His great-grandfather, Wang Guowei, left his hometown at the age of a weak crown, and later traveled to Suzhou, Shanghai, Beijing and overseas, and never bought a property. In today's words, the "Shanghai Drift" and "Beijing Drift" that have been done for many years have always been rented houses and settled at ease. Plaques are not often hung in the study, and the number is mainly used on the inscription of the article and the seal of the individual. Mr. Li Ling once wrote "The Examination of the Famous Room of the Kingdom of Maintenance", which has a very detailed research.
My great-grandfather studied lyrics and music in Suzhou and Beijing, searched for literature extensively, and titled his residence "Xuexue Shanhaiju", and had the seal of "Xuexue Shanhaiju Collection", which was related to his interest in this period. He said: "King Qian Zun and Huang Xingpu are slightly similar in knowledge, mind, and hobbies, both Wu people, and they like lyrics and songs. King Zun is also the garden of miscellaneous dramas to 300 kinds, the foundation of many people's hopes. Fu Weng's residence, self-imitation of Li Zhonglu's 'words of the mountains and the sea', has the purpose of 'learning mountains and seas'. However, its Tibetan songs are seen in the inscription, only the Yuan book "Yangchun White Snow", Ming Yangyi "Nanfeng Yuefu" a few kinds, but not as good as the essence of its Tibetan words and rich. Fu Weng is the Qing bibliophile Huang Pilie, and Li Zhonglu is the Ming opera artist Li Kaixian. Li's rich collection of lyrics and songs, known as "the mountain of words and the sea", Huang's imitation, self-titled his residence called "learning mountains and seas". My great-grandfather added the word "learning" to "learn from mountains and seas", indicating that he wanted to follow the sages. This seal has gone through vicissitudes and has fortunately survived. Because there is no margin, it is not known who made it. Luo Zhenyu engraved the most for him. When the Japanese temporary Shuhan inscription was inscribed, he did not have a seal on hand, and he also borrowed Luo's "East China Sea Fisherman" seal.
He did not have the Xi of stamping books in his collection. However, after his death, Luo Zhenchang, the owner of the Yin Lu, resold some collection of lyrics and music books to Japan, and temporarily added a "Kingdom Seal" mark of Zhu Baihewen, which was engraved by Luo Zhenchang himself.
While living in Kyoto, Japan, my great-grandfather wrote for publications such as the Suncheon Times. At that time, he had to write to support his family, and he did not expect to attract the attention of the people. Therefore, pen names such as "Ermuxuan", "Auditorium" and "Cishan" were used successively, all of which were temporarily adopted when they were published.
After returning to Shanghai in 1916, he wrote the "Preface to the History of the Chapters" at the end of the chapter, "Bingchen February Book in Shang Mingxuan, Living on the Sea". At that time, the residence was cramped, and a poem to Shen Zengzhi described that "there is no soil in the courtyard, and there is no sky in the well valley." Resist the sleeping group, and accumulate salary". After the moving environment improved, this fasting number was no longer used.
In his early years, his great-grandfather used the name "Jing'an (An)". In 1905, he came from a collection of selected poems, and the title was "Jing'an Anthology". When I first entered the old site of the "Shi Ji Bao", my colleagues only knew that he was "Wang Jing'an", and some mistakenly remembered him as "Huang Jing'an". Mr. Zhang Yuanji later wrote to him and repeatedly called him "Mr. Jing'an", which may also be a homophonic mistake. His later residence was in Wuxingli, Datong Road, Aiyiwen Road, and the current site is Jing'an Sculpture Park, which coincides with his "Jing'an" name. There is a "Jing'an" Zhu Wenyin engraved by the Guangdong seal carver Deng Erya, which is not included in the Deng family seal spectrum, relying on this seal to survive, confirming that the two had a friendship.
Great-grandfather's Zhai in Shanghai also has "Yongguantang". At the end of 1917, he commissioned his old work and titled it "Essays at Home and Abroad of Yongguantang". On March 14, 1918, he sent a letter to Luo Xuetang: "When Gongru wrote a book, he prayed for a small amount of the three characters 'Yongguantang' in the book. In the future, it is planned to call itself 'Guantang', and these three words are still elegant. Last year's small collection was also titled "Yongguantang Essays at Home and Abroad", and on March 20, Xuetang replied that "it was written as Fengzheng, begging for Save", which was his most commonly used room number in Shanghai. The room number "Guantang" is an abbreviation of "Yongguantang". Contemporaries and scholars believe that these two room numbers come from the nostalgia for the Eikando Zen Temple in Kyoto, Japan. A hundred years after my great-grandfather returned to China, I went to the Yongguan Monastery to pay a respect, and I could still experience the vastness and tranquility of the scenery here, which made ** even unbearable to leave. The former residence renovated by Haining Yanguan has a plaque of "Entertainment House", which is actually the name of his father. My great-grandfather did not have many comfortable days in his life, even when he was concentrating on the study of opera, he did not go to the opera, let alone the entertainment of the ears and eyes and the elegance of the room. (Wang Liang).