The Jesuits who did get to see the Kaifeng Torah, however, had to concede that, indeed, it was exactly like that of the European Jews, with not one letter altered. The same Jesuits also left a precious legacy in the form of sketches of the synagogue itself, both its interior and its exterior. They noted that the synagogue faced West, towards Jerusalem, and that the Jews turned in this direction when they prayed. From the outside, the synagogue looked as though it were any other Chinese temple, replete with archways and courtyards. Of the many memorial halls, the very innermost one held the Ark of the Covenant. Two marble lions flanked the pathway to the Front Hall, in between which was a large iron incense tripod — a Buddhist, rather than Jewish, convention. There was a hall for the kosher preparation of meals, a Hall of the Founder of the Religion, a Hall of the Holy Patriarchs, ancestral halls of the Zhao and Li clans, and memorial archways of the Zhao and Ai clans.
Inside was a main ceremonial table on which were placed censers, flower vases and candlesticks. Behind this was the Chair of Moses, upon which the Torah was placed for ceremonial reading. Also evident were the Imperial Tablets mentioned earlier, and many wall inscriptions in Chinese.
These early Jesuits were able to preserve for posterity many of the stele inscriptions and writings of the Chinese Jews. Their reports remain the only sources of first-hand information on the daily life of the Chinese Jews which captured their existence in both the heyday and twilight of their lives as a religious community. While their knowledge of Hebrew was said to be somewhat tenuous at this stage, the Jews nevertheless held fast to their religion and to each other, taking great pride in their beautiful synagogue, which was captured for eternity in the sketches made by Father Jean Domenge in 1722. The synagogue had stood by now for 600 years. Although obvious signs of assimilation into their Confucian surroundings abounded, their ties to their Jewish ancestry proved too strong, and attempts to purchase copies of the Kaifeng Torah at this time were futile.
In 1723 the missionaries were forced to leave China, and a general ban on proselytizing was enforced as anti-foreign sentiment began to set in. It would not be until 1850 that foreigners were able to have direct contact with the Chinese Jews again.
Historical Setting of Peony
It is towards the end of this time of suspended communication with the outside world that Pearl S. Buck set the novel Peony. The primary intimation we have for its initial setting as being in the last decade of the 18th century or possibly the first decade of the 19th century, is the fact that the last rabbi was still alive, albeit in his last years. Scholarly research has ascertained that the last rabbi died between 1800 and 1810, thus verifying the time frame in which the story of Peony begins.
At the outset, Madame Ezra is said to be almost fifty years old, which would mean that her own parents were members of the congregation during its heyday, described by the Jesuit missionaries in letters to the Vatican. Madame Ezra’s great love of Judaism is all the more plausible, seen in this light.
Ezra ben Israel’s family was said to be one of seventy families which came scores of years ago through Persia and India, by land and by sea, as merchants and traders, and later surnamed Zhao. This, too, would be historically accurate according to the steles. That Madame Ezra should later on declare to the Rabbi that theirs is the leading Jewish family, is all the more true, since the Zhao’s held a remarkable place in the annals of Sino-Judaic history.
The synagogue, described as falling slowly into ruin, was said to be on the Street of the Plucked Sinew. While that street today is known as South Teaching Scripture Lane, before the early 1900’s it was called just that — the Street of the Plucked Sinew. The rabbi was described as standing beside the Chair of Moses, “upon which the sacred Torah was placed. He wore long black robes and about his black-capped head was wrapped a fine white cloth that streamed down his back.” This description coincides perfectly with a photograph found in Chinese Jews, written by Bishop William Charles White, an Anglican bishop who spent almost twenty-five years in Kaifeng, from 1910–1933. Elsewhere, Pearl S. Buck’s description of the synagogue coincides exactly with that portrayed in sketches by Father Jean Domenge in 1722, which was also reproduced in Bishop White’s book. A partial translation of the 1489 stele is given as well. Thirteen Torah scrolls were said to be in the synagogue, held in long cylinder boxes. References to inscriptions by Jews from other cities in the form of vertical tablets was also made.
Where Pearl S. Buck appears to take literary license is in the time sequence of the story. Although the real last rabbi of Kaifeng was supposed to have died by 1810, she alluded to the period of the Opium War (1839–1842) for the time of his death.
Later, when David ben Ezra journeys with his whole family to Peking, it is said to be at the time of the Empress Dowager, who then asked to see his “foreign” children. Since the Empress Dowager’s influence was most prominent from 1898 to 1908, it is inconsistent with the story that a period of over fifty years could have elapsed between the time of the rabbi’s death (assuming he died during the Opium War), and David’s visit to Peking with small children.
By the end of the novel, the synagogue was finally only a heap of dust. The carvings were gone, and only three steles remained for a time, then later only two. They stood “stark under the sky” until a Christian foreigner bought them. In fact, Bishop White did buy the steles, moving them for safekeeping into the cathedral compound. But this was in the year 1912, and if, as we surmised at the outset, the story was set at the turn of the century with the real rabbi’s death, then the novel would have spanned one hundred years…
Although we are encouraged to picture Madame Ezra, the Rabbi and his children as having distinctly Western features, by the 19th century the Chinese Jews were for the most part Sinified racially. Sketches of two Kaifeng Jewish brothers of the Zhao clan around the year 1850 do show high foreheads and decidedly Semitic profiles, yet exhibit Oriental eyes and hair. Although impossible to verify, by the latter half of the 19th century most likely no Kaifeng Jews retained a strictly Western appearance.
Chronological inconsistencies notwithstanding (and perhaps even because she took such literary license), Pearl S. Buck managed to reveal the sweeping panorama of Chinese Jewish history all at once in this way through the rise and decline of Jewish observance in the Ezra family.
19th Century Contact with the Chinese Jews
The end of Peony is by no means the end of the story of the Chinese Jews, however. Contact with Kaifeng’s Jewish inhabitants resumed after a 130-year hiatus in the year 1850, when the London Society for the Promotion of Christianity Among the Jews sent two Chinese Protestant delegates (converts from Shanghai) to Kaifeng. They reported that the synagogue was in a woeful state of disrepair and that the last rabbi had died about fifty years earlier. The community had some years before petitioned the Emperor to allow them to repair and rebuild their temple, but they had received no reply. Their condition was so desperate that the delegates were able to purchase close to seventy Hebrew manuscripts and six Torah scrolls from the synagogue over the course of two visits to Kaifeng. In addition, they bought the Chinese-Hebrew Memorial Book of the Dead, which was first assumed to be a genealogy. (All of these can now be found in the Klau Library of Hebrew Union College in Cincinnati.)