From the ancient Silk Road (est. first century BCE) to the first trade ships launched in 1405 exchanging goods between locations such as India, the Middle East and East Africa, China has long been a champion of foreign trade. The historical ship pictured here is Taeping, the clipper ship (a fast-speed merchant sailing vessel carrying cargoes of tea) which was victorious in the Great Tea Race of 1866 from China to London. It was the ship Pallas which arrived in Baltimore, MD in 1785 that carried the earliest documented Chinese immigrants to the United States. Afterwards, Chinese immigration saw mid-century fluxes with the advent of the California Gold Rush in 1848 and with the passage of the Burlingame Treaty in 1868, which permitted Chinese and Europeans alike to immigrate between their country of origin. As a result, an estimated 322,000 Chinese workers arrived between 1850-1882.

從古老的絲綢之路（建於公元前一世紀）到1405年首艘貿易船與印度、中東和東非等地交易貨物，中國一直是對外貿易的大國。圖中的歷史船隻是Taeping號。它是一艘飛剪船（一種載有茶葉的快速商船），在1866年中國到倫敦的大茶賽中取得了勝利。Pallas號於1785年抵達馬里蘭州的巴爾的摩，該船載有最早有記錄的中國移民到美國。此後，中國移民見證了世紀中期的變化。1848年加利福尼亞淘金熱的到來以及1868年《蒲安臣条约》的簽訂使中國人和歐洲人一樣可以移民。這致使約322,000名中國工人在1850-1882年之間到達美國。

This series of images centers on Chinese miners who are shown carrying yokes, rockers, pickaxes, and shovels. These men, solitary sojourners, were the first people of China to immigrate to the United States in large numbers. They came for the purpose of mining gold during the California Gold Rush (1848-1855) amid China’s economic and political instability at the time, but were met with much hostility upon arrival. Those who stayed after the Gold Rush were hired to work on the Pacific portion of the Transcontinental Railroad (see map on lantern). The construction would not have been completed in 1849 if it were not for the labor of an estimated 20,000 Chinese workers, who toiled tirelessly in dangerous conditions for five years and made 30-50% lower wages than white railroad workers.

這一系列圖案的重點是中國礦工，他們帶著軛架、搖桿、鎬子和鏟子。這些人是獨居者，是中國第一批大量移民美國的人。當時中國經濟和政治不穩定，他們來是爲了在加利福尼亞淘金熱期間（1848-1855年）開採黃金，但在抵達時遭到了很大的敵意。在淘金熱之後留下來的人在橫貫大陸鐵路的太平洋地區工作（參見燈籠上的地圖）。如果沒有約20,000名中國工人的勞動，該工程將無法在1849年完工。他們在危險的條件下辛勤勞作了5年，工資比白人鐵路工人低30％至50％。

Amid the 1850’s Gold Rush and scarce job market, American settlers felt threatened by the incoming Chinese labor force and made many attempts to prevent their settlement. Most famously, the 1882 Chinese Exclusion Act indefinitely banned immigration from China. To this day, it is the only U.S. law ever implemented to ban the immigration of a specific ethnic/national group. The Act was repealed in 1943, reopening immigration and permitting Chinese settlers to apply for citizenship. Such systematic acts of racism, coupled with personal and daily struggles with sinophobia, drove Chinese-Americans to build their own “ethnic enclaves,” or Chinatowns, across the country. 

Inspired by the 1960s civil rights movement, the 1965 Immigration and Nationality Act passed in order to discourage discrimination against Asian immigration, reunite immigrant families, and attract skilled labor to the United States. This Act would have a significant impact on the future demographic makeup of the American population, which prior to the act’s passage was monitored by ethnic quotas enforced by the National Origins Formula.

在1850年的淘金熱和工作稀缺的就業市場中，美國定居者感到即將到來的中國勞動力的威脅，並進行了許多嘗試來阻止他們的定居。最著名的是，1882年的《排華法案》無限期禁止中國移民。時至今日，這是美國唯一實施過的禁止特定種族/國籍移民的法律。該法於1943年廢除，重新開放了移民並允許中國定居者申請公民身份。這種系統性的種族主義行為，再加上與反華者的個人和日常鬥爭，驅使華裔美國人在全國范圍內建立自己的“民族飛地”或唐人街。

受20世紀60年代民權運動的啟發，1965年《移民和國籍法》通過，目的是阻止對亞洲移民的歧視，使移民家庭團聚並吸引技術工人到美國。該法案對美國人口的未來構成產生重大影響。此法案通過之前，人口受《国家起源法案》強制執行的種族配額所監控。

Following the Transcontinental Railroad’s completion, many Chinese immigrants moved East in search of work and of solace from the rising sinophobia pervading California and the West. In 1870 in North Adams, MA—a major center for early American industry—The Sampson Shoe Factory employed the earliest known cohort of Massachusetts-based Chinese immigrants. They were hired by Calvin T. Sampson in order to quell a massive labor strike led by his former workers (mostly Irish and Canadian immigrants), who were very hostile toward the  Chinese workers.  Increasingly excluded from jobs in the manufacturing and construction industries, most of the Chinese opened laundries in the rapidly industrializing towns and cities around Massachusetts and the New England area. It is many of these workers who founded  what has become Boston’s Chinatown.

橫貫大陸鐵路建成後，遍及加利福尼亞和西部的反華日益加劇，許多華裔移民向東遷移，以尋找工作和尋求慰藉。1870年，桑普森製鞋廠在馬薩諸塞州北亞當斯市（美國早期工業的主要中心）僱用了已知最早的馬薩諸塞州華裔移民。他們被加爾文·桑普森聘用，以平息由他之前的工人（主要是愛爾蘭和加拿大移民）所領導的大規模勞工罷工。這些罷工者對中國工人非常敵視。越來越多的中國人被排除在製造業和建築業的工作崗位之外，他們在馬薩諸塞州和新英格蘭地區快速工業化的城鎮中開設了洗衣店。這些洗衣工中的許多人創立了後來的波士頓唐人街。

Chinatown’s three-to-four story row houses hold dual significance. On one hand, they are the admirable structures that once housed the pioneering Chinese working class along with other immigrants. On the other, they have become a symbol of one of the most drastic acts of Chinatown’s destruction and subsequent gentrification. The 1962 expansion of the Massachusetts Turnpike reduced many of these homes to rubble, displacing thousands of families (including Syrian immigrants) to the outskirts of town and destroying half of the total residential Chinatown neighborhood. This particular row house, sourced from a photograph dating to approximately 1963, was located at 116 Hudson Street.

唐人街的三至四層樓高的排屋具有雙重意義。 一方面，它們是令人欽佩的建築，曾為開創性的中國工人階級和其他移民提供住所。另一方面，它們已成為損毀唐人街最激烈的行為之一及隨後的中產階級化的象徵。1962年，馬薩諸塞州收費公路的擴建使許多排屋淪為廢墟，使成千上萬的家庭（包括敘利亞移民）流離到城鎮郊區，並摧毀了一半的唐人街住宅區。 這座排屋位於哈德遜街116號，其照片可追溯至1963年左右。

This two-tier lantern highlights Boston Chinatown’s history of displacement and protest. The bottom lantern memorializes the 700 Hudson Street homes demolished in the 1950s West End urban renewal project, causing the displacement of 2,700 Chinese and other immigrant families to outskirt areas. Also demolished was the Scollay Square red-light district, causing its residents to relocate in-and-around the neighboring district of Chinatown. Later in 1974, the city of Boston designated this new concentration of adult entertainment as its official red-light district: the Combat Zone.  All the while expanding into Chinatown, the Combat Zone saw increasing sex work, drug use, and crime into the 1980s, limiting the housing and business opportunities of Chinatown’s immigrant population and attracting unwelcome visitors to the formerly family neighborhood. Pictured in the top lantern are Chinatown residents in the 1980s engaging in peaceful protests to halt the Combat Zone’s encroachment and drive out the sex trade from their longtime home. 

Displacement remains a major issue in the gentrification of modern day Chinatown, causing financial and health stresses, identity challenges, and decreased access to resources. In a contrasting moment of triumph, the bottom lantern’s center photograph shows Governor Herter signing a Chinatown-led petition to reroute the 1954 Central Artery highway project to Chinatown’s perimeter (rather than through its center), effectively saving the Chinese Merchants Association (pictured) and other community institutions from demolition. Since Chinatown’s early days, organizations such as the Chinese Progressive Association, Asian Community Development Corporation, and Boston Chinatown Neighborhood Center have stepped up to fight for immigrant and workers rights, affordable housing, and resident priorities.

這個雙層燈籠突出了波士頓唐人街人們流離失所和抗議活動的歷史。底部的燈籠紀念了在二十世紀五十年代西端城市更新項目中拆除的700戶哈德遜街上的房屋，使2700名華裔和其他移民家庭流離至郊區。 斯科利廣場的紅燈區也被拆除，導致其居民遷移至唐人街及其附近的地區。1974年晚些時候，波士頓市將這個新的成人娛樂場所聚集地指定為官方紅燈區：戰鬥區。在進入唐人街的同時，到80年代，戰鬥區的性工作、吸毒和犯罪活動不斷增加，限制了唐人街移民人口的住房和商業機會，並吸引了不受歡迎的訪問者來到以前的家庭住宅區。圖中最上面的燈籠是二十世紀八十年代的唐人街居民進行和平抗議，以製止戰鬥區的入侵，並將性交易從他們的住宅區中驅逐出去。

流離失所仍然是當今唐人街中產階級化的一個主要問題，造成了財務和健康壓力、身份挑戰以及資源獲取的減少。 在與眾不同的勝利時刻，底部燈籠的中央照片顯示，赫特州長簽署了由唐人街主導的請願書，將1954年中央動脈高速公路項目改道至唐人街周邊（而不是通過其中心），有效地拯救了安良工商會（如圖）和 其他社區機構免於拆遷。自唐人街成立以來，華人前進會、亞美社區發展協會和波士頓華埠社區中心等組織已加緊努力，爭取移民和工人權利、經濟適用房和居民優先事項。

The Asian-American community have been active participants in civil rights and social justice protests throughout the 1900s to the current moment. The term “Chinese virus” is the latest brand of xenophobia and sinophobia amid the COVID-19 pandemic, prompted by the misconception that individuals of Asian (and especially Chinese) descent are more likely to carry and spread the virus due to its early detection in China. “Fight the Virus, Not the People” (pictured) is a protest cry and attempt to dispel the resulting harassment, prejudice, and violence for Asian individuals of every descent, and to divert such negative hypervisibility toward productive means of combating the virus. 

Another protest cry pictured is “Justice for Vincent Chin.” Chin was a young Chinese-American man  who was beaten to death by two disgruntled, white auto workers, Ronald Ebens & Michael Nitz, in Highland Park, Michigan in 1982. The men wrongly assumed Chin to be of Japanese descent, this being the only reason for his fatal beating. Ebens and Nitz were convicted but, atrociously, ordered no jail time: only a $3,000 fine. Similar tragedies and insufficient acquittals/charges have necessitated the sustained momentum of today’s Black Lives Matter movement. From the civil rights movement of the 1960s to the present day, the Asian-American community stands in solidarity with their Black sisters and brothers.

在整個二十世紀至今，亞裔美國人社區一直是公民權利和社會正義抗議活動的積極參與者。“中國病毒”一詞是新冠疫情期間出現的排外主義和反華主義的最新代表，這是由於人們誤認為亞洲人（尤其是華人）的後裔更容易攜帶和傳播這種病毒，因爲該病毒早期發現於中國。 “與病毒戰鬥，而不是與人戰鬥”（如圖）是抗議者的呼聲，試圖消除由此帶來的對每個亞洲血統的人的騷擾、偏見和暴力，並將這種負面的過度監控轉移到積極探尋抗病毒的方法上。

圖中的另一個抗議口號是“為陳果仁伸張正義”。陳是一位年輕的華裔美國人，1982年在密歇根州高地公園被兩名心懷不滿的白人汽車工人羅納德·埃本斯和邁克爾·尼茲毆打致死。他們錯誤地認為陳是日本血統，這是他受到致命毆打的唯一原因。 埃本斯和尼茲被判有罪，但殘酷地被判無需入獄：僅罰款$ 3,000。類似的悲劇和不足的無罪釋放/指控使今天的“黑人的命也是命”運動保持了持續的勢頭。從二十世紀六十年代的民權運動到今天，亞裔美國人社區與他們的黑人姐妹和兄弟們站在一起。

Chinese-American restaurants established a reputation for their hospitality and delicious cuisine at inexpensive prices. To attract non-Asian clientele, they marketed themselves with a combination of traditional Chinese appeal, modern Western style and increasingly sweet, mildly-spiced, and deep-fried dishes to suit American palates. Chop Suey joints (a Chinese-American invention that translates to “Odds & Ends”) were a particularly popular destination among young urbanites. The Boston-based Ruby Foo’s Den (pictured) was one of the earliest Chinese and woman-owned restaurants in the country, and the top favorite among non-Chinese customers in the 1930s, including American celebrities. Cathay House (pictured) advertised itself as “the talk of the town for excellent Chinese food.” With today’s diverse palates and globalized cuisines, authentic Chinese as well as Asian Fusion cuisine are thriving. Also pictured are Chinese mooncakes, a culturally-specific  delicacy usually eaten on the occasion of the Mid-Autumn Festival in October.

在美中餐館因其熱情好客和價格低廉的美味佳餚而享有盛譽。為了吸引非亞裔客戶，他們結合了中國傳統風味、現代西方風格以及日益變甜、略微使用香料和油炸的菜餚，以適應美國口味。雜碎（一種華裔美國人的發明，翻譯為“零碎食物”）在年輕都市人中特別流行。開在波士頓的Ruby Foo的飯店（右圖）是美國最早的中餐廳和女性所有的餐廳之一，也是二十世紀三十年代非華裔顧客（包括美國名人）最喜歡的餐館。國泰之家（左圖第三幅）自稱為“中餐美食的話題”。隨著當今多樣化的口味和全球化的美食，正宗的中國菜以及亞洲風味菜正在蓬勃發展。圖上還展示了中國月餅，這是一種具有文化特色的美味佳餚，通常在十月的中秋佳節時食用。

Amid a slim and discriminatory job market, the early male Chinese immigrants arriving in the 1850s found their most dependable enclave in the laundry industry. By the early 20th century, hundreds of Chinese-owned laundries lined  the streets of Boston and its suburbs. Once wives and children began immigrating to the U.S. (increasingly after 1924), laundry establishments became operated by entire families—including their rambunctious children pictured here. Featured in the center portrait is Toy Len Goon, owner of Woodfords Corner Laundry in Portland, Maine. She was the double recipient of the Maine and broader American Mother-of-the-Year awards in 1952 due to her ability to operate her laundy for over thirty years while single-handedly raising eight children.

在一個狹窄而充滿歧視的就業市場中，早在十九世紀五十年代到達的男性華人移民在洗衣業中找到了最可靠的飛地。到20世紀初，波士頓及其郊區的街道兩旁已經有數百家華裔擁有的洗衣店。一旦妻子和孩子開始移民到美國（1924年以後越來越多），洗衣店就由整個家庭經營，包括這裡照片中精力旺盛的孩子。中央肖像中的人物是Toy Len Goon，他是緬因州波特蘭市Woodfords Corner洗衣店的所有者。由於她有能力經營洗衣店超過三十年，同時可以獨自撫養八個孩子，因此在1952年同時獲得了緬因州和泛美國的年度母親獎。

Chinatown grocery stores such as Quong Wah Lung & Co. (left image)—one of the earliest and  longest-operating Chinese-owned businesses in Boston—and Chong Lung Kee store (right image) operated on multiple fronts. As food markets, they sold food products such as fish, vegetables, tea, and basic household goods. As apothecaries, they sold herbal ingredients for traditional Chinese herbal medicine. Last, these establishments also served as community information centers and as credit unions for sending money overseas. In the left image, Wei Sun Wong of Quong Wah Lung & Co. measures herbs for a prescription using a Chinese scale. 

唐人街雜貨店如Quong Wah Lung & Co.（左圖）是波士頓最早，經營時間最長的華人企業之一和Chong Lung Kee商店（右圖）在多個領域都有所經營：作為食品市場，他們出售食品，例如魚、蔬菜、茶和基本家庭用品; 作爲藥劑師出售中藥的草藥，充當社區信息中心，以及作為向海外匯款的信用合作社。 在左圖中，Quong Wah Lung＆Co.的Wei Sun Wong使用中國秤來抓藥。

Rather than newspapers, the fastest and most effective means of spreading news and engagement among the earliest settlers of Chinatown was through street-accessible bulletin boards. Divided into different sections by organizations and subject matter, these listings included job openings, cultural events, items for sale, and other resources for Chinatown residents. During wartime, the bulletin also served as a resource to learn about news from China first-hand. Boston’s major Chinese bulletin board was located at the corner of Oxford and Beach Streets. It was dismantled in 1991 and replaced by increasingly popular Chinese language newspapers. In the rightmost images, You-Ming Wong and his son Jeffrey of the Shanghai Printing Company on Oxford Street are depicted with a wall of 7,000 metal moveable type of Chinese characters used in typesetting in letter presses which was the only printing technology available at the time prior to Chinese typewriters.

在唐人街最早的定居者中傳播新聞和進行互動的最快、最有效的方法是通過街道上的公告板，而不是報紙。這些内容按組織和主題劃分為不同的部分，其中包括職位空缺、文化活動、待售物品以及給唐人街居民的其他資源。在戰時，該公告還充當了直接了解中國新聞的渠道。波士頓的主要中文公告欄位於牛津街和必珠街的拐角處。它在1991年被拆除，並被越來越受歡迎的中文報紙所取代。在最右邊的圖像中，描繪了位於牛津街上海印刷公司的Henry Wong和他的兒子Jeffrey，還有牆上的7,000個金屬活字。它們用於活字印刷機的排版，是當時中文打字機出現之前唯一印刷技術。

Beginning in the late 19th century, Chinatown shared its neighborhood with Boston’s garment and textile industry. Its success depended largely on the skilled, woman Chinese workers it employed, the bulk of whom immigrated to the U.S. in the wake of WWII and with the passage of the 1965 Immigration and Nationality Act. As a result of these women’s roles as professional stitchers, sewing was a foundational skill taught to every young Chinatown girl.

In general, women were afforded more leadership roles and independence within Chinese-American society as opposed to traditional Chinese society, forming coalitions such as the New England Chinese Women’s New Life Movement Association. The coalition was founded upon the principles of propriety, righteousness, honesty, and honor, which were put into practice through community engagement and fundraising efforts for their home country, such as financially aiding China’s fight in the Sino-Japanese War (1894-95). An exceptional moment of woman leadership is embodied by Rose Lok (center portrait in second lantern), who is thought  to be the first ever Chinese woman pilot. Lok may have been inspired by Amelia Earheart, who worked a neighborhood away in Boston’s South Cove at Denison House (a woman-run settlement house) and flew on the weekends before she became the well-known aviator.

從19世紀末開始，唐人街與波士頓的服裝和紡織工業共享其社區。它的成功在很大程度上取決於其僱用的隨著第二次世界大戰移民美國的大部分熟練中國女工，以及1965年《移民和國籍法》的通過。 由於這些婦女擔任職業縫線師的角色，縫製是每位唐人街年輕女孩都掌握的一項基本技能。

總的來說，與傳統的中國社會相比，華裔婦女在華裔美國人社會中獲得了更多的領導職位和獨立性，形成了新英格蘭華人婦女新生活運動協會等聯盟。該聯盟建立在禮節、公義、誠實和榮譽原則的基礎上，這些原則是通過社區參與和為祖國籌款而付諸實踐的，例如在經濟上協助中國抗日戰爭（1894-95）。Rose Lok（第二盞燈籠的中央肖像）體現了女性領導的非凡時刻，她被認為是有史以來的第一位華裔女性飛行員。Lok可能受到了Amelia Earheart的啟發。Amelia Earheart曾在離唐人街不遠的波士頓南灣丹尼森之家（一個由婦女經營的安置所）工作，並在成為著名飛行員之前常在周末飛行。

Education remains an important focus of the Chinese culture and of Chinese-American immigrants. Still operating today, The Josiah Quincy School (est. 1847) was the first ever U.S. school with graded classrooms (separated by grade level) and individual seats for its students. Most students attending Josiah Quincy were either of Syrian or of Chinese descent—in fact, “Chinatown” was previously known as  “Little Syria” or “Syriatown” due to its high population of Syrian immigrants. Josiah Quincy’s 1942 third grade class is pictured in the upper left, while the long photograph below captures the Kwong Kow Chinese School’s 1931 graduation ceremony. Established by the Chinese Merchants Association in 1916, the Kwong Kow School uniquely prioritized the Chinese language and culture in the education of its youth. Also pictured is  oracle bone script: the earliest known form of Chinese writing (dating to 1200 BC) and an important tool  in  understanding the development of the Chinese language. Other imagery includes  two symbolic Chinese plants: bamboo as a symbol of youth, strength, longevity, achievement, and as one of the earliest writing surfaces, and the lotus as a symbol of learning and education. 

教育仍然是中國文化和華裔移民的重點。至今仍在運營的昆士學校（建於1847年）是美國第一所擁有分級教室（按年級劃分）並為學生提供單獨座位的學校。在昆士上學的大多數學生是敘利亞裔或華裔—實際上，“唐人街”以前因敘利亞移民人口眾多而被稱為“小敘利亞”或“敘利亞鎮”。左上圖是昆士小學1942年的三年級學生，下圖的長照片記錄了1931年中華廣教學校的畢業典禮。中華廣教學校由安良工商會於1916年建立，在其青少年教育中將中國語言和文化放在首位。圖上還描繪了甲骨文：最早的中文書寫形式（可追溯到公元前1200年），並且是理解中文發展的重要工具。其他意像還包括兩種​​象徵性的中國植物：竹子是青春、力量、長壽、成就的象徵，是最早的書寫表面之一；蓮花是學習和教育的象徵。

Oracle bone script / 甲骨文：

(from left) 馬/马 mǎ “horse”, 虎 hǔ “tiger”, 豕 shĭ “swine”, 犬 quǎn “dog”, 鼠 shǔ “rat and mouse”, 象 xiàng “elephant”, 豸 zhì “beasts of prey”, 龜/龟 guī “turtle”, 爿 qiáng “low table” (now 床 chuáng), 為/为 wèi “to lead”(now “do” or “for”)

(左起) 馬/马 mǎ, 虎 hǔ, 豕 shĭ, 犬 quǎn, 鼠 shǔ, 象 xiàng, 豸 zhì, 龜/龟 guī , 爿 qiáng “矮桌” (現為床 chuáng), 為/为 wèi “領導”(現為”做”或”對於”)

The historic Hudson Street tenement row houses lodged a tight knit community of families. Children played with each other in the streets and knew each other by their names and nicknames. Formerly a society of mostly men (the U.S. deliberately enacted policies that forbid the immigration of wives and families), Chinatown became a family town after the 1943 repeal of the 1882 Exclusion Act and after WWII. The War Brides Acts of 1945 and 1946—initially intended to help the European wives and girlfriends of American G.I.’s enter the U.S.—unintentionally benefited the wives of Chinese-American soldiers. Children born from these family reunions in the mid-40’s would become  the first well-educated, bilingual, bicultural, and professional generation of Chinese-Americans. Greatly influenced by the 1960s Black Power and Civil Rights movements on college campuses, these children would also  become the founders of Boston Chinatown’s social justice and arts organizations, such as CPA, AARW, ACDC, and BCNC. BCNC was originally founded by Quincy school teachers, who first saw the need for family daycare and other services. Family and community values are the reason for Chinatown’s ongoing intergenerational support. 

歷史悠久的哈德遜街排屋安置了緊密的家庭社區。孩子們在街上玩耍，知道彼此的名字和暱稱。唐人街以前是一個以男人為主的社會（美國故意制定禁止妻子和家庭移民的政策），在1943年廢除了1882年的《排他法》和第二次世界大戰之後，唐人街變成了以家庭爲主的鎮。1945年和1946年的《戰爭新娘法》最初旨在幫助美國士兵的歐洲妻子和女友進入美國，但無意中使華裔士兵的妻子受益。從40年代中期這些團聚家庭出生的孩子成為第一批受過良好教育、雙語、雙文化和專業的華裔美國人。這些孩子在60年代大學校園內的黑人權力和民權運動的影響下，也成為波士頓唐人街社會正義和藝術組織的創始人​​，例如CPA、AARW、ACDC和BCNC。 BCNC最初由昆士學校的老師創立，他們首先看到了家庭日托和其他服務的需求。家庭和社區價值觀是唐人街持續提供代際支持的原因。

Pictured here are two projects by Boston-based artist Wen-ti Tsen that reimagine archival photos of Boston’s Chinatown. The first, a public art project called Home Town: Re-presenting Boston’s Chinatown as Place of People–Then and Now, displays “historical recreations” (life-size wooden cutouts) of the photographs of historic Chinatown residents across Chinatown. The other is a photography series capturing current Chinatown residents against the backdrop of an archival photo of Chinatown’s Harrison Ave. Juxtaposed, the figures in both projects engage in intergenerational conversation about Chinatown’s history and development: namely, “that it needs to be safeguarded against the threatened gentrification from demolitions and high-rent conversions” (Tsen).  

Tunney Lee is pictured in Tsen’s center photograph. The late architect, activist MIT professor emeritus of urban planning, is a beloved pillar of Chinatown. In the late 1950s of Boston’s Chinatown, Lee and his neighbors fought to resist the destruction of a portion of Chinatown by the 1945 Central Artery highway Mass Pike expansion, saving many people’s homes. In partnership with the Chinese Historical Society of New England and other organizations, Lee later led MIT students to create the Chinatown Atlas online archive.

此處的照片是波士頓藝術家Wen-ti Tsen的兩個項目，它們重塑了波士頓唐人街的檔案照片。第一個是名爲家鄉的公共藝術項目：將波士頓唐人街重新呈現為人所在的地方-過去和現在，展示唐人街過去居民照片的“歷史重現”（真人大小的木刻）。另一個是攝影系列，以唐人街哈里森大街的檔案照片為背景，拍攝了當前的唐人街居民。並列放置，兩個項目中的人物都吸引了關於唐人街歷史與發展的代際交流：即，“需要保護唐人街，防止拆遷和高租金等中產階級化的的威脅”（Tsen）。

Tsen的中央照片中是李燦輝。李燦輝是已故的建築師、活動家、麻省理工城市規劃名譽教授，是唐人街的摯愛支柱。在二十世紀五十年代後期的波士頓唐人街，李先生和他的鄰居們為抵制1945年中央動脈高速公路Mass Pike擴建而對唐人街的一部分進行破壞，挽救了許多人的住房。李先生後來與紐英崙華人歷史協會以及其他組織合作，帶領麻省理工的學生創建了唐人街地圖集在線檔案。

Chinese festivals typically revolve around the lunisolar (rather than lunar) calendar, in which months begin on the day of the new moon, and years on the second or third new moon after the winter solstice. New Year’s Day in China, therefore, celebrates the start of Spring and is known most commonly as the Spring Festival. Other popular traditional Chinese festivals include the Mid-Autumn Festival and the Lantern Festival (February 8th: the last day of the Chinese year), among many more. This lantern also celebrates the 2,000 year old Chinese art of shadow puppetry. Puppets constructed from paper or leather are maneuvered behind an illuminated piece of transparent cloth to create dancing shadows, accompanied by music and singing. Filmed by Yu-Wen Wu, the silhouette in the center image is that of performer and artistic director Lenora Lee, extracted from a still frame of one of her dance movements.

中國的節日通常圍繞陰陽曆（而不是陰曆）進行，月從新月開始第一天，年從冬至之後的第二或第三個新月開始。因此，中國的新年慶祝春天的到來，通常被稱為春節。其他受歡迎的傳統中國節日包括中秋節和元宵節（2月8日：農曆新年的最後一天）等。這盞燈籠還慶祝了有2000年歷史的中國皮影戲藝術。在一塊光照下的透明布後面操縱用紙或皮革製成的木偶，以產生跳舞的影子，並伴以音樂和歌唱。 由吳育雯攝製，中心圖像中是舞者和藝術總監Lenora Lee的剪影，摘自她舞蹈動作的一幀靜止畫面。

The lion is a frequent animal subject in Chinese myths and is a symbol of power, wisdom, and promise. Traditional Chinese lion dances are performed during the Chinese New Year Festival (or Spring Festival) and other occasions to pray for good fortune and prosperity for the coming year and to deflect the interference of evil spirits. The dance is influenced by martial arts and performed in a wide variety of styles (depending on the region of China) by two dancers per lion costume, accompanied by a raging rhythm of drums, cymbals, and gongs. On the occasion of the coronavirus pandemic, these lions wear masks to show their commitment to the safety and health of both themselves and others.

獅子是中國神話中經常出現的動物題材，是力量、智慧和諾言的象徵。在農曆新年（或春節）期間和其他場合進行傳統的舞獅表演，以祈求來年的吉祥和繁榮，並轉移邪靈的干擾。舞蹈受到武術的影響，表演風格各異（取決於不同中國地域）。每位獅子戲服需要兩名舞者，舞獅通常伴隨著鼓、鈸和鑼的激烈節奏。 由於新冠疫情爆發，這些獅子戴著口罩以表明他們對自己和他人的安全與健康的承諾。

Inspired by traditional Chinese papercuts, this drawing by Yu-Wen Wu displays the twelve animals of the Chinese Zodiac: the Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog, and Pig. These animals are used to represent each of the twelve years in the Zodiac’s cycle and, depending on one’s birth year, are believed to inform one’s personality, fortune, and compatibility with others, among further traits. 

The bordering medallions are represented by the character 福 (fu) and symbolize blessings. Additionally, the entwined plants of bamboo, lotus, chrysanthemum, pine tree, and peach all signify longevity, among other qualities: bamboo for suppleness, strength, endurance, and flexibility, the lotus flower for enlightenment, the chrysanthemum flower for intellect, cleansing, and curing, and the pine tree for steadfastness, self-discipline, endurance, and a long life.

在中國傳統剪紙的啟發下，吳育雯的這幅畫展示了十二生肖：鼠、牛、虎、兔、龍、蛇、馬、羊、猴、雞、狗和豬。每十二年為一個生肖周期，這些動物分別代表其中的每一年。並且根據一個人的出生年份，生肖被認為可以傳達一個人的個性、財富以及與其他人的相處性，以及其他特徵。

毗鄰的紀念章以福為代表，象徵著祝福。此外，竹子、蓮花、菊花、松樹和桃子交織在一起而成的植物都代表著長壽，以及其他品質：竹子具有靈活性、力量、耐力和柔韌性；蓮花具有啓迪性；菊花具有理智、清潔和治愈性；松樹具有堅固性、自律性、耐力和長壽命。

The story of the Chinese moon goddess Chang’e (嫦娥) is an important myth in the Chinese canon and is typically celebrated during the Mid-Autumn Festival. There are many versions of this legend. One version is that her husband and archer Hou-Yi, shot down nine suns in order to save the earth from being scorched. As a reward, he was given an immortality elixir by an immortal. Soon, an evil apprentice steals this elixir for Chang’e, who drinks it to become the spirit and goddess of the moon. She then flees to the moon and leaves her husband behind. A rabbit (pictured in the lower right) pities her and goes to the moon to keep her company and prepare more immortality elixirs for her. Back on earth, her husband leaves her favorite desserts and fruits out at night to demonstrate his forgiveness and symbolically provide her with his company. Those who celebrate the Mid-Autumn festival often partake in this same practice symbolizing the family reunion and appreciate the full moon.

Many of the immigrants to Boston’s Chinatown are from the region of Guangdong (Canton province). Representing this region in the bottom left corner is a sampan (三板), a Cantonese term for a flat bottom sailboat translating to “three planks.” Sampans are used for shelter (both temporary and permanent) on inland waters of southern China and Southeast Asia. The Sampan is also the idea of  charting new courses.

月亮女神嫦娥的故事是中國經典中的一個重要神話，通常在中秋節期間慶祝。此傳説有很多版本。一種版本是她的弓箭手丈夫後羿為了射下了九個太陽，以免地球被烤成一片焦土。作為獎勵，仙人給了他長生不老藥。不久，一個邪惡的學徒為嫦娥偷走了這長生不老藥，嫦娥喝下它，成為了月亮的靈魂和女神。然後，她逃到月球，把丈夫留在了身後。一隻兔子（右下圖）可憐她，並登上月球陪伴她，並為她準備了更多的長生不老藥。在地球上，她的丈夫在晚上把她喜歡的甜點和水果留在外面，以表達對他的寬恕並象徵性地為她提供陪伴。那些慶祝中秋節的人經常延續這個象徵家庭團圓和欣賞滿月的習俗。

波士頓唐人街的許多移民來自廣東地區。代表這一區域的是左下角的三板。它是粵語中的平底帆船，翻譯為“三塊木板”。在中國南方和東南亞的內陸水域，三板用於提供庇護（臨時的和永久的）。三板也代表開拓新航向的理念。

Extracted from Yu-Wen Wu’s series of drawings “Mapping Stories,” pictured is a migration map charting the global migration patterns of 2018. Historically and now, America offers the opportunity for a new life for immigrants who flee from war, persecution, and economic hardships. “Streets paved in gold” (interpreted here materially here by strips of gold leaf) was a common metaphor for that dream in anticipation of arriving at a new place of promise.

摘自吳育雯的“Mapping Stories”系列繪畫，圖為一張繪製了2018年全球移民格局的移民地圖。從歷史上到現在，美國為逃離戰爭、迫害和經濟困難的移民提供了新的生活機會。“黃金鋪成的街道”（在這裡由金葉實質性地解釋）是期望到達一個新的希望之地的普遍比喻。

Youths and alumni of the ACDC, BCNC, and CTSO programs were invited to participate in a project exploring their identity through self portraits. In drawing, photography, and writing, they shared their family and neighborhood stories and expressed their individual identities. The drawings and photographs of twenty-seven youths participated are displayed over three lanterns.

ACDC、BCNC和CTSO計劃的青少年和校友應邀參加了一個通過自畫像探索其身份的項目。在繪畫、攝影和寫作中，他們分享了自己的家庭和鄰里故事，並表達了個人身份。 在三個燈籠上展示了參加活動的27名青少年的繪畫和照片。

Yu-Wen Wu / 吳育雯

Yu-Wen Wu is an interdisciplinary artist living and working in Boston. Born in Taipei, Taiwan, Wu’s subjectivity as an immigrant is central to her artwork. Arriving at an early age, her experiences have shaped her work in areas of migration–examining issues of displacement, arrival, assimilation and the shape of identity in a new country.  At the crossroads of art, science, politics and social issues, her wide range of projects include large-scale drawings, site-specific video installations, community engaged practices and public art. 

Writing by / 撰寫

Text accompanying each lantern written by Gina Lindner with contributing editors Yu-Wen Wu and  Cynthia Yee 

Gina Lindner與特約編輯吳育雯、Cynthia Yee共同撰寫了每盞燈籠附帶的文字

Gina Lindner is a Boston-based arts writer, independent curator, and conceptual artist. She is a contributing writer to Boston Art Review, Art New England magazine, and Boston Hassle.

Gina Lindner是波士頓藝術作家、獨立策展人和概念畫家。她是《Boston Art Review》、《Art New England》雜誌和《Boston Hassle》的特約作家。

Cynthia Yee is a Chinatown native, educator, and writer. She is the author of Hudson Street Chronicles.

Cynthia Yee是唐人街居民、教育家和作家。 她是《Hudson Street Chronicles》的作者。

To, Wing-Kai and the Chinese Historical Society of New England. Chinese in Boston. Charleston SC, Arcadia Publishing, 2008.

杜榮佳和紐英崙華人歷史協會. 波士頓華人. 查爾斯頓 南卡羅來納, 阿卡迪亞出版社, 2008.

Lantern images courtesy of / 燈籠圖片貢獻

Boston Athenaeum; Boston Globe Archives; Boston Traveler/International Society; Chinatown Atlas; Chinese Historical Society of New England (CHSNE Collection); Chinese Progressive Association; International Society; Kneel Archives; Royal Museum Greenwich, London. Edward & Amy Guen; Alice Hom; Tom Hynes, Jeffrey Wong, Reggie Wong; Cynthia Yee.

Boston Athenaeum; 波士頓環球報檔案館; Boston Traveler/International Society; Chinatown Atlas; 紐英崙華人歷史協會 (CHSNE收藏); 華人前進會; International Society; Kneel Archives; Royal Museum Greenwich, London. Edward & Amy Guen; Alice Hom; Tom Hynes, Jeffrey Wong, Reggie Wong; Cynthia Yee.

Artistic contributions by / 藝術貢獻

Lillian Lee is a Boston based graphic illustrator. She designed the BLM sign with translation on one of the lanterns.

Lillian Lee是波士頓插畫家。她在其中一個燈籠上設計了帶有翻譯的BLM標誌。

Lenora Lee is a performer and artistic director

Lenora Lee是表演者和藝術總監。

Wen-ti Tsen is an interdisciplinary community artist. He was born in China and raised in Europe before coming to the U.S. to study painting at Boston’s School of the Museum of Fine Arts (SMFA). Since the mid-1970s, he has been making art in a variety of forms that explores cultural connections: personal paintings and installations, large-scale public art sculptures, and community organization to express social issues.

Wen-ti Tsen是跨學科社區藝術家。他出生於中國，在歐洲長大，後來在美國波士頓藝術博物館附設學院（SMFA）學習繪畫。自二十世紀七十年代中期以來，他一直以各種形式探索藝術與文化的聯繫：個人繪畫和裝置，大型公共藝術雕塑以及表達社會問題的社區組織。

Maurice Chi is a Boston-based calligrapher, photographer and retired IT professional.

Maurice Chi是波士頓書法家、攝影師和退休的信息技術專業人員。

Peter Ng is an artist, entrepreneur, and philanthropist who works predominantly in watercolor, oil, acrylic, Chinese calligraphy and Chinese ink painting. He is the creator of the Brushmagic Kids (神筆小孩) and The East Meet West (中西結合) product line. His artwork has been displayed and represented in galleries around the world. 

Ng Peter是一位藝術家、企業家和慈善家，主要從事水彩畫、油畫、丙烯畫、中國書法和中國水墨畫的創作。他是神筆小孩和中西結合產品線的創造者。他的作品已在世界各地的畫廊中展出。

Mike Mei is a calligraphy teacher at Brandeis University and the America Weston Academy, as well as the President of the Chinese American Fine Arts Society.

Mike Mei是布蘭代斯大學和美國韋斯頓學院的書法老師，也是中華才藝協會主席。

Youth self portraits by / 青少年自畫像貢獻:

1. Fernando, A. Wu, A. Namjam, A. Kuan, A. Guan, B. Moy, C. Chen, C. Nguyen, D. Ma, J. Xu, J. Yu, L. Tran, M. Nguyen, N. Huang, O. Moy, V. Li, and W. Chau, N. Robinson-McCaskill, W. Zhu, R. Fabian, Wendy Han, S. Elianor, J. Dai, Ella Cascino, K. Zheng, and J. Guzman  

Fabricators and Installers / 製造和安裝者

Jaywalk Studios is a consultancy creating custom objects. The team has collaborated with diverse clients including healthcare professionals, technology innovators, and artists. Jaywalk Studio is Haik Tokatlyan, Steve Listwon, and Jeff Andrade. Jaywalk Studios worked with Yu-Wen Wu on her vision for Lantern Stories.

Jaywalk Studios是定制諮詢公司。該團隊與包括醫療保健專業人員、技術創新者和藝術家在內的各種客戶進行過合作。Jaywalk Studio由Haik Tokatlyan、Steve Listwon和Jeff Andrade組成。Jaywalk Studios與吳育雯合作展現了她眼中的”燈籠故事“。

Special Thanks to: The Greenway Conservancy team and  Chinatown Main Street,

Asian Community Development Corporation,  Boston Chinatown Neighborhood Center, Castle Square Tenants Organization, Chinese Historical Society of New England (CHSNE), Chinese Progressive Association 

特別鳴謝: 綠道保護協會小組和華埠主街
亞美社區發展協會、波士頓華埠社區、 Castle Square Tenants Organization、紐英崙華人歷史協會 (CHSNE)、華人前進會