本文認為《紅樓夢》中針黹活動的發生、過程、目的與所製成物的收受、損毀、補缺，除了對賈府有經濟價值以外，另具有多重意涵。針黹作為女性專屬的性別活動，來源可上溯「男耕女織」的性別分工與織女信仰、乞巧儀式的文化編碼。首先，本文以針黹為線索，分析針黹這一儀式性活動在《紅樓夢》中被賦予的「婦功」的意義，及當針線物脫離道德「價值」落入「價格」較量時，一同顯示的人情角力。復次，針黹的文化編碼與七夕儀式習習相關，本文以善針線的晴雯為例，觀察針黹作為未嫁女兒之情的載體，以及女兒之情意在此岸大觀園的無立足境，並解釋何以民間流行的七夕沒有進入到小說的書寫視閾。而當百廿回本《紅樓夢》以針黹展現「女兒」之情時，續書作品則聚焦「母親」的倫理道德，分別展現「重情」與「重禮」的不同關切面。最後，本文以續書的回望視野，觀察續書在「補恨」工程中，如何將原著私人的針黹行為轉變為集體性的七夕乞巧與齊家的世俗想望。

This paper argues that the occurrence, processes, and purpose of needlework activities as well as the acceptance, destruction, and mending of embroidered items in Dream of the Red Chamber not only hold economic value for the Jia 賈 family, but also imply multiple layers of meaning. As a gender-specific activity for women, the origin of needlework can be traced back to the cultural codification derived from gendered division of labor, namely “men tilling and women weaving” 男耕女織, belief in Zhinü 織女, the goddess of weaving, and rituals performed for Double Seventh Festival. By using embroidery as clues, we can first unveil how these activities are endowed with the connotation of “female virtue” 婦功, as well as revealing the existence of rivalries among characters when the significance of needlecraft deviates from “ethical value” and drifts into the realm of “monetary value.” The present paper then takes the female character Qingwen 晴雯, who is gifted in needlework, as an example to elucidate the close relationship between the culturally codified needlework and rituals performed for Double Seventh Festival, and to observe both how embroidery functions as an important medium to convey the affection of unmarried women and how the Grand View Garden,or Prospect Garden, is no place for such affection. Furthermore, it also explains why Double Seventh Festival, popular among the general public, is not found within the pages of Dream of the Red Chamber. While the 120-chapter original version of Dream of the Red Chamber demonstrates the affection of “daughters” through needlework, the sequels focus on ethics of “mothers,” thus highlighting diverging concerns over emphasizing affection versus propriety. Finally, from a reflective perspective, this paper examines how the sequels, in their attempts to “make up for regrets” left behind by the original version, transform private needlework activities in the original version into collective activities, as represented by ouble Seventh Festival, to fulfill the worldly desire to put family affairs in order.