piece altar set on the table. The altar set is a trio of three instruments, an incense burner for the incineration, an incense box for storage and a vase where the incense chopsticks and spoon rest. With the burner being in the center, its significance is evident. The novel mentions the Ding cauldron of King Wen, which is traced back to the ceremonial vessels used by the Duke of Zhou to worship King Wen of the Zhou dynasty. The cauldron was imitated profusely during the Ming and Qing dynasties, and the elegant antiquarian style makes it an ideal collection to be enjoyed in the studio.
In the novel, the Ding cauldron of King Wen appeared in a smaller wing room of Lady Wang, who is Jia Baoyu’s mother and the head of Rongguo House. The cauldron is placed on the table along with an incense box and a vase for the incense chopsticks and spoon. Of the three-piece altar set on display, the incense burner is an imitation of the Ding cauldron of King Wen, and the incense box of the Yi wine vessel. The set is completed with a square vase. All three are adorned with raised ridges, and covered with the cloud motif as the background for the relief animal mask and the kui dragon motifs. Ding cauldron of King Wen is an ideal incense burner. Zunsheng Bajian (Eight Discourses on Healthy Living), a late-Ming book on appraising, rated “Ding cauldron of King Wen with flying dragon feet” as “superior” when selecting antiquarian bronze wares for incense burning. The book influenced contemporary and later designs of incense burners. Imitations of antiquarian incense burners made of various materials thus flourished. Some were even inscribed with “Duke of Lu Made Zun Yi Dedicated to King Wen.”
The Magnificence of Song Porcelain – Ru and Ding Wares
Dish in Celadon Glaze, Ru ware, Northern Song Dynasty, Late 11th to early 12th Century, Gu Ci 17854. Diameter (Rim) 15.7 cm Height 3.7 cm © The National Palace Museum, Taiwan
In Dream of the Red Chamber, the porcelain wares that accentuate life in the Jia family estate and Daguang Yuan (Grand View Garden) include famous Song porcelains such as the Ru and Ding wares, and the Ming porcelains from official kilns such as the Xuande and Chenghua kilns. Cao Xueqin decorated this mundane with the sophistication of antique porcelains and contemporary imitations from the Qing dynasty. Ru ware, though cherished for being as rare as the morning star, made frequent appearances in this novel, such as dishes, gu wine vessels and flower vessels. Ding ware, famed as the white porcelain prevalent throughout the country, appeared at the night banquet during Jia Baoyu’s birthday celebration. A total of forty dishes from the Ding kilns were used to plate the food, making a striking presence of quiet luxury.
There are many seemingly insignificant details in Dream of the Red Chamber. An example would be “the large dish from the Daguan kiln” on the sandalwood shelf in Jia Tanchun’s room. This is the only passage in the novel where the term, “Daguan kiln,” is used in place of “Ru kiln.” The arrangement implies that after Jia Tanchun began managing the Jia household, she adhered to the rules and rituals, and curbed corrupt conducts. Among the women residing in the Jia family, Jia Tanchun is the only one with the “mindset of daguan” – a grand view. “The large dish from the Daguan kiln” is holding “exquisite yellow Buddha’s hand citrons” inside. Buddha’s hand citrons were popular as an ornament in the imperial palace for their refreshing fragrance. In Dream of the Red Chamber, it also symbolizes benevolence. When playing in Jia Tanchun’s room, Wang Baner, the grandson of Granny Liu, exchanged a Buddha’s hand citron with Jia Qiaojie, the youngest of the main female characters. The gesture subtly foretells Jia Qiaojie’s fate, who was eventually rescued by Granny Liu after the Jia family lost all possessions.
The Exotic Novelty
Dream of the Red Chamber was written in the 18th century, a time when the East-West exchange and globalized trade was flourishing. During this period, Western missionaries made their way to China, bringing along novel objects from across the sea. Such objects were known as “yang huo,” where “yang” means “foreign.” These exotic novelties include snuff boxes, transparent glass bottles and pocket watches. Their popularity grew in the imperial palace and reached the Cao family, which had close ties with the imperial court. Such influence spread beyond the Cao family and was eventually captured in Cao’s depiction of the Jia family. Additionally, lacquer ware from Japan, called “yang qi (foreign lacquer ware)” in the novel, are among the tasteful elements adorning the décor of the Jia estate.
The Brilliance of Aventurine – Glass Speckled with Golden Stars
Copper Rectangular Snuff Box with Aventurine-glass Inlay, Europe, 18th Century, Gu Tong 2468. Length 8.2 cm Height 2.8 cm © The National Palace Museum, Taiwan
Aventurine is a French term meaning a yellow brown gemstone containing gold-colored particles. The term is also extended to describe “artificial aventurine, or glass and ceramics imitating aventurine.” According to the Archives of the Workshops of the Imperial Household during the Qianlong reign, aventurine is synonymous with gold-speckled glass. The majority of this gold-speckled glass was imported from Europe, and some was produced in the imperial glass workshop. Such objects were seen as rare jewels at the time, and naturally, Cao Xueqin included them in his novel, revealing his own and the Jia family’s chicness and prestige.
Qingwen is Jia Baoyu’s preferred maid. In Chapter 52, Qingwen had a fever, headache and stuffy nose. Jia Baoyu specifically sent over a “small flat gold box with double clasp and gold-speckled glass inlay” and let Qingwen sniff the substance within, the “Wangqia imported tobacco,” meaning the snuff. Snuff was quite precious and susceptible to moisture damage. Hence, it was mostly stored in a tightly sealed box and bottle. After Qingwen sniffed the snuff she scooped out with her fingernail, “Suddenly, a sense of pungency rushed to the top of her skull. She sneezed five or six times, tearing and sniveling at the same time.” The detailed account faithfully captures the effect of snuff in clearing one’s nasal congestion.
The Vessels of Time – Pocket Watches and Clocks
Pocket Watch with Figures in Painted Enamel and Gemstone Inlay, Europe, 18th Century, Gu Za 1067. Diameter 4.5 cm © The National Palace Museum, Taiwan
A pocket watch is a tangible capsule of the intangible time, a way of capturing the passing hours. Clocks and watches represent scientific and metallurgical achievements of Europe; they are also status symbols. When foreign missionaries and envoys presented them to the imperial court, they quickly became the favorites of Chinese emperors and aristocrats. These novelties led to the birth of the imperial clock workshop; they also influenced design trends from the imperial palace to the entire country. So prevalent was the trend that in the novel, even the entourage of Wang Xifeng carries watches and clocks, and Jia Baoyu carries with him a “walnut-sized golden watch.”
This pocket watch is like a magnetic stage with intricately designed gears underneath; delicate hour and minute hands above. The entire stage is adorned with dazzling gemstones, agate and an elaborately painted enamel panel depicting the moment when Venus disarms Cupid by taking away his golden bow. As strangers to the Greek mythology, the figures painted on the pocket watches seemed unthinkable to the people of the Qing dynasty. Perhaps it was this lack of understanding that sparked curiosity and intrigue about such objects.
The Lacquer of Japan – Maki-e Lacquerware
Maki-e Lacquer Drawer with Chrysanthemum Motif and Mother-of-pearl Inlay, Japan, 18th Century, Gu Qi 403. Length 22 cm Height 10.7 cm © The National Palace Museum, Taiwan
“Yang qi (foreign lacquer)” refers to lacquerwares imported from Japan during the Qing dynasty, the equivalent of the modern-day “maki-e.” They are usually applied with layer upon layer of black or monochromatic lacquer, and decorated with powdered or painted gold, or gold leaf. Among the yang qi wares mentioned in Dream of the Red Chamber are “a small plum blossom-shaped yang qi table, a yang qi shelf and a yang qi tea tray.” Placed on the table are a three-piece altar set and a lady gu vessel from the Ru kiln; hanging from the shelf is a white jade flatfish qing; on the tray are tea cups. The gold appears luxurious against the understated black, which presents the objects above or within in the most sophisticated and striking light.
Maki-e lacquerwares had been favored by the literati in the Jiangnan area during the late Ming dynasty for their classic elegance, exquisite beauty and lightweight quality. Such keen interests influenced the imperial court, aristocrats and literati during the Qing dynasty. In addition to the black-and-gold maki-e decoration, some are inlaid with mother-of-pearl, which is responsible for the pearlescent purple glowing in the midst of the chrysanthemums, foliage and fences juxtaposed across the surface of this box.
A Fancy Dream
“When illusion is construed as reality, reality becomes illusion (假作真時真亦假, jia zuo zhen shi zhen yi jia).” This is a famous phrase from Dream of the Red Chamber implying that the details in the novel can be interpreted as being real as well as fictional. Cao used the allegorical tale of a forsaken stone reincarnating into the human world to tell us stories from the real world, the story of the waxing and waning of wealth and prestige; the story of beauty and sadness of the lives of women; the story of life’s tragedy, which comes in many forms. To bring the stories to life, Cao particularly chose many specific objects and materials such as pouches, accessories and the Buddha’s hand citron to create distinct silhouettes and personalities for each character. They also serve symbolic purposes and connect the plot. The presence of these “objects and materials” are thus palpable throughout the novel, attaching fiction to reality.
The Debt of Tears – Jia Baoyu and Lin Daiyu
Silk Embroidered Pouch with Gold and Silver Threads, Qing Dynasty (1644-1911), Zhong Za 68. Length 10.8 cm © The National Palace Museum, Taiwan
Dream of the Red Chamber is a story about the debt of tears. A stone which was forsaken by goddess Nuwa after she mended the collapsed heaven decided to water a crimson pearl herb by the rocks along the Ling River, thus sustaining its life. When the stone reincarnated into the earthly realm, the herb followed, intending to repay this debit with a lifetime of tears. The benevolent act and the determination to repay such benevolence reincarnated into the kindred spirit between Jia Baoyu and Lin Daiyu, and grew with them into soulful love. They were “inseparable day and night,” reading together; mourning flowers together; writing poetry together, until “all tears are shed; all debts are repaid.”
A pouch is an accessory carried by the Manchus. For males, a pair was worn with one on each side of the belt. Lin Daiyu once handsaw a pouch for Jia Baoyu. When Lin Daiyu thought he regifted the pouch, she returned to her room with fury. In fact, he had been wearing it around the collar of his inner clothing so that no one could take it, protecting the pouch carefully by keeping it close. “Tears welled up in her eyes, and her breath was slightly labored.” This is the description of Lin Daiyu when Jia Baoyu first meets her. Born into a family of hereditary nobility, Lin Daiyu is the beloved granddaughter of Grandmother Jia. She is ethereal and otherworldly, but she is often sick and tearful. Frail and rarely engaging in needlework, the fact that she “worked on a pouch over the course of a whole year” makes the pouch she stitched for Jia Baoyu even more precious.
A Mountain Recluse of Pristine Virtues—Xue Baochai
Jade Pei Pendant in the Shape of a Lock, Qing Dynasty (1644-1911), Gu Yu 8642. Length 8.2 cm Height 4.6 cm © The National Palace Museum, Taiwan
Xue Baochai always wears a gold locket engraved with “leave not, forsake not, forever endures the blossoming youth.” This perfectly pairs with “lose not, forget not, long thrives the immortal life,” on Jia Baoyu's jade, evoking the idea of “an ideal union of gold and jade.” Born into a prestigious family of imperial merchants, Xue Baochai has received a good education from an early age, making her the most learned female character. With a noble character, she is fond of tranquility and elegance. Cao Xueqin describes her as plain in appearance, “never fond of flashy adornments,” and her room is furnished “like an austere snow cave, devoid of any decorative items.” All these suggest Xue Baochai's refined taste, integrity, and pursuit of a simple life.
Two auspicious lines, “leave not, forsake not, forever endures the blossoming youth,” were given to Xue Baochai by a Buddhist monk, who said they should be engraved on a gold object, with one line on each side. Such lock-shaped ornaments inscribed with auspicious phrases are not mere figments of imagination. This jade pendant in the shape of a lock features a peony on one side and is inscribed with “yu tang fu qui (high rank and prosperity)” on the other. It is strung on a cord for wearing around.
The Epitome of Craftiness—Wang Xifeng
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Gold Earpick-hairpin Decorated with Characters of “Peace”, Qing Dynasty (1644-1911), Gu Za 2107. Length 10.3 cm © The National Palace Museum, Taiwan
Wang Xifeng, the favored daughter-in-law of Grandmother Jia, serves as the manager of the Jia household. She is intelligent, capable, lively, and beautiful, always bringing laughter wherever she goes and radiating charm in every aspect of her appearance. Hailing from a noble family, the Wangs were even involved in the preparations for the emperor’s southern inspection tour, underscoring their ties to the imperial court and emphasizing Wang Xifeng's glamorous upbringing. Wang Xifeng meticulously managed the household finances, oversaw every expenditure to support the extensive costs of the Jia household, maintain their stability, and mitigate the decline of the family. Despite her tireless efforts, she could not salvage the Jia family or avert the tragedy of her eventual divorce.
Wang Xifeng's beauty often carries a hint of spontaneity and indulgence. In Chapter 28, Jia Baoyu walked to Wang Xifeng's courtyard and saw “Wang Xifeng resting on the doorstep, using an earpick to clean her teeth…” Earpicks are often paired with hairpins as a set. This gold earpick-hairpin features a rounded end that serves as the earpick, while the other end is adorned with two Chinese characters, “ping an,” which symbolize peace.
A Peony Bed of Drunken Dream—Shi Xiangyun
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Round White Silk Embroidered Fan with Flower and Butterfly Design Inlaid with Pearl and Jadeite, Qing Dynasty (1644-1911), Gu Za 5970. Length 38.5 cm Height 21.5 cm © The National Palace Museum, Taiwan
In Dream of the Red Chamber, four prominent families stand out: the Jia, Shi, Wang, and Xue. Shi Xiangyun was born into the Shi family, where Grandmother Jia, officially known as Shi Taijun, is an elder member. Despite being orphaned at an early age, Shi Xiangyun exudes a broad-minded and cheerful demeanor. This is why the author especially mentions her as “fortunate to be born with a heroic and magnanimous disposition.” Among all the main female characters, she embodies the most positive traits. Shi Xiangyun laughs heartily, eats venison heartily, dresses in men's clothing, and when drunk, lies down on a stone bench to sleep soundly. She is so uninhibited, so genuine. Unfortunately, she still leads a lonely life in the end.
The scene of Shi Xiangyun lying drunk among the peony petals is a charming passage in the novel. “Peony petals fly all around her, covering her from head to toe, scattering their fragrance on her face and clothes. The fan in her hand lies on the ground, half-buried under fallen flowers, while a swarm of bees and butterflies buzzes around her in a noisy frenzy.” The round fan not only provides cooling relief but can also shield one's face and serve as a prop for feminine posturing.
The Yearning of Vain Destiny—Hua Xiren and Qingwen
Gilt Silver Openwork Fingernail Guard with Cotton Rose Motif, Qing Dynasty (1644-1911), Gu Za 3610, 3611. Length 8.2 cm © The National Palace Museum, Taiwan
Hua Xiren and Qingwen are Jia Baoyu's principal maids, his prospective concubines, who rise from servant status to be counted as major female characters. Hua Xiren is simple, wise, and considerate; Qingwen is charming, proud, and competitive. Despite their lowly origins, they have different destinies due to their contrasting personalities. After the downfall of the Jia family, Hua Xiren married the actor Jiang Yuhan; Qingwen, even before the downfall, was unjustly driven away and died of illness on a reed mat at home. To Hua Xiren, “the enviable actor was blessed to marry her, while the young master lacked the destined connection.” To Qingwen, “her short life was due to slanderous accusations, and the sentimental young master missed her in vain.”
Qingwen is delicate and charming. Despite being a maid, she is pampered by Jia Baoyu and “dressed up like a Xi Shi every day,” even “sporting two fingernails that are three inches long…” This demonstrates Qingwen's fondness for dressing up and her privileged status. Long nails are a symbol of noblewomen and require careful maintenance, often protected by nail guards. Fingernails symbolize Qingwen's dignity and her very essence. Mistakenly accused of having an affair with Jia Baoyu, she was expelled from the Jia family by Lady Wang. On her deathbed, in Jia Baoyu's presence, she cut off her two “scallion-like” long fingernails, declaring, “take these, and it will be as if you are seeing me.” This act embodies Qingwen's unwavering pride and unyielding spirit, which soars “higher than the sky.”
Until 2026-05-17