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“The people regard food as heaven.” I do not oppose celebrating culinary culture — yet we must not neglect moral and literary virtue. The two should remain in balance.
Upon hearing news of the Fujian Association Cultural Festival, visitors made their way to Thian Hock Keng Temple in the evening, curious to experience the event firsthand. The streets, lined with food stalls, buzzed with lively chatter and the rich aroma of local delicacies, yet the temple itself radiated a quiet dignity — a gentle whisper of history amid the modern bustle.
Across the open lot, a temporary exhibition hall stood surrounded by colorful congratulatory flower baskets, while the Fujian Cultural Festival sold meal coupons, available in denominations of $20 and $40. Visitors purchased these coupons at the festival booth and used them to buy dishes at different food stalls, with most items priced around $5. Volunteers in bright yellow T-shirts moved calmly among the crowd, maintaining a sense of order and care. The layout and atmosphere mirrored last year’s festival, with associations united in spirit, supporting one another, and celebrating together with respect.
Although the place is called Chong Wen Ge, outsiders are unaware of where the original collections of classical texts were kept, or who, as in the past, would come here to teach and expound on traditional virtues, reason, faith, and moral principles.
On one side of the main gate stands a stele commemorating the reconstruction of Chong Wen Ge, inscribed with the intentions of the sages who originally established it. The stele was erected in the 13th year of the Guangxu reign, in 1887 — 148 years ago. Exposed to sun and rain for decades, the red characters have gradually lost their original brightness, and the inscriptions on the stone have become increasingly difficult to read.
From what can still be discerned, the person who called for the construction of Chong Wen Ge was Chen Juchuan. The inscriptions indicate that the pavilion had already existed for a long time, and that it was built between the Daoguang year of Ji you (1843) and the Xianfeng year of Renzi (1852). People donated sums ranging from thousands to hundreds or even tens of silver coins, and their names were inscribed on the stele.
The inscription begins by clearly stating its purpose: “From the illumination of the three lights [sun, moon, and stars], the world was renewed; with the Six Classics, human culture and civilization began to flourish. Literature serves as a vessel for the Way, and also aids in manifesting it. Since the sages of our dynasties inherited one another, the foremost emphasis has been on moral and literary virtue…”
At Chong Wen Ge, the second-floor exhibition hall was locked — it was regrettable to have missed the lecture on the ancient stele. Descending the stone steps, attention was drawn to two lifelike statues beneath the red-lacquered wooden tower — a pair of elderly figures holding national flags. Their presence was gentle yet profound, as if quietly inviting visitors to pause, reflect, and engage with the teachings. They seemed to beckon passersby to notice the pavilion and encourage future generations to return. Yet the cheerful chatter from food stalls and the hum of passing traffic softly drowned out the pavilion’s tranquil serenity.
Few young and middle-aged visitors today truly know the Six Classics. The Book of Songs (Shi Jing) records human aspirations and praises elegance; the Book of Documents (Shang Shu) chronicles governance and historical principles; the Book of Rites (Li Ji) describes ceremonial systems and clarifies human relationships; the Book of Changes (Zhou Yi / Yijing) explores transformations and philosophical ideas; the Book of Music (Yue Jing) harmonizes the mind and refines customs; and the Spring and Autumn Annals (Chun Qiu) records the historical events of the Spring and Autumn period. Together, these works form the bedrock of ancient Chinese thought, culture, and governance.
Nearby, the traditions of music continue. In the temporary hall, performers sang Fujianese Nan yin songs while elderly audience members waved glow sticks in gentle applause. Food stalls bustled, spreading culinary heritage far and wide. In contrast, Chong Wen Ge felt quiet — its distinct eaves, lecture hall, and role as a vessel of wisdom were almost overlooked — a subtle reminder of the depth of culture waiting to be remembered.
As dusk deepened, the stele stood as a silent witness to centuries past, its faint inscriptions hinting at origins possibly dating back to 1360. It invited reflection — a gentle call to honor and preserve not only tangible traditions, but also the moral and literary heritage that has been taught, cultivated, and passed down to nurture human virtue and culture through time.
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