There are no depictions of ancient bazaars

Tokyo, Northern Song Dynasty Business, Entertainment and Customs The abolition of the curfew and the dismantling of the market system contributed to the urban prosperity of Tokyo. The Preface to Tokyo Meng Hua Lu (东京梦华錄-序) describes Tokyo at the end of the Northern Song Dynasty, saying: "The days of peace were long, and the people were prosperous. The children of the city were only familiar with the encouragement of the children; the old men of the city did not know what they were doing. The seasonal phase, each with its own appreciation. The moonlit nights and moonlit evenings, the snowy days and flowers, the begging for coquettish gifts, the teaching ponds and the gardens, the green buildings and the painted pavilions, and the many other things. When you look up, you will see green buildings and painted pavilions, and embroidered households with pearl curtains. Carved car racing in the sky street, BMW racing in the Royal Road, gold and jade shining day, Luo Qi fragrance. New voices and clever smiles were heard in the willow streets and flower streets, and pipes and strings were tuned in the tea houses and wine shops. The eight wastelands competed with each other, and all the countries were savored. The treasures of the four seas are all brought to the market; the flavors of the world are all in the kitchen. Flowers all over the road, what limit spring tour, xiao drums clamor empty, a few night feasts. The trick is amazing to the eyes and ears, and the extravagance is the spirit of the long man. (Note: Tokyo Meng Hua Lu, pp. 39-40, 1, 14, Shanghai Classical Literature Publishing House, 1956 edition.) This can be said to be an overall summary of the prosperity of the city of Tokyo and the flourishing of humanity. At the end of the Northern Song Dynasty, commercial activities inside and outside the city became even more active, especially the "store seats" in Tokyo mentioned in the Song and Yuan dynasties, from which we can see one of the city's prosperity. Zhang Supervisor Zhicheng Takes Off the Strange Scourge: "It is said that in Bianzhou, Kaifeng Prefecture, Tokyo, in the boundary of the body, a thread store of Zhang Shilian, a member of the outside, the Zhang "door is the head of the rouge velvet thread store, two walls are equipped with kitchen cabinets" (Note: Beijing Popular Novels, pp. 44, 47, Shanghai Classical Literature Publishing House, 1954 edition). Shanghai Classical Literature Publishing House, 1954 edition.) In contrast to this is the account in Zheng Jiedu Ligong Shenwu Bow (Mr. Hu Shiying thought it was a Song and Yuan book): "It is said that in Kaifengfu, Bianliang City, Tokyo, there is a million-kilowatt wealthier outside the family name of Zhang, the first in the line, and the name of the two Junqing. This member of the outside, winter sleep red brocade tent, summer lying blue yarn kitchen; two lines of beads and emeralds lead, a pair of beauty support. ...... the first wall of the door open a gold and silver store, a wall open the quality of the library", here should be described as Tokyo "store seat" scene. For the "boundary body" and "store", "Tokyo Dreaming Records" has a more detailed description, according to Volume II, "Dongjiaolou Street Alley" article: "from Xuande East to Dongjiaolou, is the southeast corner of the Imperial City. Cross street south to jiāng＠④ line. The high street goes to the north, and the longitudinal yarn goes to Donghuamen Street, Chenhui Gate, Bao lù@⑤ Palace, and up to the old Acid Zao Gate, where most of the stores are to be found. The Xuanhe Intersection Road is carried on. To the east is Pan Lou Street, the street south said 'Eagle Shop', only under the sale of migratory birds, the rest are all real beads, a bolt of silk, incense and medicine stores. South through an alley, called the 'boundary body', and is the gold, silver, color and silk trading place, the building is majestic, broad frontage, looking at the Senran, each transaction, moving that is ten million, appalling to hear. To the east of the street north said Pan Lou hotel, its lower sea day since five o'clock market, trading clothing painting and calligraphy rare rhinoceros jade." (Note: "Tokyo dream book" page 39-40, page 1, page 14, Shanghai classical literature press 1956 edition.) This was undoubtedly one of the busiest markets in the city of Tokyo, and the wealth of commodities was staggering. Closely associated with the commercial activities were the hookah wazi, the entertainment venues of the city's inhabitants. In the setting of the city market, the Song Dynasty gradually formed a "hook bar" as the center of the "wazi", urban entertainment activities led to related service industries, to promote commercial trade, the formation of a large-scale bazaar. Let's take a look at the depiction in the playbook. Song four male haunted the forbidden soul Zhang" wrote that the idle man Zhao Zheng cheated to the clothes, "and then into the city, to go to Sangjiawari, idle walk back, buy wine to buy snacks to eat, out of the outside of the tile to", "haunted Fanlou amorous Zhou Shengxian" in the packet of Daiyin sent to catch the grave robbers Zhu Zhen, "when the search for the capture of Zhu Zhen did not see, but in the Sangjiawari to watch the game". Author: Nan Guansheng 2006-10-4 19:02 Reply to this statement -------------------------------------------------------------------------------- 4 "Tokyo Stories" in Ancient Chinese Novels (Sun Xun) The story of "Tokyo" in ancient Chinese novels (Sun Xun, Ge Yonghai) is a story of the Song and Yuan dynasties, when there were already a lot of "tiles and bars" in the Five Dynasties, and "Shi Hongzhao Longhu Junchenhui" (which Mr. Tan Zhengbi thought was a Song and Yuan book) wrote about Guo Wei, the ancestor of the Later Zhou Dynasty, hanging out in the tiles and bars of Tokyo at that time, "This Guo Dalang, who was not as happy as he wanted to be in Tokyo, pounced on the hairpin of the Pan Banniangzi. When Pan Banniangzi saw him, she recognized him as her brother, and kept him at home instead of dismissing him from the court. Since he was well, he went to Wali to see him, killed the disciples in the hook bar, and fled in the night." (Note: The Metaphors of the World, p. 215, Shaanxi People's Publishing House, 1985 edition.) As far as the establishment of the wali is concerned, we can go up from the Five Dynasties to the Tang Dynasty, from which we can see the influence caused by urban recreational activities in the Tang Dynasty (Note: Yang Kuan, "Studies on the History of the Ancient Chinese Capitol System," pp. 272-274, Shanghai Ancient Books Publishing House, 1993 edition.) . The Tang people had already built colorful buildings on the open space of Chang'an's Zhuqueak Street for competitions of various musical activities, and the Miscellany of Music Records contains a record of the competitions between pipa masters, in addition, Chang'an's playgrounds were concentrated in places such as Ci'en Temple and Recommendation of Good Fortune Temple, which were also supposed to be performed on the open space in front of the temples. The hook bar in the Song Dynasty should also start from the temporary theater set up in the open space on the street, for example, in the Southern Song Dynasty, there is no fixed place to performers, that is, the so-called "Luqiren", is to carry out performances in the open space on the roadside. Lin'an, "the government wall under the open space, all kinds of colors, Luhiqi people in this field", "other markets, such a free lot, more than for the field of the people." ("Metropolitan City - City") when the hook bar was first created, there should be this stage, and then gradually developed and fixed, and eventually formed a "tile" scale. Northern Song Dynasty Kaifeng tile most concentrated in the East corner of the building, others such as Cao Menwai, Bao Kang, the old Fengqiu door, Danei West have large tile, many tile in the Sang family tile is the largest, the most famous, which was mentioned in the words of the book there are more reflections. Tokyo Dreaming Records - Dongjiaolou Street and Alley": "Street south of the Sangjia Wazi, near the north is in the tile, the second Riva. Among them, there are more than fifty large and small hooks and bars, including the Lotus Shed and Peony Shed in the middle tile, the Nightjar Shed in the middle tile, and the Elephant Shed is the largest, which can accommodate thousands of people. Since the generation of Ding Xian Xian, Wang Tuan Zi and Zhang Qi Sheng, some people have been working here since then. Tile in more goods medicine, selling Gua, drink old clothes, explore wrestling, food, shaving and cutting, paper painting, order song and so on. Live here all day long, do not feel to arrive at the end of the day." Can be seen at that time, the rich scenery of the Washoe. City entertainment and customs are always combined together, in terms of festive customs, the Lantern Festival is the most striking, because as early as the Tang Dynasty, the curfew was lifted on the night of the Lantern Festival, during this time, the free space and time of city life was unlimitedly enlarged, so in the novels of all times, the Lantern Festival is always depicted as a colorful piece of ink. In Song and Yuan novels, the Lantern Festival in Tokyo is even more strongly emphasized and rendered. The system of the Lantern Festival in the Song Dynasty was more lenient than that of the previous generations. Yan Yi Mou Lu, Volume 3: "The story of the national dynasty is that the lanterns were opened in the third year. Taizu Qiande five years in the first month of a Chen, said by imperial decree: 'on the yuan lights, the old stop three nights, this court is not a matter, the district is safe, the party when the abundance of grain, it is appropriate to indulge the people of the line of music, which makes Kaifeng Province more 17, 18 two nights of the lights'. After that, it became an example." (Note: Yan Yi Mou Lu, p. 25, China Bookstore, 1981 edition.) If the depiction of the Lantern Festival in Zheng Yi Niang's biography is always in reminiscence, other books have a large amount of positive depictions of the event, such as The Ring Child's Record, which reads, "Not realizing that it was the Shang Yuan Festival in the second year of the reign of Zheng He, the state had decreed that the Lantern Festival should be rewarded and celebrated. Ao Shan was erected, full of lanterns. Shengjiao social fire, Luo drums clamor. The forbidden door was not closed, inside and outside the traffic. Everyone went to the five phoenix tower, under the end of the door, inserted gold flowers, enjoy the imperial wine, the state and the people to enjoy the same. Since the fifth day of the first month of the year, until the twentieth day of the end, all the people sing happy, the military and the people have fun together, even the poorest and the hardest of the poor, there are also entertained for fun." (Note: See "Qingping shantang quanben", which Mr. Tan Zhengbi thought was a Song and Yuan piece.) On the Lantern Festival's Zaoshan, giving imperial wine, and spreading money are also described in the former collection of Xuanhe Remains: "Since the winter solstice in front of the Tokyo Dane ...... , the aooshan has been erected under the hands and is sixteen zhang in height and three hundred and sixty-five paces in breadth; in the middle there are two ao pillars with a length of twenty-four zhang; the pillars are wrapped in golden dragons underneath them, and a lamp is lighted in the mouth of each one, which is called the Double Lamp. There were two ao pillars in the center, twenty-four feet long; two golden dragons were used to wrap the pillars underneath, and a lamp was lit in the mouth of each dragon, which was called "Double Dragon". In the middle there is a sign, three feet six feet long, two feet four feet wide, gold book eight big words, wrote: Xuanhe CaiShan, and the people with the music", "that look at the lights of the people, don't ask the rich and poor, young and old, as far as the end of the door to give the imperial wine a cup." Then, such as spreading money, the four noble officials "got the imperial decree, handing over the spread of money and silver money, and the ten thousand people to grab the money" (Note: The Song Yuan Plain Speaking Collection, p. 344, p. 322, Shanghai Ancient Books Publishing House 1990 edition.), clouds. , Yunyun. In addition to the palace presided over the Lantern Festival activities, some noble officials and magnates have also bound Ao Shan, fireworks. For example, "Zhang Supervisor Zhicheng out of the strange disaster" wrote "Wang Zhaosuan House to catch the binding of the small Ao Shan", Zhang House "add many fireworks" (Note: "Beijing Popular Novels", pp. 50-51, Shanghai Classical Literature Publishing House, 1954 edition.). ...