Exhibition Recommendation | When the “Four Dreams of Linchuan” Meet Cantonese Opera

The exhibition is divided into five sections, offering a comprehensive overview of Tang Xianzu’s legendary life and his remarkable contributions to the art of drama. This time, it also features three sets of Cantonese opera costumes associated with “The Four Dreams of Linchuan.” Among them, the female dragon robe worn by Huo Xiaoyu and the male dragon robe donned by Li Yi in the “Arguing Over Reason and Contending for Husband” scene from the Cantonese opera “The Story of the Purple Hairpin” were generously provided by Tang Peiwen, an intangible cultural heritage bearer of Cantonese opera.

To enhance visitors’ experience of this special exhibition, the Cantonese Opera Art Museum also hosted two distinctive hands-on workshops—“Skillful Hands Capture Fragrance, A Dream of Youth: A Pressed-Flower Experience Inspired by ‘The Peony Pavilion’” and “Weaving Dreams with Purple Hairpins, Elegant Charm in Inlaid Mother-of-Pearl: An Intangible Cultural Heritage Hairpin‑Inlaying Workshop”—which received widespread acclaim.

Pressed Flower Experience

Intangible Cultural Heritage Mother-of-Pearl Hairpin Experience

Tang Xianzu, a native of Linchuan in Jiangxi Province, was a renowned dramatist and literary figure of the Ming Dynasty. Throughout his life, he composed more than 2,200 poems and penned nearly 700 prose pieces, essays, and letters; among these, his “Four Dreams of Linchuan” are the most celebrated. The “Four Dreams of Linchuan” comprise “The Peony Pavilion,” “The Jade Hairpin,” “The Story of the Southern Branch,” and “The Tale of Handan.” From the moment they were first published, they captivated society, giving rise to numerous editions—printed, annotated, collated, and adapted—as well as countless stage productions in such diverse genres as Kunqu opera, Cantonese opera, Peking opera, Yue opera, and Gan opera, with “The Peony Pavilion” enjoying the greatest number of performances. During the Republic of China era, foreign translations began to appear, and Mei Lanfang even brought the “Tour of the Garden—A Dream Awakening” scene from “The Peony Pavilion” to Japan, the United States, and the Soviet Union for performance.

In Cantonese opera, the adaptation of the “Four Dreams of Linchuan” can be traced back to the early 20th century, with Xiao Lixiang and the young male performer Cong’s rendition of “The Peony Pavilion.” Later, in the 1950s, Tang Disheng’s adaptations of “The Purple Hairpin” and “The Peony Pavilion: The Dream of Awakening,” starring Ren Jianhui and Bai Xuexian, swept through the Cantonese‑opera world. To this day, the “Four Dreams” remain a staple on the Cantonese‑opera stage, with new versions continually emerging.