First, the origin of Qian Chenqun's former residence
The Qian family of Guangping Bridge, also commonly known as the Qian family of tianguan archway, is the former residence of Qian Chenqun, a famous minister of the Qianlong Emperor of the Qing Dynasty. Qian Chenqun was poor all his life, first renting a house. After enjoying a pint of Money, he bought the house for himself and lived in Ximen Guangping Bridge before moving to the South Gate Lotus Bridge. Qian Chenqun's eldest son, Qian Rucheng, served as the left attendant of the Qing Dynasty military department and the Yin of Shuntianfu, and used the Qing government's "yanglian gold" to build a new house at the Lotus Bridge. After Qian Chenqun moved to Lianhuaqiao, the former residence of Guangpingqiao (the old house on the east side) was given to his grandson Qian Zai to live.
My great-grandfather Qian Fa Rong, The Number Hengfu, Qing Guangxu Gongsheng Four Pin Titles, built a house on the west side of the old house, and the Guangping Bridge Qian family expanded from the original five facades to ten facades. Qian Farong's cousin Qian Junxiang (錢君祥), known as Xinfu (新甫), was a jinshi (the first principal of Jiaxing No.1 Middle School) in the fifteenth year of Guangxu (1889); Qian Xiongxiang, who lived in Lianhuaqiao (Qian Zhengying's grandfather). They are all five generations of Qian Chenqun's grandchildren. Qian Farong's father, Qian Bingsen, Qian Zifang, and Qian Junxiang and Qian Xiongxiang's father, Qian Yingpu, and Qian Yingpu, who was a brother of qian Chenqun and the fourth generation grandson of Qian Chenqun, their father was Qian Taiji, the third generation grandson of Qian Chenqun, And Qian Taiji's father was Qian Fu, his grandfather Qian Rugong, and his great-grandfather Qian Chenqun. Guangping Bridge Qian house, Lotus Bridge Qian House, is the former residence of Qian Chenqun successively, two bridges Qian family, the same family and the same root.
Second, the old house and the new house are three-in-one layout
The area north to the west of Guangping Bridge (from the former Yunxi Bridge to the Shuzi'an, now the Telecommunications Bureau in the middle of Zhongshan Road to the Xinhua Bookstore), before the War of Resistance Against Japanese Aggression, it was called the Tianguan Arch. After the victory of the Anti-Japanese War, it was connected with The Jianqiao Street in the East Gate, the East Market Street in the city, and the West Market Street in the west of the city, which was collectively called Zhongshan Road. There were five facades on the east side, and the door number at that time was No. 55 Tianguan Arch, which was later changed to No. 352-354 Zhongshan Road. After Qian Chenqun moved to Lianhuaqiao, he gave way to his grandson Qian Zai to live, and later settled by my grandfather Qian Zaiheng (the sixth generation grandson of Qian Chenqun), who served as the superintendent of the Shanghai-Hangzhou Railway and died young. This is the place where my children and teenagers were spent, going through the Japanese and pseudo-Japanese periods, the Kuomintang government, until the early 1950s of the liberation period. The bricks and stones, trees and trees, streets, lanes, rivers and bridges here are remembered, and they are vividly remembered, incomparably kind, and sighed.
The five facades of the front dai are low-rise buildings, "one door and three hangings" type brick and wood structure. The first floor is paved with brick and stone, and the second floor is a lower floor room, inhabited by civilians with poor economic conditions in general. The two facades to the east later opened a tofu shop. In the middle of the front dai is a wall and door, paved with stone slabs, which is actually the aisle of the gate, and later also lived in people. There is a small patio paved with stone slabs between the front and middle dai, there is a bungalow on the west side of the patio for kitchen use, and the north door through the small patio is a larger patio, with stone slabs in the middle and flowers and plants on both sides. Facing the south of the courtyard, there are three large bungalows, the central hall is paved with brick floors, equipped with floor-to-ceiling glass long windows, and the two large bungalows in the east and west are floor rooms. There is a large bluestone on the west side of the patio, with a smooth stone surface, which is said to be used by the ancestors to practice calligraphy. The back wall of the nave is a row of wooden planks, and a door on the east side leads to the back dai. The terrain is slightly higher, facing north and south, the third floor is a two-story brick and wood structure with three bottoms, with two stone slab steps, about 50 centimeters above the ground, in the middle is the guest hall, on the east and west sides are houses, all paved with floors. There are six long windows of shells on the ground in the guest hall, the furniture is placed in an orderly manner, two eight immortal tables are placed in the middle, one eight immortals table and a mahogany long table are close together, the long table is backed by the parapet, and in the center hangs a picture of osmanthus flowers with money. On either side of the osmanthus painting is a couplet. Upper Link: Le Shou Jia Feng Honoring Chengxiande, Lower Link: Poetry Book Shiye Sakai Hou Kun. Qian Xunyi wrote a sentence, and Qian Haiyi wrote a letter. Both are cousins of their fathers, both teaching at Shanghai Secondary Schools and Universities. The former is the father of Qian Liren, the former president of the People's Daily, and the daughter of the latter, Qian Xiaohai, who engaged in underground party work before liberation and retired in Shanghai after liberation. To the left and right of the two eight immortal tables are two rows of chairs and coffee tables, each with three chairs and two coffee tables. There is a picture hanging on the west head wall, and in the middle sits Qian Farong, including Qian Junxiang. Such precious paintings, couplets and old photographs all disappeared during the Cultural Revolution. The West House is the grandmother's house, and the East House sometimes comes to live with the grandmother. Upstairs in the middle of the hall is a spiritual hall dedicated to the ancestral tablets, and the west head is the mother's bedroom, where the father and mother got married, and the mother lived until her death. The east first room was my brother's bedroom. At the back of the middle spiritual hall, there is a row of wooden planks separating each other, which becomes the passage between the east and west heads. Downstairs, behind the hanging paintings and couplets of wooden planks in the guest hall, a staircase up and down is placed. Under the stairs, behind the wooden planks of hanging paintings and couplets, there is a small space, a stairwell where debris is stacked. In the middle of the back wall of the stairwell, several stone stele are inlaid, one of which is the Qianlong Emperor's imperial inscription poem. When Qianlong toured the south again in the thirty-first year (1766), he looked at Qian Chenqun's "Xiangshu Zhai Anthology", which contained poems praising his mother Chen Shuye when she was teaching the scriptures. After reading it, the Qianlong Emperor was deeply moved, and he wrote two absolute sentences and inscribed the four words "Qingfen Shishou" to encourage the Qian clan.
(i)
The bonfire class reads the poverty of poverty, and the righteous spinning is forgotten by hoeing.
The family learns the painting of Baiyang and treats others as the bottom of the picture.
(ii)
Wuding'er sincerely comforted her mother's poverty, and the poetry did not feel the nose.
Jiahe wants to read the biography of Xianyuan, and is worthy of the painting of the Hagi people.
The fifth day of Qianlong Nongshen Chunzheng
The first poem is to the effect of praising Chen Shu for urging his children to read under the lamp and cultivating talents for the country. The second poem is to the effect that the children and grandchildren have all become talented in reading, and they can comfort their mothers in their positions, and Chen Shu's deeds can be comparable to Ouyang Xiu's mother, and can be written into the biography of Jiaxing's virtuous wife and mother. Both Chen Shu and Qian Chen Qun were included in the Compilation of Biographies of Celebrities in the Qing Dynasty (edited by Heng Muyi, published in the United States in 1944). The introduction of Chen Shu is about 1,000 words, and the introduction of Qian Chen Qun is about 1,200 words. It can be seen that Americans are very familiar with the talent situation in the Qing Dynasty. The stone stele on the back wall of that year had a wooden plank to cover the treasure of the town, which was hidden behind the stairs for two hundred and fifty years and was not found, and later after the wooden plank was removed, the authentic handwriting was revealed. Plastering lime on stone tablets escaped the cultural revolution. Zhongshan Road was collected when it was demolished. We have donated this imperial monument to the "Qing Fen Shi Shou" Memorial Hall on Mei Wan Street.
On both sides of the third floor and the third floor are the east wing and the west wing, both of which are brick-paved bungalows. The east wing is a kitchen with a side door leading to a small garden of about half an acre. Some of the rockeries in the park are about two people tall. Outside the small garden is a large garden, about three acres of land, planted with mulberry plants and bamboo vegetables. The west wing has a stone mill, which is a place for milling rice and flour, and there are also side doors leading to the west, there is a moon hole, and through the moon hole is the new house with five facades in the west. There is a regular patio between the east and west wing, the back dai, and the middle dai. There is a osmanthus tree in the west, with lush flowers and leaves, and the golden fragrance of August; there is a plum tree in the east, which emits a bitter cold fragrance in the middle of winter, and these two trees are said to have been planted by Qian Zai. Four large lotus pots are placed in the middle, and the lotus flowers stand tall in mid-summer, "out of the mud without staining". Listening to my mother, every year when the lotus flowers bloom, the three dukes of ChongFu (Qian Zhengying's grandfather) of the Qingfen Hall in the south gate want to pick lotus flowers, and there is a large rectangular stone trough next to the south of the lotus jar, planting calamus, and emitting a burst of fragrance during the Dragon Boat Festival.
The five facades to the west were later built by great-grandfather Qian Farong and called new houses compared with the old houses on the east side. Also sitting south facing north. The five facades in the front dai are also low two-story brick and wood structures, with a taller one in the center and a yellow beam carved in front of the building, declaring the main entrance. The stone slab is paved and used exclusively for stopping the palanquin. The middle dai is more than a meter higher than the front dai, and the third floor and three bottoms are living rooms. There is a narrow patio between the middle and front dais, planted with flowers and plants. On the east side between the middle and back dai is a row of east-west bungalows for the kitchen and firewood room. There is a lane between this row of bungalows and the East Room of Zhongdai, which is about a meter wide and is the passage from Zhongdai to Houdai. The back dai is slightly higher, and it is also the third floor and three bottoms, which is taller than the middle dai. The square brick floor between the middle halls, the center of the hall hangs a plaque of Siyong Hall, which is inscribed by great-grandfather Qian Farong. The bedrooms on the east and west sides are floor rooms, slightly larger than the old house on the east side. There is a large patio between the rear dai and the middle dai, with a stone path in the center of the patio and flowers and trees planted on both sides. There is also a small garden on the east side of the back dai with a moon cave leading to the old house on the east side. There is a "Great Immortal Building" in the small garden, which is mysterious and hides relics such as the official robes and hats of the ancestors. Usually, very few people dare to step in. Behind the rear dai, there is a row of north-south bungalows for kitchens and warehouses. There is also a small patio between the small bungalow and the back dai. There is a back door on the east side, leading to a large vegetable garden in the back, with an area of about three acres, and the mulberry garden behind the old house in the east.
Because several brothers went to work in foreign countries, the family moved out. Later, the families of the big house, the ninth room, the tenth room and our six rooms are still living in the old and new houses in Guangpingqiao. During the War of Resistance Against Japanese Aggression, some of the family members died, and because their children and grandchildren went abroad to study or seek livelihood, some houses in the family were vacant and unoccupied, so they rented out to subsidize the family. In 1958, Jiaxing carried out private housing renovation and implemented public-private partnership. Subsequently, in addition to leaving his own living room, other houses were accepted as public ownership by Jiaxing Real Estate Company. In 1984, the Zhongshan Road widening and reconstruction project demolished all ten facades of the Qian family. The three entrances to the old houses in the east, especially the former residences of Qian Chenqun, Qian Rucheng and Qian Zai, who lasted for three hundred years in Zhongdai and Houdai, have died and have not been preserved as cultural monuments in Jiaxing City, which is a pity.