Dream of the Red Chamber: From Pages to Living History

The National Palace Museum in Taipei presents a one-of-a-kind exhibition that brings the fictional world in Dream of the Red Chamber — a masterpiece of Chinese literature — to life.

Sense of Wander: ★★★★☆

Like the beloved classic itself, the exhibition The Splendor of the Dream of the Red Chamber begins with a piece of jade.

TAIPEI, Taiwan — Once upon a time, a small, unpolished stone lay abandoned at the foot of a mountain. Rejected by the goddess Nuwa, who used other stones to mend the heavens, it harboured a destiny of its own and yearned to experience the mortal world. Moved by its longing, a monk transformed the stone into a human boy — Jia Baoyu, whose very name, Baoyu (Precious Jade), reflected his extraordinary origin. So begins the tale of Dream of the Red Chamber.

More than just a novel, Dream of the Red Chamber overflows with wisdom that has inspired generations — writers, artists, politicians, even C-suite executives. When I was a jewellery design student, I thought of creating a collection inspired by the rich descriptions of adornments in the novel — an idea that many others have also explored.

Now, rather than reading the novel or watching lengthy drama adaptations, enthusiasts can experience its world through objects. The Splendor of the Dream of the Red Chamber, currently on view at the National Palace Museum in Taipei, breathes new life into the story by presenting the material culture featured in this timeless classic.

It’s no surprise that the first object one encounters upon entering the exhibition is a piece of jade — polished yet marked with “stained wrinkles,” as if bearing the scars of the Jia Baoyu’s tumultuous journey through life.

The first section of the exhibition shed light on Cao Xueqin, the celebrated author of Dream of the Red Chamber, and his family. Born into an affluent household with deep ties to the imperial court, Cao’s lineage traces back to three generations of Jiangning Imperial Weavers.

Since the time of his great-great-grandfather, the Cao family had been entrusted with a prestigious role usually reserved for those close to the emperor — responsible for weaving, procuring silk, and supplying all materials for the imperial palace, including the sacred Tibetan Dragon Sutra coverings.

The family’s close relationship with the emperor is highlighted in a letter exchange between Cao Xi, Cao Xueqin’s great-grandfather, and Emperor Kangxi (reigned 1661-1722). In the letter, Cao reveals how he, as the emperor’s trusted confidant, was collecting intelligence for the emperor in southern China.

A letter exchange between Cao Xi and Emperor Kangxi reveals the close ties between the Cao family and the Qing emperor.

The wealth and prestige the Cao family had built over half a century vanished in an instant in 1728, when Cao Fu — Cao Xueqin’s father — was stripped of his title and had all his possessions confiscated. This included household staff, furniture, pawn tickets, and much more. This tragic downfall mirrors the fate of the Jia family in Dream of the Red Chamber who, as we’ll see later, meet a similar devastating end in the novel.

A set of gold wares on display — including a bowl, a pair of chopsticks, and a spoon — illustrates the kind of luxury items once owned by the Cao family before they were seized. Gold wares, reserved for emperors and empresses, were so exclusive that even the Jia family — with their noble rank — were forbidden from possessing.

This gold bowl, labeled as 80-percent gold and weighing twelve taels and five candareens, was fitting for the status of emperors and empresses.

In Dream of the Red Chamber, household ceramics like the Ru and Ding wares from the Song Dynasty (960-1279) are integral to the everyday life of the Jia family.

Cao Xueqin’s refined taste was deeply rooted in his upbringing — a quality that is reflected in the details of the fine objects he describes throughout the novel.

Readers are familiar with the Jia family’s indulgent lifestyle. Beyond precious gold wares, a selection of beautifully carved, translucent agate vessels takes us into the heart of the Jia household, where agate appears in pillows, bowls, and dishes of various designs.

In the novel, these agate dishes are elegantly referred to as “White Agate Dish with Silk Skein Pattern.” One such dish is found in Jia Baoyu’s room, where he later pairs it with lychees and sends it to his younger sister, Jia Tanchun, commenting that the dish’s beauty can only be fully appreciated when paired with the delicate fruit.

The natural patterns in agate ensure that no two dishes are ever alike, making each one a unique work of art.

Dream of the Red Chamber was written in the 18th century, a time of exchange between East and West. Western missionaries arriving in China introduced novelties like snuffboxes, glass bottles, and pocket watches — luxuries that found favour in the imperial palace, eventually making their way to the Cao family, and were later captured in Cao Xueqin'’s portrayal of the Jia family.

On display are several palm-sized snuffboxes made of aventurine, a yellow-brown gemstone speckled with gold-coloured particles. The term “aventurine” was also used to describe “artificial aventurine,” or glass and ceramics imitating the natural stone — often synonymous with gold-speckled glass.

Much of this gold-speckled glass was imported from Europe, though some was produced in the imperial glass workshops. Its shimmering allure made these objects valued as rare treasures and, naturally, Cao Xueqin included them in his novel, reflecting both his own taste and Jia family’s position at the forefront of fashion.

Two octagonal-shaped gilt-bronze box inlaid with aventurine.

This piece, imported from Europe and combining a timepiece with a candlestick, echoes Dream of the Red Chamber, where Cao Xueqin often marks the passage of time by the clock’s strikes.

The Jia family reached its zenith when Jia Baoyu’s eldest sister, Jia Yuanchun, was granted the prestigious title of guifei (noble consort). To honour her, the family built the renowned Daguan Yuan (Grand View Garden) as a fitting reception for her visit to the family elders, where she would fulfill her filial duties.

Among the displays is a finial ornament featuring two phoenixes elegantly hovering over one another, set with pearls and crowned by a brown gemstone with a cat’s eye effect. This exquisite piece would have adorned the court hat of an imperial consort — even such an accessory was regulated during the Qing dynasty, with strict guidelines governing the types and quantities of gemstones based on the wearer’s status.

A selection of precious ornaments hints at the royal attire Jia Yuanchuan might have worn after receiving the title of guifei.

What I love most about the exhibition is a space dedicated to key characters from Dream of the Red Chamber, each represented by objects that reflect their personality, jewellery they would have worn, or items associated with them.

No discussion of Dream of the Red Chamber is complete without the soul connection between Jia Baoyu and Lin Daiyu — a bond that carries over from their past reincarnations, where Baoyu was a stone, and Daiyu, a delicate herb by the riverbank, nourished by his presence.

From the moment they first met, their fate was sealed. “I have seen her before,” Baoyu remarked, sensing their extraordinary connection. As childhood sweethearts, their souls recognised each other — they were inseparable day and night.

What better way to illustrate their bond than a selection of embroidered silk and jade pouches — symbols of intimacy and devotion? In the story, Lin Daiyu painstakingly stitched a pouch for Baoyu, only to be heartbroken when she mistakenly believed he had given it away. But in truth, Baoyu had kept it hidden within his inner robes, close to his heart — so precious that no one could take it from him.

Pouches were regraded as traditional tokens of love in ancient China.

One day, while admiring the begonia flowers in the garden, Jia Baoyu loses his jade, throwing the entire household into chaos. This loss carries a double meaning — not only does the jade vanish without explanation, but the world of Baoyu, whose very existence is tied to it, also shatters.

Making a calculated move, Wang Xifeng orchestrates a marriage alliance with the Xue family. But instead of telling Baoyu the truth, she deceives him — leading him to believe he is marrying Lin Daiyu, only to send Xue Baochai to the bridal chamber in her place.

On display, a white-glazed vessel holds a pair of white chrysanthemums, evoking the serene yet melancholic air of Baochai’s room. In the story, a similar vessel — also filled with chrysanthemums — rests among a few books, a tea cabinet, and delicate teacups — details that paint a picture of her quiet world.

This understated elegance also foreshadows Baochai’s fate. As a substitute for Daiyu, Boayu will eventually find herself lingering in an empty room after Baoyu abandons the household.

A selection of objects is chosen to illustrate the character of Xue Baochai.

Forced into marriage with Baochai for the sake of family interests, Baoyu becomes increasingly disillusioned with each passing day. Eventually, he chooses to renounce worldly attachments and embark on a path of spiritual retreat. Meanwhile, the once-powerful Jia family crumbles into pieces.

The downfall of the Jia family is often seen as a reflection of Cao Xueqin’s own family, which had thrived for a century before falling into decline. Through Dream of the Red Chamber, Cao wove together memories of bygone grandeur with fiction, perhaps seeking solace in the process.

The most widely known version of Dream of the Red Chamber — the 120-chapter edition — is actually an expansion of Cao’s original 80 chapters. After editing the novel, bookseller Chen Weiyuan and scholar Gao E published it using movable type, making it more accessible. This version quickly gained popularity, securing its position as one of the four classics of Chinese literature.

It’s intriguing to think how this story, once shared through handwritten manuscripts, has passed through the hands of generations of readers — including myself. Among them is exhibition curator Wang Liang-Chung, whose passion for Dream of the Red Chamber brought its fictional world to life, turning text into tangible objects before us.

A copy of Xiu Xiang Hongloumeng (The Illustrated Dream of the Red Chamber) published in 1820.

The Splendor of the Dream of the Red Chamber runs through May 17, 2026.