（下平七阳）

    文/纪金东  

戊午宗祠修沪北，门楼黛瓦马头墙。

烧瓷织锦吴山翠，凿井疏河越水长。

科技三钱留硕果，人文四匠入书香。

东南富甲弘家训，纳土归中百世芳。

【注】

民国初期1918年，为纪念唐末五代之吴越国王钱镠，祖籍杭州的钱氏三兄弟（钱秀龙、钱秀三、钱秀涛）共同出资五万两白银在上海闸北区中部的宋教仁墓园（简称宋园）东侧三百多米处建造钱氏宗祠。

钱氏兄弟的祖辈大约在明末清初移居闸北区东南的海宁路、山西北路一带务农做工，此处旧称钱家宅。这里也是上海传统的老街，住不少富贵人家和文化名人，后来因为公共租界向北扩张筑路，家族靠出售土地、建房出租逐渐富裕起来。

上海钱氏宗祠是典型的“三进三出”清末民国建筑，青瓦、红砖、白墙；雕梁画栋。内有正房、厢房、下房、雨廊，每个套院内落地高窗，精雕柱梁；外有半环护河，正门面对一座清秀玲珑、青板石刻小桥。正门“钱氏宗祠”四个砖雕大字、端庄古朴，整个建筑前有花园，后有竹林，约占地7亩。

1937年淞沪会战后上海沦陷，钱氏宗祠被入侵的日本人占用，抗战胜利后，这里长期被难民占用，原先看守祠堂的人也在抗战期间死亡。

1946年，政府在宋园基础上建成闸北公园并对外开放。1950年代，政府对公园数次扩建，钱氏宗祠也被收归国有并纳入公园版图中。祖父在家乡土改时跑到上海，距宗祠西南二公里处的大统路买下二幢民房，祖父和我父亲住一幢，三叔一家住一幢。这里离火车站和长途汽车站很近，有大量的江苏移民。

年少时，笔者经常结伴来公园游玩，此公园在笔者心中地位宛如百草园对鲁迅先生一样重要。宗祠大门紧闭，小伙伴喜欢摸一下门前的石狮子。

2003年笔者在公园边上安了家，在阳台上可以俯瞰整个公园，钱氏宗祠在正南面约60米处，围墙和屋顶看得一清二楚，笔者似乎是全上海离钱氏宗祠最近的那个人。

2008年初，工人对钱氏宗祠建筑维护粉刷时，发现门楼石灰层内青砖上有图案。后经过40多天施工，小心铲除外层石灰，露出了隐藏的一幅幅砖雕。

 2014年被评定为上海市文物保护单位，今年改成小型博物馆。11月12日上海钱镠研究会在此举办＂钱学森归国７０周年展＂和＂钱氏家训家教传承展＂一个月。笔者多次参观并饶有兴趣研究唐末五代时期吴越国三世五王近百年国祚的历史和钱氏家训蕴含的文化基因。

戊午：公元１９１８年

门楼：门楼上八幅砖雕包含八个故事，皆为吴越国历史事件和颂扬吴越国王钱镠功绩，内容出于史籍，有据可循

马头墙：徽派民居建筑特色

烧瓷织锦：除农业和渔业，吴越国有四项支柱手工业为瓷器，丝织，制盐和造船，远销各诸侯国

凿井疏河：杭州城内市民缺淡水，钱镠派人凿井也叫钱王井，西湖有淤堵就派人疏浚，钱塘江里有礁石就派人清理保证大船同行，海潮经常倒灌破坏农田钱镠发明一种捍海塘技术治理水患

三钱：三位钱姓科学家钱学森，钱伟长（曾任上海大学校长），钱三强，伟人首先提出

四匠：四位钱姓国学大师钱基博，钱钟书，钱玄同，钱穆

家训：钱氏家训

纳土归中：钱镠之孙钱弘俶于宋开宝八年率兵助宋统一南方并归顺北宋

－2025.12.16　于上海　静风宅

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

                    点评词

千载家声振吴越 一祠文脉贯古今——评纪金东《七律·钱氏宗祠》

        点评词作者/柴永红

历史的烽烟漫过唐末五代的阡陌，家风的薪火照亮近现代的长卷，一座静静伫立上海闸北公园的宗祠，便成了跨越千年的文化坐标。是钱氏一族的精神图腾，是江南文脉的鲜活载体，更是家国大义的永恒见证。纪金东先生的《七律·钱氏宗祠》，以如椽巨笔蘸满史韵墨香，将一座宗祠的前世今生、一个家族的千年风骨，熔铸于四十四个汉字的平仄之间。其笔力雄健，意境雄浑，于格律谨严中见历史厚重，于遣词精工中显人文深情，堪称咏史怀古类七律的扛鼎之作。

这首七律严守下平七阳韵，平仄协调，对仗精工，起承转合间尽显章法之妙。开篇“戊午宗祠修沪北，门楼黛瓦马头墙”，以破空之笔切入历史现场，“戊午”二字锁定1918年的时间刻度，“沪北”划定地域坐标，寥寥七字便为全诗铺展了清晰的时空底色。紧随其后的“门楼黛瓦马头墙”，则以白描手法勾勒宗祠的建筑风貌，黛瓦覆顶、马头墙翘角，徽派建筑的典雅古朴跃然纸上。一个“修”字，既点明宗祠建造的缘起，更暗含后人对先祖荣光的追慕与传承，起笔沉稳，力透纸背。

颔联“烧瓷织锦吴山翠，凿井疏河越水长”，堪称全诗的诗眼所在，亦是对仗艺术的典范之笔。此联以时空交错之法，将视线从民国沪上的宗祠，拉回唐末五代的吴越故国。“烧瓷织锦”对“凿井疏河”，前者是吴越国冠绝天下的手工业，后者是钱镠造福一方的民生工程；“吴山翠”对“越水长”，前者以山色之翠描摹江南的钟灵毓秀，后者以流水之长隐喻功业的绵延不绝。十字之间，有手工业的繁华图景，有治水患的仁政担当，有山水的灵秀之气，更有先祖的济世情怀。钱镠在位期间，凿钱王井以解杭城百姓饮水之困，疏西湖以通水利灌溉之利，筑捍海塘以阻钱塘江潮之患，其功绩早已融入吴越大地的山山水水。作者以“烧瓷织锦”“凿井疏河”八字浓缩千年史事，以“吴山翠”“越水长”六字铺展江南形胜，景与事相融，古与今相通，读来如沐春风，又如闻钟鼓。

颈联“科技三钱留硕果，人文四匠入书香”，笔锋陡转，将目光从古代先贤转向近现代才俊，为全诗注入蓬勃的时代气息。“三钱”指钱学森、钱伟长、钱三强三位科学巨擘，他们以毕生心血铸就大国重器，为中国科技事业立下赫赫功勋；“四匠”指钱基博、钱钟书、钱玄同、钱穆四位国学大师，他们以满腹经纶传承中华文化，为民族精神家园筑起巍巍丰碑。“科技”对“人文”，“三钱”对“四匠”，“留硕果”对“入书香”，对仗工整，意蕴深远。此联不仅是对钱氏英才的礼赞，更揭示了一个深刻的道理：家风是培育英才的沃土，家训是滋养灵魂的甘泉。钱氏家族之所以能千年不衰、英才辈出，正是因为“心术不可得罪于天地，言行皆当无愧于圣贤”的家训，早已融入每一位钱氏子孙的血脉之中。作者以“三钱”“四匠”的璀璨星光，映照出钱氏家训的深厚底蕴，读者在仰望先贤的同时，对家风传承的力量肃然起敬。

尾联“东南富甲弘家训，纳土归中百世芳”，收束全诗，升华主旨，将家族荣耀与家国大义推向高潮。“东南富甲”是对钱氏一族兴旺发达的写照，更是对家风传承成果的肯定；“弘家训”三字，则点明家族兴盛的根本原因。而“纳土归中”四字，堪称全诗的点睛之笔，亦是钱氏家族最光辉的历史印记。宋开宝八年，钱镠之孙钱弘俶审时度势，为避免江南百姓陷入战火，毅然放弃王位，将吴越国十三州、一军、八十六县的土地献给北宋，实现了国家的和平统一。这一壮举，彰显了钱氏家族“以民为贵，以国为先”的博大胸怀，也为钱氏一族赢得了“百世芳”的千古美名。作者以“纳土归中”四字概括这一历史抉择，以“百世芳”三字赞颂这一伟大功绩，将家族的荣耀与民族的大义紧密相连，全诗的意境从一家一姓的宗祠，拓展到一国一族的千秋大业。

一首好诗，不仅要有精工的格律、华美的辞藻，更要有深厚的底蕴、真挚的情感。纪金东先生的这首《七律·钱氏宗祠》，妙就妙在诗后的长注，妙就妙在个人情怀与历史叙事的完美融合。诗后的长注，并非简单的词语解释，而是一部浓缩的宗祠变迁史、家族兴衰史、个人成长史。从1918年钱氏三兄弟捐资建祠的初心，到明末清初钱氏祖辈移居沪上的艰辛；从淞沪会战期间宗祠被日军侵占的屈辱，到抗战胜利后被难民占用的沧桑；从1950年代宗祠被收归国有并入公园的转折，到2008年门楼砖雕重见天日的惊喜；从2014年被列为上海市文物保护单位的荣光，到2025年举办“钱学森归国70周年展”“钱氏家训家教传承展”的盛事，作者以详实的史料、细腻的笔触，勾勒出宗祠百年变迁的清晰脉络。

更动人的是，作者将个人成长经历融入史料叙事之中，冰冷的历史变得温情脉脉。年少时，他与小伙伴在公园嬉戏，抚摸宗祠门前的石狮子，宗祠是童年记忆里神秘而庄严的存在；2003年，他在公园边安家，从阳台俯瞰宗祠的围墙与屋顶，宗祠是成年后守望乡愁的精神灯塔；如今，他多次参观宗祠举办的展览，潜心研究吴越国历史与钱氏家训，宗祠是他探寻文化根脉的智慧源泉。作者以“百草园之于鲁迅”喻闸北公园之于自己，将个人的成长轨迹与宗祠的历史变迁交织在一起，读者在感受历史厚重的同时，也能体会到浓浓的乡愁与温情。这种“以我观史，以史鉴我”的叙事方式，这首七律超越了单纯的咏物怀古，成为一部个人与家族、个人与历史的心灵对话录。

从唐末五代的吴越故国，到民国沪上的青砖黛瓦；从钱镠治水的仁政担当，到钱弘俶纳土的家国大义；从“三钱”“四匠”的璀璨星光，到当代钱氏子孙的家训传承；从童年记忆里的石狮子，到阳台俯瞰中的宗祠屋顶，纪金东先生的《七律·钱氏宗祠》，如同一幅徐徐展开的历史长卷，将一座宗祠的千年沧桑、一个家族的百年风华，娓娓道来。是一首格律谨严的好诗，更是一部承载着家风、文脉与家国大义的史诗。

这个文化传承与创新的时代，钱氏宗祠早已不是一座孤立的建筑，是中华优秀传统文化的鲜活载体，是家风家训传承的生动范本。而纪金东先生的这首诗，也早已不是一首普通的七律，是对先祖的追思，对家风的礼赞，对历史的敬畏，更是对文化传承的深情呼唤。

千载悠悠，宗祠巍巍；家风浩荡，万古流芳。我们站在闸北公园的土地上，仰望那座青砖黛瓦的宗祠，耳畔仿佛响起钱氏家训的谆谆教诲，眼前仿佛浮现出钱氏英才的熠熠星光。而纪金东先生的《七律·钱氏宗祠》，则如同一把钥匙，为我们打开了一扇通往历史深处、通往文化根脉的大门。