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A family of maritime collectors

Solemnly

Life, Reading, And New Knowledge Triptych Bookstore 2022-5

【Introduction】

It is a collector's biography that combines connoisseurship, knowledge and culture. The book includes anecdotes from 40 collectors who were active in Greater Shanghai in the 20th century and have lasted for more than half a century. Some of them inherit the ancestral yin, are interested in having capital, embark on the road of collection, and become a generation of people, such as Wu Hufan and Zhang Heng; some have embarked on the road of collection because of their family mission, such as Pan Dayu; some have a certain amount of capital after starting a business, and gradually embark on this road, such as Tan Jing; some are born in the cold door, but because of scab addiction, they are willing to give everything they have to collect, such as Sun Boyuan... Whatever the reason, they have devoted their lives to the collection of their beloved treasures, energy and wisdom, and have experienced a bumpy road in life with their beloved cultural relics in the vicissitudes of the tide of the times. As the author says, most of these people have become "passers-by" in the world, but the treasures that have their breath have survived.

【About the Author】

Mr. Zheng Zheng is a senior journalist of Wen Wei Po, known for his writing, writing thousands of miles, and thinking in a corner. In order to retain history, at the beginning of the new millennium, We asked Mr. Shang to write and compile the book "Maritime Collection Family", which was allowed by him, and in the past two years, Mr. Shang asked mr. Shang to write and compile a book entitled "Maritime Collecting Family", and in the past two years, Mr. Shang asked for a lot of historical materials, and compared them with physical objects. The advent of this book will surely make Luoyang paper expensive.

【Contents】

Da Ke Ding: From Pan Zuyin to Pan Dayu

Half of the country and mountains across the cloud building: the collection of calligraphy and paintings by Gu Gongxiong and Shen Tongfan

Red Roof House Owner: Zhou Xiangyun and his collection

Shang Martin Fangsheng who has gone through vicissitudes: connoisseur Gong Xinming, Gong Andong father and son

Cherish that love affair: connoisseur Gong Xinzhao, Gong Anying father and daughter

Pang Laichen: Southeast of the famous painting A

From Zhushan Hall to Baoshan Building: The Collection of Pan Boshan and Pan Jingzheng

Father and son collectors: Ding Fubao and Ding Huikang

The master of the small school's scripture cabinet, Liu Hanzhi

Qian Jingtang: "I love Snow Bamboo Map"

Gu Lijiang: True, small, fine, many collections

Hua Du'an: The heavens and the earth are wide between the square inches

Wu Hufan: Meijing Bookstore, Plum Blossom Anzai

Yan Huiyu: Collect for self-amusement

Sun Boyuan: Collector of inscriptions

Changshu Qu Clan: The Iron Qin Bronze Sword Building of the Fifth Library

Zhuang Wanli: Two Tu Xuan "tears and smiles at other family treasures"

Sun Yufeng: A collector with a collecting ideology

Chen Qicheng: No regrets about collecting

Sun Zhifei and Wang Kangyuan: Collecting the two relatives on the road

Wu Fangsheng: The Collecting Spirit of Confucian Merchants

Zhang Jiying: Yunshan looks like the sky is endless

Yuan Anpu: "Hide" yourself

Hu Huichun: Temporarily won the owner's porcelain collection

Liu Jingji: Calligraphy and painting have accompanied each other for a lifetime

Li Yinxuan: Bronze tears fall like lead water

Rob Showa and the coin collector group

Li Weixian: The "lone man" of the numismatic world

Scarlett and his collection of modern coins

Wu Chuzhong: Fifty years of paper money collection

Qi Shuyu: Scholar-type collector

He Dongxuan and Wu Wangfu were in a bad relationship

Gu Kaishi: I stumbled upon the road of collecting

Wang Nanping's last wish: send "Wang Anshi" home

Xue Guisheng: An old qualification in the shanghai antique industry

Tan Jing: It is he who gathers, and it is also him who scatters

Zhang Heng: The peerless wooden goose in the four seas

Chen Ping: People who are too utilitarian cannot become collectors

Du Weishan: Discover history from the ancient coins of the "Silk Road"

Zhang Yongzhen: Collecting what I like, no matter how expensive it is, it is worth it

【Excerpts】

Take on the burden of protection entrusted by history

Pan Zuyin had no children, and his brother Zu Nian's two sons were passed on to him as heirs, but they all died early. In this way, Pan Zunian had no children except two daughters. The eldest daughter married into the Xu family in Wujiang Tongli, and the second daughter Pan Jingshu married Wu Hufan. Pan Zuyin died in the capital, and his legacy was transported back to Suzhou by his brother Zu Nian on five large ships.

Pan Zunian is 40 years younger than his brother Pan Zuyin. After Zu Yin's death, his wife lived in Suzhou and returned to Beijing because she was not used to life. After the death of Mrs. Pan Zuyin, Zu Nian went to Beijing to take care of the aftermath, but due to the long distance and inconvenient transportation, when he arrived in Beijing, it was delayed for a month. Some of the cultural relics in Pan Zuyin's collection have been stolen, and some of the Song editions of ancient books lack the first volume. After the processing was perfected, Pan Zunian loaded the cultural relics and books back to Suzhou. Among the bronzes are the famous Da Lu Ding and Da Ke Ding. Pan Zunian set a rule on the cultural relics in his family's collection: "Carefully guard and hold, never show people". After Pan Zunian's death, Pan Dayu took up the burden of protecting the cultural relics in his family's collection.

I have heard about the legend of Panda yu protecting Ke and Lu Liangding for a long time, but I always feel that it seems to be a relic of the former dynasty, far from us.

Because they are artifacts hidden by prominent families, these large dings give people a noble and mysterious feeling. At the end of 1994, I came to the high-rise building at the intersection of Gao'an Road in Shanghai with admiration and excitement, and walked into an ordinary family. When an ordinary old man appeared in front of me, the legendary Panda suddenly became sublime. Although she is a ninety-year-old, her steps are still steady, her expression is cheerful, and her laughter reveals her kind of bodemiliness that she can afford and put down. It's just that her thin figure is in stark contrast to the heavy and huge Keding, and I can't believe that she has provoked the heavy responsibility of protecting ke and Lu Liangding entrusted by history.

Here, I conducted hours-long interviews with the elderly about the preservation and donation of Dakding.

Zheng: Can you please talk about the situation when you first arrived at Pan's house?

Pan: I didn't go to school when I was a child, but I just kept an eye on myself and read some words. I married into the Pan family at the age of 18. My husband Pan Chengjing, the cousin Rongshi, is a descendant of Pan Shien's third son, also known as the "Old Three Houses", who is the grandson of the grandfather of the ancestral father, and the heir to the grandfather of the zuyin gong is the grandson, and the two families are incense. Who expected him and me to die three months after marriage, leaving no children. This is also a strange thing in the Pan family, one of them will die, and they are all minors or die without children. Traditional theory is that this is too heavy to bear by the collection in the home. Zu Niangong was sympathetic and very understanding of my situation, and decided not to have a grandson again, otherwise it would be difficult for my widowed granddaughter-in-law to be a person at home in the future. Of course, the establishment of an heir is a big thing, and it cannot be solved without it, so I will come forward to establish an heir for my former husband Rongshi. However, Si Jin died soon after, and decided to re-heir, and Si Jin entered the family. Jiamao, also known as Dezhai (德斋), grew up to be a teacher in Suzhou Middle School, had children, and passed on the incense of the Pan family.

I was 19 years old when my husband died, and there were only three people in the family, my grandfather, grandmother, and me, and I was very lonely. But there is a grandfather, and there is a main bone in the family. Unexpectedly, just after the New Year's Day of the following year, my grandfather also died. The descendants nails on the grandfather's coffin were required to be knocked by the descendants according to the rules, and the family mao was only 4 years old at the time, which was to let people make a small hand to do the etiquette.

After my grandfather's death, I had to take on the responsibility of serving my grandmother, raising my young children, taking charge of the portal, and guarding the family's wealth. We, four generations and four families, lived in the courtyard of the deep house in a cold and cold way. After another 7 years, when I was 27 years old, my grandmother also died, and I only had a pair of children around me, Jiamao and Jiahua. Jiahua (the old man refers to the daughter sitting next to him) is the daughter of my sister Ding Xierou and brother-in-law Pan Boshan, and later passed on to me.

Zheng: How many cultural relics are in your home and where are they placed, do you have a good idea at that time? Do you know the historical value of these artifacts?

Pan: At that time, my children were young, and my orphans and widows were guarding a large number of cultural relics and treasures, which really made me worry a lot. I know that these are the treasures left by the dynasties for hundreds of years and thousands of years, and we must find a way to manage them well, and if we are a little lost, we will be sorry for our ancestors. As for the total number of collections, I don't know much. At that time, borrowing the old house of the "old second room" in South Shizi Street in Suzhou City, the light bronze ware filled a large room, and another large room was full of ancient books and calligraphy scrolls. With so many things, I don't have the ability to count and sort them out myself, but I don't allow outsiders to come and get their hands on them. This is the rule made by my grandfather.

Zheng: So many cultural relics, have they been stolen or lost? Has it ever been sold?

Pan: Thieves have stolen a few times. Once, in the grass under the garden wall, four sacks of bronze antiques were hidden, which were clearly cultural relics that thieves had not been able to transport out. Here the foundation of the house is deep, there are many rooms, the black lights are blind at night, it is impossible to prevent it, and I have to come up with something to do if I am not careful. Exactly how many times it was stolen and what it was stolen, I can't remember for a moment. All kinds of patina mottled antiques, I can't recognize it. The largest and heaviest bronzes are the Western Zhou Keding and Lu Ding. According to his grandfather, Keding was obtained from the Tianjin Ke clan by Zuying Gong, and Lu Ding was originally the property of Zuo Zongtang, who gave it to zu Yingong in order to repay Zuyingong's rescue grace. These two rare treasures foreigners knew that in my house, they had sent someone to test it, saying that they were willing to exchange six hundred taels of gold plus a bungalow for it. I remembered that my grandfather had told these precious cultural relics that were not easy to come by, and that they should be properly protected and passed on to future generations, so I refused.

Zheng: Legend has it that when the Japanese army occupied Suzhou, in order to get the Big Ke Ding and the Big Lu Ding, they dug three feet into your home, but because of your careful protection, they couldn't get it.

Pan: Before the War of Resistance Against Japanese Aggression, I asked a reliable photographer to take pictures of all the bronzes one by one, and I got a total of 380 glass negatives and collected them. At the beginning of the War of Resistance, my family was also involved in the war. Jiamao and Jiahua retreated with the middle school to Nanxun, Zhejiang, and I took refuge with my family in the Guangfu Mountains on the edge of Taihu Lake. In the Mid-Autumn Festival, I thought that the battle was not so urgent, and took the opportunity to return to the city for the festival. Unexpectedly, on August 16 and 17, Japanese planes bombed and Suzhou was in danger, so I hurriedly packed up and fled to Guangfu. On the 18th and 19th, in order not to destroy these precious treasures, I made up my mind to bury them in secret. First, ask the carpenter in the house to make a large sturdy wooden box, and the bottom plate is nailed directly with thick logs. At night, behind the middle of the one where I lived, I removed the square bricks to dig a pit, first put in the wooden box, the Keding and The Luding were slowly put into the box diagonally, and some small pieces of bronze and gold and silver objects were stuffed into the gap, and then the lid of the box was covered to level the soil, and the square bricks were laid out as they were, and then carefully sorted out the appearance without leaving any traces of excavation. How are paintings and some antiques hidden? It is most stable to put it into the "three rooms" when you think about it. There are three compartments in the alley, we have always called it "three heads", it only has a small door to communicate with the alley, if the small door is not piled up, it is not easy to find. At that time, there were more than a dozen large cabinets in the collection, it was not easy to move, the children were not around, only to ask my brother-in-law Pan Boshan to classify the calligraphy and paintings according to the Song, Yuan, Ming, and Qing dynasties, put them in the book box, filled with 30 boxes, together with scrolls, bronzes, etc., into the "three heads". The small door is tightly closed, and the outside is piled with old furniture, and it is casually packed. In this way, people who do not know the details will walk by, and they will not see that there is a partition inside. At that time, the two carpenter masters in the family contributed, and Pan Boshan and his eighth brother specifically pointed out, and I always stayed at the scene, and no one else participated. I did this laborious thing for two consecutive days, and lit candles at night to carry it until I got my heart right.

After the Japanese soldiers occupied the city of Suzhou, they looted everywhere. My family broke into seven groups of Japanese soldiers and scavenged them over and over again, not to mention the loss of property, but fortunately the large earth pit and the "three heads" were not discovered. It is said that the Commander of the Japanese Army, Matsui, inquired about the Pan family's collection, and he did not grab it in the end. There have been so many Japanese soldiers in my family, and it is difficult to say whether it is a purposeful search. Finally escaped the disaster, the cultural relics were preserved.

Another six or seven years have passed, and in 1944, the wooden boxes buried in the ground have rotted, the dirt belt bricks have collapsed, and Pan Boshan has died. My son and I, together with a few uncles and brothers and a carpenter, dug out the collection, and they made a frame of logs, thick ropes knotted with large dings, and slowly hoisted out of the pit, and the bottom of the box had not yet rotted. The two big dings were piled up in the middle behind the place, and some torn clothes and debris were placed in the dings, and then piled up with old furniture. The house that entered this place was also nailed, neither living nor leaving, so it was preserved until after the founding of New China. PanDa Yu finished talking about the Tongding connected to her life and the experience of her personal destiny, and sighed a long sigh, as if completing the mission of protecting the Tongding, it seemed much more relaxed.

In May 1949, Suzhou and Shanghai were liberated one after another, and in August, the Shanghai Ancient Cultural Relics Preservation Committee was established, and a series of laws and policies for the protection of cultural relics were promulgated. In July 1951, Pan Dayu, who had already moved from Suzhou to Shanghai, wrote to the Cultural Department of the East China Military and Political Committee, Xinyun:

Sincerely, the ancestor Uncle Boyin Gong Dangsan Qing Guangxujian, Xuezun Ram, the beginning of the Qixinmin, the snare of gold stones, creating a precedent in archaeology. The relics of yi vessels include Lu and Ke Er Ding, which are weighed by the whole world. After gong's death, it was preserved for more than sixty years, and although Duan Fang, the governor of the Manchu and Qing dynasties, repeatedly threatened to induce him, he refused to take it for a long time. After a long time in Shanghai, all the utensils were stored in the same family's apartment. In the Battle of August 13, the Japanese Kou fell to su, and after repeated searches by name, fortunately they were restored to the wall and hidden early, and there was no flood, and the house was plundered. As important cultural relics of national significance, it is urgent to store them and keep them permanent. Recently, it has been learned that the Shanghai Municipal Commission of Cultural Relics is actively preparing large-scale museums to preserve national cultural heritage and carry forward the education of new patriotism, but Shanghai is an important region in East China, and the people of the whole country are in a state of flux, and I am sincerely willing to present most of the two major dings, and ask for the museum collection exhibition prepared by the Shanghai Cultural Relics Management Committee, so that the national cultural relics can be obtained in important areas of the country for the viewing and research of the vast number of audiences, so as to show the original intention of the ancestors to learn from them. He Hejian was in the same situation, and he sent a member of the Order Period to send a member to send Su Yuanyun, and he really looked forward to it, on this

Department of Culture of the East China Military and Political Committee

Panda Yu Jingqi

July 6, 1951

After receiving the donation, the Shanghai Municipal Cultural Management Commission immediately sent someone to Suzhou to carry it, accompanied by Pan Dayu's daughter. At that time, the relocation was very heavy, and it is unimaginable today, but fortunately there is a handling report, so that we can know the situation at that time, and now it is copied later.

—END—

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