"Beijing Local Records (Volume 1 and 2)"

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Features: Preface II / Zhou Ruchang, the Liu and Yu's Brief Description of the Imperial Capital, is truly a remarkable book. Every time I read it, I am struck by its excellence. — Yet, amidst this joy, there is always a sense of melancholy, because in my limited understanding, it seems that over the centuries, no one book has succeeded in following in their footsteps, leaving such a vast void in their wake. Is this not something that makes one reflect and sigh in? Over the years, this sentiment has deepened, — until today, when I am to write a preface for Brother Yunxiang's Record of Yanjing's Local Culture, my heart is filled with joy, a feeling difficult to express! What is the significance of Record of Yanjing's Local Culture? What value does it hold? I do not wish to answer such pedantic questions in front of this masterpiece, nor to write this dull preface. The Han people, when composing odes, first spoke of the "Three Capitals" and the "Two Capitals"; the poets of the Three Kingdoms period also wrote of the Imperial Capital. It seems that the ancients valued the "Imperial Capital" and "Capital of Emperors" not only because it was "under the feet of the Son of Heaven." In any era, a nation's capital always holds great significance. The significance of Yanjing can be traced back to King Wu of Zhou's feudal system, and in more recent times, it can be traced back to the Liao and Jin dynasties—this "recent" period spans over seven or eight hundred years! Among these people, countless in number, they sang, cried, worked, rested, multiplied, and lived and died here, encompassing how vast and profound a wealth of life experience and cultural content. It is likely that a "computer" could not easily provide an answer. Our Chinese nation has created and accumulated an extremely unique and wonderful culture on this very soil; this culture's expression is not merely confined to the "silk scrolls" that some people fixate on, but is rather richer and more enchanting in the "local culture." This aspect is often overlooked. The reason for this oversight, I believe, is that it is both magical and mundane. Thus, people are like fish in water, living among it daily, gradually assimilating with it; as a result, they see only its " mundanity" and forget its magic, yet even mundane things are worth attention and documentation? Perhaps this is why Liu and Yu were so precious. I often reflect on this. What exactly is "local culture"? If I were to elaborate slightly, it could be called "local customs and traditions." Are not "local customs and traditions" inherently "rustic"? Those who admire "Western" trends naturally steer clear. However, because it is associated with the "Imperial Capital," it might still attract a passing glance, though this is uncertain. In reality, the "Imperial Capital" is still just a large settlement of people. Yet even the "local culture" of a small settlement is worth documenting. Let me use an analogy. Take the concept of a "temple," for example. Today, when one mentions it, the immediate association is likely a "symbol of superstition." In reality, it is far more complex than a simple "epistemological" understanding can explain. If someone were to hear that temples are closely related to "society," they might be shocked, astonished, or mock it as "absurd" or "incorrect." They do not know the cultural history of our Chinese nation, that our "ancestors" established a "shè" (a community gathering place, perhaps under an ancient tree) at every settlement point. When the people had matters to discuss—whether for worship, seasonal festivals, celebrations, mourning, entertainment, deliberations, or propaganda—they would gather here, the "shè" being the "meeting place" for the community. From this emerged a series of cultural activities. Later, temples became the transformed remnants of the "shè" (one of the earliest types of temples was the "Land Temple," which was essentially the "shè"). The role of temples extends far beyond "burning incense and kowtowing." One must consider that architecture, sculpture, murals, and various forms of art all developed from here. To perform a play called "worshipping the gods" was, in fact, "entertaining people" (the folk saying "the heart reaches the gods, and offerings are made for people" deeply understands this principle!), and the stage was always in front of the temple. The so-called "temple fairs" were actually a combination of "farmers' markets" and "festival cultural performances!" Thus, Mr. Lu Xun long ago pointed out that this was the only self-created form of entertainment for the rural people of China each year. To dismiss it as "superstition" would deprive the peasants of even this small joy! — When speaking of "local culture," there must inevitably be matters related to "temples." I dare to "guarantee" this. These matters are not worth our reflection? We often speak of "the life of the people." Naturally, there is a scientific explanation for this, which need not be elaborated upon here; however, if the life of the people does not include the important aspects I just described, then what meaning does this nation (a great nation!) still have? This nation has its own cultural history and its own local customs and traditions. If this is not a mark of a nation, then what is? The river of history stretches endlessly into the future. As times advance, technology develops, civilization evolves, and society changes. But no matter how things progress or change, the fundamental essence and spirit of the Chinese nation will never transform from "rustic" to "Western." For this reason, future generations must understand the "local culture" of their ancestors, knowing how they lived and why they lived that way, in order to gain wisdom and cherish the invaluable cultural heritage of their nation. Only then can they correctly understand the relationship between "the past and the present, at home and abroad," make more precise choices, and avoid confusion and loss of direction. In light of this, documenting the "local culture" of Yanjing is far from trivial. To treat it merely as a "topic for discussion after tea and wine" would be to undervalue it. At the beginning, I mentioned Brief Description of the Imperial Capital. This book is indeed extraordinary. However, it focuses primarily on "scenery," with the exception of a few entries like "Spring Fields," leaving insufficient documentation of "local culture." Today, Brother Yunxiang's new book greatly fills the gaps left by predecessors, bridging long-standing voids, and preventing us from lamenting the emptiness of the past. This is a great kindness to future generations, though I alone have benefited greatly from it. Brother Yunxiang's writing is also excellent, and if Liu and Yu could see it, they might even consider him worthy of their companionship in the forest of scholars. This is also something that cannot be omitted. I hastily drafted this preface, and could not include a concurrent poem. Today, I borrow a seven-character regulated verse I wrote two years ago in response to his book Lu Xun and Beijing's Local Culture, which is thematically relevant:
On the winter solstice, Brother Yunxiang's joy knows no bounds,
Spring Ming's scenery is tied to our home.
Footprints trace lanes north and south,
Wine shadows and ink spirits lean.
Fleeting snow worries jade scales too thin,
Fanning fragrant incense, I humbly bow to ink's might.
Wiping weary eyes by the cold lamp's glow,
Melancholy dreams of Tokyo's splendor.
The poem's title is: In Response to Brother Yunxiang's New Work, Record of Yanjing's Local Culture, on the Winter Solstice of the Year of the Rabbit.
This is the preface.
June 13, 1984, Dongcheng, Beijing