A 200-word review of Ganxi's former residence

Walking into the height of legal measurement, I landed on the mottled door of my former residence. Sometimes, color is a foil. Yellow sunshine, mottled doors and windows, peeling gray walls, withered vines. In this way, I walked in, with the theme of "Jade Hall is rich", "Happiness is more than enough" and "Five Blessingg holds longevity", and the door of carving with rich contents was opened to me. I feel that I am entering a period of history and entering some gaps in time and space where light and shadow overlap. Interpret a school of antiques with an idle journey. Ganxi's former residence is in the downtown area at the junction of Shengzhou Road and Zhongshan South Road in Nanjing. An inconspicuous alley with white walls and gray tiles and strings of red lanterns is also the location of the Nanjing Folk Museum. Ganfu is also called Ganjia Courtyard, commonly known as ninety-nine and a half rooms. Gan was a famous scholar, epigraphist and bibliophile in the late Qing Dynasty. There are many famous people among our ancestors. Ganfu was built by Ganfu's father during Jiaqing period of Qing Dynasty, and was later inherited and expanded by Ganfu. The compound is overlapping and the cloisters are winding, which not only follows the architectural style of Qinhuai residence, but also highlights the multiple combinations of internal structure and the exquisite characteristics of cultural decoration. Gan Mansion embodies the residential characteristics and cultural connotation in the late Qing Dynasty and the early Republic of China. It is the largest and most well-preserved private mansion in Nanjing, and it is also known as the three major landscapes of Nanjing in Ming and Qing Dynasties along with the Ming Tombs and the Ming City Wall. Due to the damage of many houses in Ganxi's former residence, at present, Nanbu Museum 15, 17 and 19 are being repaired and restored, which are divided into three major themes. 15, Nanjing traditional folk houses will be displayed; The layout of the hall is exquisite and thorough, with clear priorities and strict symmetry. Once in the foyer, twice in the sedan chair hall, three times in the main hall, and four or five times in the inner hall, I visited the master room, the Buddhist temple, the bridal chamber, the boudoir and the study in turn. 17 shows the folk skills of Nanjing, including shadow play, clay figurine, paper cutting, etc. 19 is a photo exhibition of Nanjing's residential buildings, including buildings with river rooms and Qinhuai River halls, buildings with multiple entrances and halls, and building components such as wood carving, brick carving and stone carving. Small blue tile roof, white powder wall and brown-red varnish. Gray, white, brown and red are the main themes of the building, which are in harmony with the green plantains and the charming red flowers and green grass in the south of the Yangtze River, forming a unique elegance, simplicity, peace and tranquility. Time flies, a tile, a wall and an ancient well all show signs of aging. Ancient walls with peeling dust, such as unglazed prints, float the charm of vicissitudes from the dust of history. More people entered the hall-style house, and people turned around several times, but they couldn't find their way. Blue-gray tiles, after the baptism of countless storms, have become more modest and introverted, sticking to a corner of literature and history, being squeezed and flowing into a riverbed withered by years. At that time, Jin Linggan's oars fell on the Qinhuai River. He walked leisurely through the ancient Qinhuai ferry, leaving others' romantic feelings and gongs and drums in the depths of the smoke reflected by the sound of paddles and lights, and calmly occupied the momentum of Jiangnan's famous houses. I just read this history in a flowing time. The pages shook and I was squeezed out of time. I accidentally locked myself in the years of transporting grain, like a dust, peeling off the misty water, sitting on the back of yellowed paper, looking up at the height of the sky and the width of time. Borrow an old boat every other year and return to the epitome of a specific era. Feel free to sit or walk. Don't trample on the slate that has been silent for a long time, and don't disturb Gu Teng who has covered the old wall. Touch the fresh leaves and flowers, and the vast wasteland will glow with new colors under artificial cultivation. Noisy sounds are separated from modern noise. Outside the wall are towering buildings and commercial streets lined with billboards. Inside the wall is a deep courtyard and a pool of clear water. At this time, nothing needs to be announced, as long as you walk gently and leave quiet thinking. Full of mysterious light and shadow tilt, dynamic and static tacit transformation. Old cornices and withered vines can be seen everywhere, bearing the dialogue between ancient and modern times. The gap between the stacking wall and the preparation channel is a blank space without falling green glaze. In the corner outside the Zhangjiayuan, there were noble peonies that once dominated the crowd, and yellow cornucopia and palace peaches and plums collected luxury and fame on the high and thin eaves. In silence, roots germinate and ash precipitates. Walking in it, you can stare or look up at the carved beams and separated doors. There are flowers in full bloom in the yard in front of the south hall 15 flower hall. Rockery and rocks, like the constantly beating focus and rivets, grind the abandoned time into green spots, and moss is everywhere in the corner. Those old people have jumped out of the image and crossed the courtyard or alley where bananas are in full bloom. The night in the back garden is full of insects and deep and soft flutes and guzheng. Abundance and loneliness cover up the sound of flowing water drifting away, and break down some details of life into sharp corners, which has the charm that painters can't copy. Turn on the sunshine, have the corners of those lonely green ferns that have been in my heart been wet? They learned that Suosuo's silk skirt was exposed all night, and she was still standing in the sleeping posture of an aristocratic family. Or graceful Tingting, proficient in piano, chess, calligraphy and painting, singing a graceful wit with Jiangnan characteristics. Jin Zhalou's ancient books, such as "Lock the Eyes under the White" and "A Record of Jiankang", have accumulated a writer's height and added fragrance and pen and ink to the legend of the former residence. Buddhist temples reveal the silence of understanding the world; However, the paper-cut hall is gorgeous and full of unique folk charm. As an indispensable magical context, it records the inheritance of China folk culture. "Cities exist by memory." Sweep the buildings and high altitude of the city, stay in a quiet corner of the world, and guess the beauty and frost of this glorious mansion in the past. Go through the deep door, or listen to the silence inside, or look at the sunshine outside. Moderately alternating light and shade, there are ignorant sparrows, and the edge is stunned by the dust in the porch. Wind-like bells hung on the forehead of the Drum Tower and swayed on the quiet bricks and plants in the garden. The pen and words were gathered by the dead vines on the wall, leaving a lingering hug. The wind blew and shook off the old spots. People are old, trees are still long, and flowers are still blooming. Rough old branches pull out tender strips and stand serenely and quietly in the tapestry of time. And history is always isolated in the depths of bullets. The old residence in winter, after transformation, is quiet and peaceful. The sun shines on the reflection of memories, like a dry watercolor painting in the19th century, drawing an elegant arc in contemporary folk art ... elegant and calm, with extraordinary bearing. All music movements are gathered on a desolate finger, half busy, like the first winding in an empty night, facing you with a silent and indifferent attitude. Dreams are awakened in the ruins of shadows, and the pen of history is full of ink, which becomes an unsaleable glory. When I turned to leave, the sun was shining on the towering horse head wall. The shadow of rattan leaves is cast on the white wall, which germinates in spring and withers in autumn and sinks into history. Behind him is a cascade of rockeries and a pool of calm water.