宋代福建的衣食住行

福建省位于中國東南沿海，不僅環(huán)境優(yōu)美，而且文化獨特，擁有歷史悠久的閩南文化、客家文化、媽祖文化、朱子文化、海絲文化等多樣地域文化。早在數(shù)十萬年前，就有古人類在福建境內(nèi)生活。盡管自秦朝起，福建就被納入中華王朝的版圖，但福建的文化卻一直游離于中原正統(tǒng)文化之外。到了宋朝，這種情況發(fā)生了翻天覆地的變化。

Fujian Province， situated along the southeastern coast of China， is renowned not only for its stunning natural landscapes but also for its rich cultural heritage encompassing the longstanding Minnan， Hakka， Mazu， NeoConfucianism （by Zhu Xi）， and Maritime Silk Road traditions among others. Inhabited by ancient humans as far back as hundreds of thousands of years ago， Fujian’s culture， while integrated into Chinese dynastic rule since the Qin Dynasty， maintained a distinctive identity separate from the mainstream culture of the Central Plains. However， the people’s lifestyle shifted dramatically during the Song Dynasty.

從宋朝開始，福建地區(qū)的農(nóng)業(yè)、手工業(yè)、商業(yè)和海外貿(mào)易等蓬勃發(fā)展，福建迅速崛起為宋代經(jīng)濟文化最為發(fā)達的地區(qū)之一，成為世人眼中的“東南樂土”。生活在宋代的福建人逐漸形成自己的生活美學(xué)和獨特智慧，并讓其體現(xiàn)在衣食住行的方方面面。

The Song Dynasty witnessed a flourishing of agriculture， craftsmanship， commerce， and maritime trade in Fujian， propelling the region to become one of the most economically and culturally vibrant areas of the period， earning it the reputation of “Paradise of the Southeast.” The people of Fujian during the Song Dynasty gradually developed their aesthetics of life and unique wisdom， which manifested in every aspect of their daily living， from clothing and food to shelter and transportation.

愛花就把它穿身上 Floral fashion： A style statement

將生活藝術(shù)化是宋代的一大特點。宋代福建人不僅賞花、簪花、種花、賣花、斗花，更是將對花的喜愛融入服飾之中。福州市南宋黃昇墓1出土絲織品有354件之多，工藝精湛，品位高雅，堪稱“南宋絲綢寶庫”。其中很多是精美的女性服飾，款式極為豐富，包括袍、背心、褲、裙、抹胸、圍兜等20多種。面料高級，包括使用蠶絲加工的各種華美布料。圖案設(shè)計別具匠心，紋飾以花卉為主，有梅花、水仙、山茶、蘭花、海棠、桃花、梨花、丁香、牡丹、玫瑰、荷花等30種花卉，主要集中在服飾的領(lǐng)口、袖口、下擺，或作為底紋出現(xiàn)。這些豐富的花卉圖案豐滿而瑰麗，給人以清新的美感，展現(xiàn)了當(dāng)時女性生活的優(yōu)雅風(fēng)貌。

The Song Dynasty epitomized the transformation of life into art， a principle embraced by the denizens of Fujian during that epoch. Beyond simply admiring， hair-pinning， cultivating， selling， and competing with flowers， the people of Fujian integrated their love for floral beauty into their clothing. The tomb of Huang Sheng， dating back to the Southern Song Dynasty， yielded a treasure trove of 354 silk artifacts renowned for their exquisite craftsmanship and refined taste. Dubbed the “Treasury of Southern Song Silk，” this collection included a diverse array of women’s garments such as robes， vests， pants， skirts， chestbands， and bellybands， crafted from premium silk and adorned with intricate floral motifs. Plum blossoms， narcissus， camellias， orchids， begonias， peach blossoms， pear blossoms， lilacs， peonies， roses， lotuses， and an array of other flowers intricately embellished the collars， cuffs， hems， and background patterns of these garments. These opulent floral designs exuded magnificence， offering a fresh aesthetic delight and epitomizing the grace and elegance of women of that era.

你敢信嗎？這是千年前的粉餅！ Surprise！ Timeless beauty secrets！

愛美之心，人皆有之，千年前的福建宋人也不例外。宋代福建女子晨起時，常對著銅鏡梳妝打扮，整理好發(fā)髻后，使用黛塊畫眉，再涂抹妝粉、胭脂，最后用鮮花、項鏈、耳環(huán)、手鐲和發(fā)飾點綴，展現(xiàn)出溫潤而有質(zhì)感的美。除了服飾，黃昇墓中最引人注目的是一件漆奩（lián），即當(dāng)時的化妝盒。漆奩分為三層，內(nèi)裝銅鏡、銀盅、粉盒、粉撲、散粉、角梳、木梳、粉塊等用品，共計33件。其中的粉塊，就是今天的粉餅。它們被制成固體，形狀多樣，有圓形、方形、四邊形、八角形和葵瓣形等，壓印著凹凸的梅花、蘭花及荷花圖案。紋飾之精美，與今天的粉餅相比，有過之而無不及。

The pursuit of beauty is universal， and the denizens of Fujian during the Song Dynasty were no exception. Mornings saw Song Dynasty women in Fujian meticulously adorning themselves in front of bronze mirrors. After styling their hair， they would delicately draw eyebrows， apply makeup powder and rouge， and bedeck themselves with fresh flowers， necklaces， earrings， bracelets， and hair ornaments， exuding understated beauty and fine tastes. Among the treasures discovered in Huang Sheng’s tomb， a lacquer box stood out as a highlight — a cosmetic case of its time. Divided into three tiers， this box housed a bronze mirror， silver cups， powder containers， powder puffs， loose powder， horn combs， wooden combs， and powder blocks， totaling 33 items. Notably， the powder blocks served as what we now recognize as pressed powder. The blocks were fashioned into solid shapes — round， square， rectangular， octagonal， and sunflower forms —embossed with intricate plum blossom， orchid， and lotus flower patterns rivaling the elegance of their modern-day equivalents.

皇帝也愛福建土特產(chǎn) Emperors’ delight： Fujian’s local treasures

宋代的福建，農(nóng)產(chǎn)品的產(chǎn)量大幅提升，烹飪技藝日趨成熟，食物種類愈加豐富。依山傍海的福建逐漸形成了以大米為主食、山珍與海味并存的獨特飲食 格局。

Throughout the Song Dynasty， the agricultural production in Fujian soared， accompanied by a refinement in culinary arts that broadened the array of delectable dishes. Nestled amidst mountains and seas， the Fujianese gradually crafted a distinctive culinary tradition centered around rice as a staple， enriched by bounties from both land and sea.

福建的荔枝產(chǎn)業(yè)發(fā)展迅猛。福建荔枝色艷、形美、味香，別具一格，不僅福建本地人喜愛，更被列為皇家貢品，深受宋徽宗喜愛。為了實現(xiàn)“荔枝自由”，宋徽宗甚至將福建的荔枝樹移植到了宮中。

Foremost among Fujian’s prized offerings were its lychees， the industry of which flourished at a remarkable pace. Renowned for their vibrant hues， exquisite forms， and alluring flavors， Fujian’s lychees not only captured the hearts of locals but also earned the prestigious status of becoming a tribute to the imperial court， greatly admired by Emperor Huizong of the Song Dynasty. Such was his fondness for these lychees that Emperor Huizong went to great lengths， even transplanting lychee trees from Fujian into his palace in pursuit of his own all-you-can-eat lychee feast.

宋代福建飲茶風(fēng)氣盛行，福建北苑貢茶更是聲名遠(yuǎn)揚，特別是其中的龍鳳團茶，一斤茶值黃金二兩，極為珍貴。而產(chǎn)自福建省南平市建陽區(qū)的“建盞”，作為茶具的極品，更是深受茶客的青睞。比賽茶優(yōu)劣的斗茶習(xí)俗在福建興起后，逐漸推廣至全國，并流入宮廷。宋徽宗不僅自己喜愛福建茶，還將斗茶文化描繪在他的作品《文會圖》中，并寫進著作《大觀茶論》，將茶文化推至宋代雅文化的核心，促進了茶文化的？繁榮。

In terms of beverages， tea held a significant position in Fujian during the Song Dynasty， with the tribute tea from Beiyuan garnering widespread acclaim. Of particular note were the Dragon and Phoenix tea cakes. The tea， valued at two taels of gold per jin， was highly precious. The exquisite “Jianzhan” tea set， hailing from Jianyang District in Nanping City， Fujian Province， stood as the epitome of tea paraphernalia， cherished by aficionados. Originating in Fujian， the tradition of tea competitions gained popularity across the nation and even found favor within the imperial court. Emperor Huizong not only cherished Fujian tea himself but also immortalized the culture of tea competitions in his painting Wen Hui Tu （Gathering）， and his Daguan Cha Lun （Treatise on Tea）. Through his patronage， tea culture ascended to the pinnacle of refinement in the elegant society of the Song Dynasty， fostering its widespread prosperity.

他們已經(jīng)吃上火鍋了！ Indulging in hot pot： A culinary revolution

宋代是福建飲食文化繁榮的時期，現(xiàn)代烹調(diào)的主要方式在這一時期已基本完善。僅從宋代福建泉州人林洪的飲食筆記《山家清供》中，就可以看到漬、淘、濾、澆、腌、釀、鹵、拌等20多種技法，應(yīng)有盡有。作為宋代福建的重要食譜，該書記錄了104道美食，充滿詩意，體現(xiàn)了宋代文人的價值追求與獨特個性，彰顯了福建宋人清雅的審美趣味。例如，“梅花湯餅”講述了作者在泉州紫帽山遇到一位高人。他用白梅和檀香泡水和面，制成餛飩皮，再用模具印出梅花形狀，煮熟后盛入雞湯中，讓人難以忘懷。

The Song Dynasty marked a golden age for Fujian’s culinary landscape， where fundamental modern cooking techniques were refined to perfection. Just from Quanzhou native Lin Hong’s culinary notes in Shanjia Qinggong （The Pure Offerings of Rural Households） one can see over twenty techniques including steeping， rinsing， filtering， pouring， marinating， brewing， braising， and mixing. This significant recipe compendium from Song-era Fujian documents 104 sumptuous dishes imbued with poetic flair， embodying the values and distinctive style of Song literati， while showcasing the refined aesthetic palate of the Fujianese. For example， the chapter “Plum Blossom Dumplings” tells the story of the author meeting a master on Zimao Mountain in Quanzhou， who soaked white plums and sandalwood in water to make the dough for dumpling skins. The dumpling skins， stamped into plum blossom shapes， were cooked and served in chicken broth， creating an unforgettable delicacy.

此外，書中還記載了作者在福建武夷山吃火鍋的故事，詳細(xì)描述了這種烹調(diào)方法：將肉切成薄片稍微腌制，桌上放一個風(fēng)爐，準(zhǔn)備半鍋湯。湯開后，每個人用筷子夾著肉在湯中搖擺，直至肉熟，撈出蘸點調(diào)料汁食用。這與現(xiàn)代火鍋的吃法如出一轍。

Moreover， the book contains an account of the author’s experience indulging in hot pot in Wuyi Mountain， Fujian， meticulously detailing the consumption ritual： thinly slicing and lightly marinating meat， setting a stove ablaze on the table， and preparing half a pot of broth. Each diner deftly swishes slices of meat in the simmering soup until cooked， then dips them in sauce — an ageold practice uncannily akin to modern-day hot pot enjoyment.

家居極為講究 Elegant home decor： A taste for detail

兩宋時期，隨著福建的迅猛開發(fā)，福州、泉州和建州逐漸嶄露頭角，成為國內(nèi)知名城市。許多市鎮(zhèn)也升格為縣城，城內(nèi)手工業(yè)與商業(yè)蓬勃發(fā)展，房屋建筑和日常生活用品的款式愈加豐富多彩。

The Song Dynasty ushered in a period of rapid growth for Fujian， elevating Fuzhou， Quanzhou， and Jianzhou to eminence as renowned cities within China. Market towns blossomed into bustling county hubs， fostering a vibrant tapestry of handicrafts and commerce， while the aesthetics of housing construction and daily accouterments grew increasingly diverse and exquisite.

宋代人對家居陳設(shè)極為講究，尤其是富貴人家。焚香、品茶、掛畫和插花是他們生活中不可或缺的四大雅事。因此，書畫、花瓶、香爐和綠植等裝飾物在家中隨處可見。宋代福建人劉學(xué)箕在其《菖蒲記》中提到，他家盆栽菖蒲（chāngpú，一種植物）所用的器具極為講究，光是瓷器就包括龍泉窯的青瓷、耀州窯的青瓷、建窯的黑釉瓷和景德鎮(zhèn)窯的青白瓷等。

With a keen eye for detail， Song-era people， particularly the affluent， curated their living spaces with utmost care. Incense-burning， tea-tasting， the display of paintings and floral arrangements emerged as the four quintessential refined pursuits in their daily lives. Thus abodes brimmed with artful embellishments like calligraphy scrolls， ornate vases， incense burners， and verdant flora. Liu Xueji， a denizen of Fujian in the Song Dynasty， noted in his Changpu Ji （Notes on Calami） the meticulous selection of utensils for his potted calami. The collection ranged from Longquan kiln celadon to Yaozhou kiln celadon， Jian kiln black-glazed porcelain， and Jingdezhen kiln blue and white porcelain， among others.

宋代文人愛書畫，跟書畫相關(guān)的紙必不可少。福建植被豐盛，有很多制造紙張的理想材料，其造紙行業(yè)十分發(fā)達。在宋代，福建人不僅將紙張用于印刷書籍、寫字和繪畫，還將紙張用于日常生活，如制作紙襖、紙衣等穿著物品，以及紙帳、紙被等床上用品。宋代理學(xué)大師朱熹曾從福建寄給著名文人陸游一床紙被。陸游對此深表感激，寫下兩首詩贊美這床紙被，稱其比狐貍的腋毛 還要白，比絲綿更加柔軟，且十分保暖，能夠抵擋冰雪。Esteemed scholars of the Song era harbored a deep passion for calligraphy and painting， with paper being an indispensable medium for these arts. Fujian’s paper industry thrived owing to its abundant vegetation， yielding prime materials for paper production. Beyond printing books and artistic endeavors， Fujian residents ingeniously fashioned paper into wearable items like jackets and clothes， as well as practical household items such as curtains and quilts. Neo-Confucian luminary Zhu Xi once graciously gifted a paper quilt from Fujian to the renowned literatus Lu You， who penned two laudatory poems extolling its purity and elegance， commenting that it is whiter than a fox’s armpit hair， softer than silk， extremely warm， and able to withstand ice and snow.

越山跨海，出行無憂 Navigating land and sea： Seamless travels

宋代時，人們主要依靠轎子、車馬和舟船出行。福建被稱為“東南山國”，山路崎嶇，水道險峻。在宋代的建設(shè)熱潮中，福建人積極建造道路和橋梁，極大地改善了交通狀況。

During the Song Dynasty， people primarily relied on sedan chairs， horse-drawn carriages， and boats for transportation. Fujian， known as the “Southeast Mountain Kingdom，” had rugged mountain roads and treacherous waterways. In the construction boom of the Song Dynasty， the Fujianese diligently constructed roads and bridges， revolutionizing the region’s transportation infrastructure.

宋代福建人造橋通常就地取材，建造的橋主要有浮橋、木橋和石橋。浮橋是在并排的船、筏子或繩索上鋪上木板而成的，今天已不復(fù)存在。木橋則主要分布在福建北部山區(qū)，有些還在橋上建有亭子，形成了如今所稱的“廊橋”。而石橋以石材建造，如泉州的洛陽橋和安平橋，其中洛陽橋現(xiàn)長731米，是中國歷史上第一座跨海梁式石橋；安平橋現(xiàn)長2 255米， 是中國現(xiàn)存最長的跨海梁式石橋，也是中古時代世界上最長的跨海梁式石橋。

Bridge construction in Song-era Fujian relied heavily on local resources， giving rise to a variety of bridge types — floating bridges， wooden bridges， and stone bridges. Floating bridges， a rarity today， were crafted by laying planks across boats， rafts， or ropes. Wooden bridges graced the mountainous terrains of northern Fujian， some adorned with pavilions， evolving into what we now recognize as corridor bridges. Notable stone bridges like the Luoyang Bridge and the Anping Bridge in Quanzhou stand as enduring testaments to ancient stone craftsmanship. The Luoyang Bridge， now stretching 731 meters， was China’s first sea-spanning beam-style stone bridge， while the Anping Bridge， now spanning 2，255 meters， holds the title of China’s longest extant seaspanning beam-style stone bridge， reigning as the world’s longest during the medieval era.

說到造船，福建人就更自豪了，大名鼎鼎的“福船”正是從宋代開始出現(xiàn)的。宋代福建盛產(chǎn)木材，造船技術(shù)一流，是重要的海船制造基地。所造的海船被稱為“福船”，設(shè)計精巧，船頭和船尾高聳，上部平穩(wěn)，下側(cè)像刀刃一樣銳利，極為適合破浪而行；結(jié)構(gòu)堅固，隔艙防水，載重能力大，是當(dāng)時世界上性能最優(yōu)越的海上交通工具。香料、藥材、礦產(chǎn)等通過福船橫跨海洋進入我國，我國的絲綢、瓷器、茶葉等大宗物品亦通過福船銷往異國他鄉(xiāng)。聞名遐邇的宋代泉州灣后渚港宋代海船、南海1號沉船都是福船樣式的代表。

Shipbuilding in Fujian witnessed a pinnacle of achievement during the Song Dynasty， giving birth to the famed “Fu Ship.” Blessed with abundant timber and unparalleled shipbuilding prowess， Fujian emerged as a key hub for crafting sea vessels. The renowned “Fu Ships” boasted towering prows and sterns， a sturdy upper deck， and a sleek， bladelike hull， enabling them to slice through waves with finesse. These vessels were engineered for strength， featuring watertight compartments and capacious cargo holds， establishing them as maritime marvels of their time. These ships facilitated the transport of exotic spices， medicinal treasures， and valuable minerals into China， while ferrying Chinese silk， porcelain， and tea to foreign shores. Icons like the Song Dynasty sea ship at Houzhu Port in Quanzhou Bay and the Nanhai No.1 shipwreck epitomize the grandeur and legacy of the “Fu Ship” style.

宋代福建的衣食住行不僅體現(xiàn)了當(dāng)時社會的經(jīng)濟繁榮與文化多樣性，也反映了福建的地方特色與習(xí)俗，展現(xiàn)出福建人獨特的生活方式和人文精神。

The daily tapestry of life in Song-era Fujian not only mirrored the economic prosperity and cultural richness of the era， but also unveiled the local customs and distinctive traits of Fujian， illuminating the unique lifestyle and humanistic ethos of its people.

1 黃昇墓：1975年發(fā)掘，墓主人叫黃昇，是一位貴婦，去世時只有17歲。Excavated in 1975， the tomb belonged to Huang Sheng， a young aristocratic lady who passed away at the age of 17.