Jia Baoyu is a central character in the Chinese classical masterpiece Dream of the Red Chamber. His previous incarnation was the Divine Luminescent Stone Attendant. He is the second son of Jia Zheng and Lady Wang of the Rongguo Mansion. Born with the "Magical Jade of Spiritual Understanding" in his mouth, he is the legitimate grandson of the Jia family’s "Jade Generation," hence the name "Baoyu" (Precious Jade). He is commonly referred to as "Master Bao" within the Jia household.
From childhood, Jia Baoyu was deeply doted on by his grandmother, Lady Jia. He grew up in luxury, surrounded by female relatives and maids, and developed a fondness for nurturing relationships with women. He shared a profound, pure bond with his childhood companion, Lin Daiyu, whom he considered his soulmate. Valuing emotion over rigid etiquette, he befriended sentimental men such as Qin Zhong, Jiang Yuhan, Liu Xianglian, and the Prince of Beijin. He adored poetry and literature but despised Confucian classics, the Eight-Legged Essay, and the rigid doctrines of Cheng-Zhu Neo-Confucianism, dismissing scholars obsessed with imperial exams and official careers as "careerist parasites." However, his blissful life soon crumbled. The women he cherished either died or scattered, and under family pressure, he reluctantly married Xue Baochai, leading to Lin Daiyu’s death from heartbreak. After enduring the trauma of his family’s downfall, he descended into madness.
To repay his ancestral debt and sever worldly ties, he briefly revived the family’s fortunes by achieving scholarly honors and fathering a son. Ultimately, he followed a Buddhist monk and Taoist priest back to the mythical Green Ridge Peak.
Jia Baoyu’s character carries autobiographical elements of the author, Cao Xueqin, but remains a fictional archetype. He embodies three virtues: "emotional refinement" (yiyin), "mending the heavens and aiding the world," and the "duality of righteousness and vice." This innovative portrayal holds a unique place in world literature.
Jia Baoyu
Chinese name | Jia Baoyu |
Alias | Bao'er Ye, Yihong Gongzi, and Jiangdong Flower King |
Gender | male |
People like | Lin Daiyu |
Wife | Xue Baochai |
Birthday | the 26th day of the fourth lunar month |
Jia Baoyu
He wore a purple-gold crown inlaid with jewels to bind his hair, a golden headband embroidered with "Two Dragons Fighting for a Pearl," a vibrant red narrow-sleeved robe adorned with golden butterflies and flowers, tied with a multicolored silk sash, and a dark blue brocade coat patterned with eight floral medallions. His boots were black satin with white soles. His face resembled the mid-autumn moon, radiant as spring blossoms. His hairline was sharp as a blade cut, his eyebrows ink-painted, his nose straight, and his eyes sparkling like autumn waves. Even in anger, he seemed to smile; his gaze brimmed with affection.
Jia Baoyu
His short hair was braided into small plaits tied with red threads, gathered into a single large braid that hung glossy and black like lacquer, adorned with four large pearls and golden pendants. He wore a faded pink floral coat, a jade pendant, a longevity lock, and amulets. His loose trousers and embroidered socks paired with thick-soled red shoes accentuated his fair complexion, rosy lips, and expressive brows. His charm radiated from his every glance, concealing depths unknown.
Jia Baoyu
Jia Daishan
Lady Jia (née Shi, the Matriarch)
Jia Zheng
Jia Zhu (elder brother, same mother)
Jia Yuanchun (elder sister, same mother)
Jia Tanchun (half-sister, concubine-born)
Jia Huan (half-brother, concubine-born)
Li Wan (wife of Jia Zhu)
Jia Lan (posthumous son of Jia Zhu, biological mother Li Wan)
Jia Yun
Jia She
Lady Xing (wife of Jia She)
Jia Min
Lin Ruhai
Wang Ziteng
Aunt Xue (Madame Xue)
Lu Xun: "In my eyes, Baoyu witnesses countless deaths. This proves that those who love deeply suffer greatly, for the world abounds in misery. Only those who hate find fleeting joy, unburdened by attachments. Yet hatred is but an escape for failed lovers, much like Baoyu’s eventual monastic retreat—both are acts of resignation. However, such was the ideological limit of Dream of the Red Chamber’s era. Even if the ending was added by another, it likely aligns with the author’s intent. Only the scene of him bowing to his father in a crimson cape feels strikingly incongruous."
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