歲暮 (Twilight of the Year)

Fiery celebrations

Lunar new year is fast approaching. On the streets in Flushing, crowds moved along the sidewalk like a swift-flowing river. They hustled in and out of shops, readying for the celebration. Decorations and signages, hung up high at the pop-up shops, shone brilliantly in red and gold. The scenery brought me straight back to over half a century ago.

In those days, New Year preparations were time consuming and labor intensive. To send away the old things and replace them with new items 除舊佈新, every household was busy cleaning—from top to bottom, every surface, every piece of furniture. Ingredients for New Year’s Eve dinner would require multiple trips to the market. Since most of the vendors at the market would not return until around Lantern Festival, it is necessary to stock up.[1]

Thousands of lucks

We would be home for winter break. Proudly, we helped with cleaning: starting with organizing our own books and toys. We would wax the floor by hand one little bit at a time. We polished the windows, sometimes, standing on a chair to reach the top corners. Mom always made sure that we had plenty fresh foods as well as items that would not get spoiled—sausages and dried goods. I would go shopping with her, helping her carrying things home. The market would be overly crowded with vendors and shoppers negotiating vigorously.

Gathering wealth and treasure

Weeks before New Year, the arcades on the main street near my house would become extended commercial spaces with overflowing seasonal merchandise on display.[2] Beautifully wrapped candies and pastries were piled high in front of the bakery; padded jackets 棉襖 in bright colors, more for children than for adults, hung outside of the clothing stores. Stationary shop had greeting cards, calendars, and red-envelopes of various designs and sizes. The signage shop was a sea of red and gold. They also carried candles, firecrackers and ceremonial supplies. The neighborhood calligrapher would be busy writing New Year couplets on red rice paper—mostly with traditional greetings but also taking special requests.[3]

For thirty odd years, I spent Spring Festival 春節 here. Occasionally, I got to celebrate it with my Asian friends. Last year, I flew home to be with my family. Things really changed. Handmade decorations and signages were hard to find. Plastic replaced paper. Eco-friendly firecrackers smelled and sounded different. Instead of visiting friends and relatives, city folks all left town for vacations. I wonder if the younger generations know that they really miss on something special.


[1]Lantern Festival is on the first full moon of the lunar year.

[2]Perhaps because of frequent rains and thunderstorms, street-facing commercial buildings in Taiwan have exterior pedestrian arcades. 三峽老街 (Sanxia Old Street)
Similar architectural styles can be found in many South Asian countries. Although publicly accessible, these arcades are considered private spaces.

[3]New Year couplets are the most commonly seen decoration. Pairs of celebratory verses, written on red rice paper, are posted on each side of front gates. Often a third horizontal scroll is placed above the gate. Hand-written scrolls have become rare in the recent years.
新春春聯 (New Year couplets): 歡歡喜喜過好年; 四季平安好富貴 (Happily celebrating a good year; peace and wealth throughout four seasons.)
手寫春聯 (Hand-written couplets): Short documentary on Taiwanese calligrapher Zhang Zhi Wei and his work. Starting when he was seventeen years old, he has been creating New Year couplets for twenty-two years. On average, he writes ten thousand scrolls every year.

I finti fiori

I went to the garden after the rain.  The tiny blue petals of dayflowers seemed more resplendent than usual.  Their vines and leaves spread on the grounds, stretching beyond the edge of the terrace.  Considered “noxious” and “invasive” by many, they are welcome guests in my garden.

I first encountered these small jewels when I was in high school.  One day I saw a patch of dayflowers sprawled along a ditch on the roadside.  The color of the flowers caught my eyes.  I was also amused by the smallness of them.

Our school was in the suburb of Taipei on a hill near the National Palace Museum.  Every year, as courtesy, we were invited to visit the Museum.  There, I found dayflowers on a handscroll among other “auspicious” species: peonies, lotus, hydrangea, magnolia, and the like.  I was mesmerized by the vividness of the image.  At the same time, the irony of roadside weeds becoming a treasure and being displayed at a Museum also didn’t escape me.  There is only a thin line between arts and reality.

When I began building a garden on our terrace a few years ago, I was surprised to see dayflowers popping up at one corner.  Effortlessly they connected my parallel lives on two sides of the ocean; my past and present.  I saw myself standing in the gallery, fixating at the painted flowers.

I love flowers.  Watching them fade and wither away saddens me.  I am not good at keeping their images with paint brushes.  I was good at making silk flowers in my teen years: cutting leaves and petals out of ribbons; bending them by hand or pressing them with hot iron; and wrapping them onto wires.  Petal by petal; leaf by leaf; stem by stem; beautiful flowers would grow out my hands.  The exuberant dyes made them more vivacious then the real ones.

I loved making peonies.  They were flowers that I only read in classic literature. They were flowers that I only saw in paintings and photos.  With ribbons, I could bring them into reality.  Out of my fingers, amazing things happened.

These days, I grew peonies in my garden: classical crimson ones and pale pink “Mrs. F. D Roosevelt.”  In late spring, the buds gradually grow rounder and fuller.  As they quietly unwrap, gentle fragrances fill the air.  And, I know that they will come back year after year.

“Ma i fior ch’io faccio, ahimè!
Non hanno odore. . .”

“But the flowers that I make, alas!
Don’t have fragrance. . .”

Mimì in Puccini, La Bohème, Act 1

YouTube: “A Collection of Spring Fortune” 春祺集錦 by Wang Chengpei 汪承霈, Qing dynasty.
The brocade handscroll mentioned in the post is housed in the National Palace Museum in Taipei.