（下平七陽）
文/紀(jì)金東
戊午宗祠修滬北，門樓黛瓦馬頭墻。
燒瓷織錦吳山翠，鑿井疏河越水長(zhǎng)。
科技三錢留碩果，人文四匠入書香。
東南富甲弘家訓(xùn)，納土歸中百世芳。
【注】
民國初期1918年，為紀(jì)念唐末五代之吳越國王錢镠，祖籍杭州的錢氏三兄弟（錢秀龍、錢秀三、錢秀濤）共同出資五萬兩白銀在上海閘北區(qū)中部的宋教仁墓園（簡(jiǎn)稱宋園）東側(cè)三百多米處建造錢氏宗祠。
錢氏兄弟的祖輩大約在明末清初移居閘北區(qū)東南的海寧路、山西北路一帶務(wù)農(nóng)做工，此處舊稱錢家宅。這里也是上海傳統(tǒng)的老街，住不少富貴人家和文化名人，后來因?yàn)楣沧饨缦虮睌U(kuò)張筑路，家族靠出售土地、建房出租逐漸富裕起來。
上海錢氏宗祠是典型的“三進(jìn)三出”清末民國建筑，青瓦、紅磚、白墻；雕梁畫棟。內(nèi)有正房、廂房、下房、雨廊，每個(gè)套院內(nèi)落地高窗，精雕柱梁；外有半環(huán)護(hù)河，正門面對(duì)一座清秀玲瓏、青板石刻小橋。正門“錢氏宗祠”四個(gè)磚雕大字、端莊古樸，整個(gè)建筑前有花園，后有竹林，約占地7畝。
1937年淞滬會(huì)戰(zhàn)后上海淪陷，錢氏宗祠被入侵的日本人占用，抗戰(zhàn)勝利后，這里長(zhǎng)期被難民占用，原先看守祠堂的人也在抗戰(zhàn)期間死亡。
1946年，政府在宋園基礎(chǔ)上建成閘北公園并對(duì)外開放。1950年代，政府對(duì)公園數(shù)次擴(kuò)建，錢氏宗祠也被收歸國有并納入公園版圖中。祖父在家鄉(xiāng)土改時(shí)跑到上海，距宗祠西南二公里處的大統(tǒng)路買下二幢民房，祖父和我父親住一幢，三叔一家住一幢。這里離火車站和長(zhǎng)途汽車站很近，有大量的江蘇移民。
年少時(shí)，筆者經(jīng)常結(jié)伴來公園游玩，此公園在筆者心中地位宛如百草園對(duì)魯迅先生一樣重要。宗祠大門緊閉，小伙伴喜歡摸一下門前的石獅子。
2003年筆者在公園邊上安了家，在陽臺(tái)上可以俯瞰整個(gè)公園，錢氏宗祠在正南面約60米處，圍墻和屋頂看得一清二楚，筆者似乎是全上海離錢氏宗祠最近的那個(gè)人。
2008年初，工人對(duì)錢氏宗祠建筑維護(hù)粉刷時(shí)，發(fā)現(xiàn)門樓石灰層內(nèi)青磚上有圖案。后經(jīng)過40多天施工，小心鏟除外層石灰，露出了隱藏的一幅幅磚雕。
2014年被評(píng)定為上海市文物保護(hù)單位，今年改成小型博物館。11月12日上海錢镠研究會(huì)在此舉辦＂錢學(xué)森歸國７０周年展＂和＂錢氏家訓(xùn)家教傳承展＂一個(gè)月。筆者多次參觀并饒有興趣研究唐末五代時(shí)期吳越國三世五王近百年國祚的歷史和錢氏家訓(xùn)蘊(yùn)含的文化基因。
戊午：公元１９１８年
門樓：門樓上八幅磚雕包含八個(gè)故事，皆為吳越國歷史事件和頌揚(yáng)吳越國王錢镠功績(jī)，內(nèi)容出于史籍，有據(jù)可循
馬頭墻：徽派民居建筑特色
燒瓷織錦：除農(nóng)業(yè)和漁業(yè)，吳越國有四項(xiàng)支柱手工業(yè)為瓷器，絲織，制鹽和造船，遠(yuǎn)銷各諸侯國
鑿井疏河：杭州城內(nèi)市民缺淡水，錢镠派人鑿井也叫錢王井，西湖有淤堵就派人疏浚，錢塘江里有礁石就派人清理保證大船同行，海潮經(jīng)常倒灌破壞農(nóng)田錢镠發(fā)明一種捍海塘技術(shù)治理水患
三錢：三位錢姓科學(xué)家錢學(xué)森，錢偉長(zhǎng)（曾任上海大學(xué)校長(zhǎng)），錢三強(qiáng)，偉人首先提出
四匠：四位錢姓國學(xué)大師錢基博，錢鐘書，錢玄同，錢穆
家訓(xùn)：錢氏家訓(xùn)
納土歸中：錢镠之孫錢弘俶于宋開寶八年率兵助宋統(tǒng)一南方并歸順北宋
－2025.12.16 于上海 靜風(fēng)宅
Seven-character Lushi: The Qian Clan Ancestral Hall
(Tone Pattern: Xiaping Qiyang)
By Ji Jindong
In the Wuwu year, the ancestral hall was built north of Shanghai,
With a gatehouse of black tiles and horse-head walls.
Porcelain firing and brocade weaving amid the green Wu Mountains,
Well digging and river dredging along the long Yue waters.
Three Qian scientists left remarkable achievements in science and technology,
Four Qian scholars entered the realm of literature and scholarship.
The wealthiest clan in southeast China promotes family mottos,
Surrendering territory to the unified nation, their fame lasts for a hundred generations.
Notes
In 1918, the early years of the Republic of China, to commemorate Qian Liu, the King of Wuyue during the late Tang and Five Dynasties period, three Qian brothers (Qian Xiulong, Qian Xiusan and Qian Xiutao) whose ancestral home was Hangzhou jointly donated 50,000 taels of silver to build the Qian Clan Ancestral Hall. It is located more than 300 meters east of the Song Jiaoren Cemetery (commonly known as Song Garden) in the central part of Zhabei District, Shanghai.
The ancestors of the Qian brothers moved to the area around Haining Road and Shanxi North Road in the southeast of Zhabei District to engage in farming and manual labor during the late Ming and early Qing dynasties. This place was formerly known as Qian Family Village. It was also a traditional old street in Shanghai, where many wealthy families and cultural celebrities lived. Later, with the northward expansion of the International Settlement and the construction of roads, the family gradually became rich by selling land and building houses for rent.
The Qian Clan Ancestral Hall in Shanghai is a typical late Qing and Republican period building with a "three-entrance and three-exit" layout, featuring blue tiles, red bricks and white walls, as well as carved beams and painted columns. It includes main rooms, wing rooms, subordinate rooms and covered corridors. Each courtyard has tall French windows and exquisitely carved pillars and beams. Outside, there is a semi-circular moat, and the main gate faces a delicate and elegant stone bridge made of blue slabs with carvings. The four brick-carved characters "Qian Clan Ancestral Hall" above the main gate are dignified and simple. The entire building has a garden in front and a bamboo forest behind, covering an area of about 7 mu (approximately 4,667 square meters).
After the outbreak of the Battle of Shanghai in 1937, Shanghai fell into enemy hands, and the Qian Clan Ancestral Hall was occupied by the invading Japanese army. After the victory of the War of Resistance against Japanese Aggression, it was long occupied by refugees, and the original caretaker of the hall also died during the war.
In 1946, the government built Zhabei Park on the basis of Song Garden and opened it to the public. In the 1950s, the government expanded the park several times, and the Qian Clan Ancestral Hall was nationalized and incorporated into the park's territory. During the Land Reform Movement, the author's grandfather fled to Shanghai and bought two civilian houses on Datong Road, about two kilometers southwest of the ancestral hall. The grandfather and the author's father lived in one house, while the third uncle's family lived in the other. This area is close to the railway station and long-distance bus station, attracting a large number of immigrants from Jiangsu Province.
In his childhood, the author often went to play in the park with his friends. This park held the same important position in his heart as Baicao Garden did in Lu Xun's mind. The gate of the ancestral hall was always closed, and the children liked to touch the stone lions standing in front of it.
In 2003, the author settled down near the park. From the balcony of his home, he could overlook the entire park. The Qian Clan Ancestral Hall was about 60 meters to the south, and he could clearly see its surrounding walls and roof. The author seemed to be the person living closest to the Qian Clan Ancestral Hall in the whole of Shanghai.
In early 2008, when workers were carrying out maintenance and painting on the Qian Clan Ancestral Hall, they found patterns on the blue bricks under the lime layer of the gatehouse. After more than 40 days of construction, the workers carefully scraped off the outer lime layer, revealing hidden brick carvings one by one.
In 2014, the Qian Clan Ancestral Hall was designated as a Shanghai Municipal Cultural Relic Protection Unit, and it was converted into a small museum this year. On November 12th, the Shanghai Qian Liu Research Association held the "Exhibition Commemorating the 70th Anniversary of Qian Xuesen's Return to China" and the "Exhibition on the Inheritance of Qian Clan Family Mottos and Family Education" here for one month. The author visited the exhibitions many times and conducted in-depth research on the nearly 100-year history of the five kings of three generations of the Wuyue State during the late Tang and Five Dynasties period, as well as the cultural genes contained in the Qian Clan Family Mottos.
- Wuwu year: Refers to 1918 in the Gregorian calendar.
- Gatehouse: The eight brick carvings on the gatehouse depict eight stories, all of which are historical events of the Wuyue State and eulogize the achievements of King Qian Liu of Wuyue. The contents are based on historical records and have reliable evidence.
- Horse-head walls: A distinctive feature of Huizhou-style residential architecture.
- Porcelain firing and brocade weaving: In addition to agriculture and fishery, the Wuyue State had four pillar handicraft industries: porcelain making, silk weaving, salt production and shipbuilding, whose products were sold to various vassal states.
- Well digging and river dredging: Citizens in Hangzhou suffered from a shortage of fresh water, so Qian Liu ordered people to dig wells, which were also known as King Qian's Wells. When the West Lake was silted up, he arranged for dredging work. When there were reefs in the Qiantang River that hindered the navigation of large ships, he had them cleared. As tidal bores often poured backward and damaged farmland, Qian Liu invented a seawall construction technology to control the flood.
- Three Qian scientists: Refers to three distinguished scientists surnamed Qian, namely Qian Xuesen, Qian Weichang (once served as the president of Shanghai University) and Qian Sanqiang. The title was first put forward by a great man.
- Four Qian scholars: Refers to four renowned masters of Chinese studies surnamed Qian, namely Qian Jibo, Qian Zhongshu, Qian Xuantong and Qian Mu.
- Family mottos: Refers to the Qian Clan Family Mottos.
- Surrendering territory to the unified nation: Qian Hongchu, the grandson of Qian Liu, led his troops to assist the Northern Song Dynasty in unifying southern China and surrendered to the Northern Song Dynasty in the eighth year of the Kaibao reign period of the Song Dynasty.
Written on December 16, 2025
At Jingfeng Residence, Shanghai
點(diǎn)評(píng)詞
千載家聲振吳越 一祠文脈貫古今——評(píng)紀(jì)金東《七律·錢氏宗祠》
點(diǎn)評(píng)詞作者/柴永紅
歷史的烽煙漫過唐末五代的阡陌，家風(fēng)的薪火照亮近現(xiàn)代的長(zhǎng)卷，一座靜靜佇立上海閘北公園的宗祠，便成了跨越千年的文化坐標(biāo)。是錢氏一族的精神圖騰，是江南文脈的鮮活載體，更是家國大義的永恒見證。紀(jì)金東先生的《七律·錢氏宗祠》，以如椽巨筆蘸滿史韻墨香，將一座宗祠的前世今生、一個(gè)家族的千年風(fēng)骨，熔鑄于四十四個(gè)漢字的平仄之間。其筆力雄健，意境雄渾，于格律謹(jǐn)嚴(yán)中見歷史厚重，于遣詞精工中顯人文深情，堪稱詠史懷古類七律的扛鼎之作。
這首七律嚴(yán)守下平七陽韻，平仄協(xié)調(diào)，對(duì)仗精工，起承轉(zhuǎn)合間盡顯章法之妙。開篇“戊午宗祠修滬北，門樓黛瓦馬頭墻”，以破空之筆切入歷史現(xiàn)場(chǎng)，“戊午”二字鎖定1918年的時(shí)間刻度，“滬北”劃定地域坐標(biāo)，寥寥七字便為全詩鋪展了清晰的時(shí)空底色。緊隨其后的“門樓黛瓦馬頭墻”，則以白描手法勾勒宗祠的建筑風(fēng)貌，黛瓦覆頂、馬頭墻翹角，徽派建筑的典雅古樸躍然紙上。一個(gè)“修”字，既點(diǎn)明宗祠建造的緣起，更暗含后人對(duì)先祖榮光的追慕與傳承，起筆沉穩(wěn)，力透紙背。
頷聯(lián)“燒瓷織錦吳山翠，鑿井疏河越水長(zhǎng)”，堪稱全詩的詩眼所在，亦是對(duì)仗藝術(shù)的典范之筆。此聯(lián)以時(shí)空交錯(cuò)之法，將視線從民國滬上的宗祠，拉回唐末五代的吳越故國?！盁煽楀\”對(duì)“鑿井疏河”，前者是吳越國冠絕天下的手工業(yè)，后者是錢镠造福一方的民生工程；“吳山翠”對(duì)“越水長(zhǎng)”，前者以山色之翠描摹江南的鐘靈毓秀，后者以流水之長(zhǎng)隱喻功業(yè)的綿延不絕。十字之間，有手工業(yè)的繁華圖景，有治水患的仁政擔(dān)當(dāng)，有山水的靈秀之氣，更有先祖的濟(jì)世情懷。錢镠在位期間，鑿錢王井以解杭城百姓飲水之困，疏西湖以通水利灌溉之利，筑捍海塘以阻錢塘江潮之患，其功績(jī)?cè)缫讶谌雲(yún)窃酱蟮氐纳缴剿?。作者以“燒瓷織錦”“鑿井疏河”八字濃縮千年史事，以“吳山翠”“越水長(zhǎng)”六字鋪展江南形勝，景與事相融，古與今相通，讀來如沐春風(fēng)，又如聞鐘鼓。
頸聯(lián)“科技三錢留碩果，人文四匠入書香”，筆鋒陡轉(zhuǎn)，將目光從古代先賢轉(zhuǎn)向近現(xiàn)代才俊，為全詩注入蓬勃的時(shí)代氣息?！叭X”指錢學(xué)森、錢偉長(zhǎng)、錢三強(qiáng)三位科學(xué)巨擘，他們以畢生心血鑄就大國重器，為中國科技事業(yè)立下赫赫功勛；“四匠”指錢基博、錢鐘書、錢玄同、錢穆四位國學(xué)大師，他們以滿腹經(jīng)綸傳承中華文化，為民族精神家園筑起巍巍豐碑。“科技”對(duì)“人文”，“三錢”對(duì)“四匠”，“留碩果”對(duì)“入書香”，對(duì)仗工整，意蘊(yùn)深遠(yuǎn)。此聯(lián)不僅是對(duì)錢氏英才的禮贊，更揭示了一個(gè)深刻的道理：家風(fēng)是培育英才的沃土，家訓(xùn)是滋養(yǎng)靈魂的甘泉。錢氏家族之所以能千年不衰、英才輩出，正是因?yàn)椤靶男g(shù)不可得罪于天地，言行皆當(dāng)無愧于圣賢”的家訓(xùn)，早已融入每一位錢氏子孫的血脈之中。作者以“三錢”“四匠”的璀璨星光，映照出錢氏家訓(xùn)的深厚底蘊(yùn)，讀者在仰望先賢的同時(shí)，對(duì)家風(fēng)傳承的力量肅然起敬。
尾聯(lián)“東南富甲弘家訓(xùn)，納土歸中百世芳”，收束全詩，升華主旨，將家族榮耀與家國大義推向高潮?！皷|南富甲”是對(duì)錢氏一族興旺發(fā)達(dá)的寫照，更是對(duì)家風(fēng)傳承成果的肯定；“弘家訓(xùn)”三字，則點(diǎn)明家族興盛的根本原因。而“納土歸中”四字，堪稱全詩的點(diǎn)睛之筆，亦是錢氏家族最光輝的歷史印記。宋開寶八年，錢镠之孫錢弘俶審時(shí)度勢(shì)，為避免江南百姓陷入戰(zhàn)火，毅然放棄王位，將吳越國十三州、一軍、八十六縣的土地獻(xiàn)給北宋，實(shí)現(xiàn)了國家的和平統(tǒng)一。這一壯舉，彰顯了錢氏家族“以民為貴，以國為先”的博大胸懷，也為錢氏一族贏得了“百世芳”的千古美名。作者以“納土歸中”四字概括這一歷史抉擇，以“百世芳”三字贊頌這一偉大功績(jī)，將家族的榮耀與民族的大義緊密相連，全詩的意境從一家一姓的宗祠，拓展到一國一族的千秋大業(yè)。
一首好詩，不僅要有精工的格律、華美的辭藻，更要有深厚的底蘊(yùn)、真摯的情感。紀(jì)金東先生的這首《七律·錢氏宗祠》，妙就妙在詩后的長(zhǎng)注，妙就妙在個(gè)人情懷與歷史敘事的完美融合。詩后的長(zhǎng)注，并非簡(jiǎn)單的詞語解釋，而是一部濃縮的宗祠變遷史、家族興衰史、個(gè)人成長(zhǎng)史。從1918年錢氏三兄弟捐資建祠的初心，到明末清初錢氏祖輩移居滬上的艱辛；從淞滬會(huì)戰(zhàn)期間宗祠被日軍侵占的屈辱，到抗戰(zhàn)勝利后被難民占用的滄桑；從1950年代宗祠被收歸國有并入公園的轉(zhuǎn)折，到2008年門樓磚雕重見天日的驚喜；從2014年被列為上海市文物保護(hù)單位的榮光，到2025年舉辦“錢學(xué)森歸國70周年展”“錢氏家訓(xùn)家教傳承展”的盛事，作者以詳實(shí)的史料、細(xì)膩的筆觸，勾勒出宗祠百年變遷的清晰脈絡(luò)。
更動(dòng)人的是，作者將個(gè)人成長(zhǎng)經(jīng)歷融入史料敘事之中，冰冷的歷史變得溫情脈脈。年少時(shí)，他與小伙伴在公園嬉戲，撫摸宗祠門前的石獅子，宗祠是童年記憶里神秘而莊嚴(yán)的存在；2003年，他在公園邊安家，從陽臺(tái)俯瞰宗祠的圍墻與屋頂，宗祠是成年后守望鄉(xiāng)愁的精神燈塔；如今，他多次參觀宗祠舉辦的展覽，潛心研究吳越國歷史與錢氏家訓(xùn)，宗祠是他探尋文化根脈的智慧源泉。作者以“百草園之于魯迅”喻閘北公園之于自己，將個(gè)人的成長(zhǎng)軌跡與宗祠的歷史變遷交織在一起，讀者在感受歷史厚重的同時(shí)，也能體會(huì)到濃濃的鄉(xiāng)愁與溫情。這種“以我觀史，以史鑒我”的敘事方式，這首七律超越了單純的詠物懷古，成為一部個(gè)人與家族、個(gè)人與歷史的心靈對(duì)話錄。
從唐末五代的吳越故國，到民國滬上的青磚黛瓦；從錢镠治水的仁政擔(dān)當(dāng)，到錢弘俶納土的家國大義；從“三錢”“四匠”的璀璨星光，到當(dāng)代錢氏子孫的家訓(xùn)傳承；從童年記憶里的石獅子，到陽臺(tái)俯瞰中的宗祠屋頂，紀(jì)金東先生的《七律·錢氏宗祠》，如同一幅徐徐展開的歷史長(zhǎng)卷，將一座宗祠的千年滄桑、一個(gè)家族的百年風(fēng)華，娓娓道來。是一首格律謹(jǐn)嚴(yán)的好詩，更是一部承載著家風(fēng)、文脈與家國大義的史詩。
這個(gè)文化傳承與創(chuàng)新的時(shí)代，錢氏宗祠早已不是一座孤立的建筑，是中華優(yōu)秀傳統(tǒng)文化的鮮活載體，是家風(fēng)家訓(xùn)傳承的生動(dòng)范本。而紀(jì)金東先生的這首詩，也早已不是一首普通的七律，是對(duì)先祖的追思，對(duì)家風(fēng)的禮贊，對(duì)歷史的敬畏，更是對(duì)文化傳承的深情呼喚。
千載悠悠，宗祠巍?。患绎L(fēng)浩蕩，萬古流芳。我們站在閘北公園的土地上，仰望那座青磚黛瓦的宗祠，耳畔仿佛響起錢氏家訓(xùn)的諄諄教誨，眼前仿佛浮現(xiàn)出錢氏英才的熠熠星光。而紀(jì)金東先生的《七律·錢氏宗祠》，則如同一把鑰匙，為我們打開了一扇通往歷史深處、通往文化根脈的大門。
