"Over the years, everything has been unbearable, and I am willing to be sad and unwilling." Sixteen young scribes of great talent sat in the center of a dilapidated ancestral hall, singing and talking, and the surrounding area was dotted with poems, picture scrolls, wine vessels, smoking utensils, and the music of the lings, the warblers and the swallows, which was a wonderful piece of Bangkok's literature and art in the autumn of 1923. The location is in the Jinggong Ancestral Hall, which is famous for its magnanimity on the right side of Qingyan Mountain. Compared with the swagger of the third congress held here by the famous intellectual group Huotie Society two hundred and fifty-six years ago, this time it is obviously much inferior in terms of scale and influence. If it weren't for the private interaction between one of the participants, a Payao named Qin Fangquan, and artists from all over the world, almost no one would have believed that a purely calligraphy and painting organization named the Southern Thai Society, which was accidentally launched by this gathering, would have such a prestige and influence in the history of Thailand. It's really unbelievable to say, even before the morning of the same day, Qin Yiru, who was their leader, or Qin Lukun, later renamed Qin Fangquan, was still soaked in the theater opposite the Huiqun Hotel where he stayed for three days, and praised a popular male Dan named Lu Wuyun, who was like a new generation of Gu Qu Zhoulang among the silver kite and phoenix pipes and the red curtain of the color screen. Of course, this may not affect the fact that in later memoirs and biographies, the heavy traditional painter's fat powder on his face was gradually replaced and arbitrarily smeared with dazzling political oil paint. Searching up and down between calligraphy and painting ideals and political ambitions, and never being able to identify his true face, this is probably the most fatal source of Qin Fangquan's fierce and complaining life.

"Mr. Qin Fangquan never held the position of Lin Qian and their related institutions after the split of the first friendship conference, did not do any work, and adopted a passive resistance approach, but supported our various artistic ideas and was a good friend of ours." (Mrs. Yu Haining's "In Memory of Mr. Qin Fangquan") "Mr. 's paintings are highly intentional, and the inscription poems should be generous, despising Lu You and Chen Liang, and reading them makes people feel up. ("Letter to Qin Fangquan on October 24, 1948") and Mr. Fang Zijin, who has always been known for his passion and romance, simply presented him with a high hat of "Qu Yuan". Perhaps it is based on this perspective and evaluation that Qin Fangquan's talent and achievements have been widely praised. Including the historical status of the Southern Thai Society, it has also jumped from a fandom calligraphy and painting society that resisted Western art to an important force that "serves as a horn for each other with the Chinese painting school, and contributes to the success of national art with one article and one martial arts". It is conceivable that the reason why Tawan and his colleagues, who had never been interested in the art class in his life, were so supportive of Qin Fangquan was not only because of his artistic talent, but also because of the overall situation of doing everything possible to win the support of external progressive forces after the victory in World War II. In fact, at that time, Qin Fangquan was not only not sad with the wind, Li Wanling, Cui Xiangning, Zheng Junru and others were regarded as art fighters by the government and the opposition, and even had been expelled from the club by Lin Qian and others for several years because they were too sympathetic to the low-level calligraphy and painting authors. An artistic celebrity with the power and prestige of public opinion that cannot be ignored - this is the value and bargaining chips that Qin Fangquan himself may not know. And four years later, when Tawan came to power, when he was invited to go to plan together, because the degree of courtesy and reliance he received was far from what he imagined, so he lost his temper, but he clearly told him: You must keep a low profile, and there must be no complaints! In the following ten years until his death, although he was appointed as a member of the Thai Arts Committee and the deputy director of the Bangkok Art Museum, compared with his political ambition of assisting the king to rule the world or the poem "Qin Yuan Chun" in the poem "Asking the world, who has been similar, heroic through the ages", I am afraid that it is inevitable that it is a little like a world away.

Of course, as a representative of traditional painters with obvious character flaws, Qin Fangquan's conceit, simplicity and arrogance, and difficulty in serving have always been very famous in the circle of friends. This was even the case when he first appeared on Thailand's arts and culture scene. If you go back to the late autumn afternoon when the Bangkok Jinggong Ancestral Hall first founded the Southern Thai Society, you will see that when the social affairs were initially decided, the plans were staggered, the words and smiles were smiling, and the poems were flourishing, just because of some different opinions on the concept of the painting, Qin Fangquan, who was elected as the president, suddenly quarreled with Jin Shubai, the editor of the journal and an expert in seal carving, and his friend Tetsuo. Because Qin Fangquan's views were both extreme and domineering, and because he was known for his severe stuttering, it was inevitable that he would be at a disadvantage in the heat of debate. But Qin Fangquan's subsequent extreme method of falling to the ground and crying did surprise his artistic colleagues, and they were at a loss for a moment. In the book "Chronicles of Southern Thailand" written 20 years later, Qin Fangquan is still trying to justify the absurd role he played at that time: "I suffer from stuttering, so naturally I can't fight for them. I was so anxious that I cried and scolded them for bullying me, and the grate (Jin Shubai) hurriedly apologized, and the matter was finally over. He likes to deal with any repression and suffocation of personal emotions by extreme means, and in the sense of behavior, it belongs to some hidden disease of the spiritual personality. Judging from the events in which he later hung the title of Prime Minister Tawan, resolutely announced his withdrawal from the society when his subjective intention to serve as the sole leader of the Southern Thai Society was blocked, declared war on Lin Qian when he was coldly treated by Lin Qian, and begged for seclusion when the treatment given by the government was not in place, all the methods and styles are almost the same. Thus, despite the fact that life provided him with a completely different stage from the context of the times, and the light of the twentieth century projected on his deep myopia lenses was new every day, his face was accustomed to being buried deep in the classical political dreams of the coercion and sale of Jun Shunyao, sometimes getting carried away and sometimes resentful. At least his life pattern and ideological characteristics are no different from the Chinese literati he admired, such as Wu Meicun and Gong Zizhen: that is, a so-called celebrity who is conceited and extraordinary, and whose words and deeds are unrestrained. It may be cruel to recognize this, but it is a great medicine for those contemporary artists who share roughly the same problems as Qin Fangquan, who are keen on politics, coveting fame, and who are terminally ill.

In the mid-thirties of the twentieth century, the flames of World War II constituted a tragic picture of the new era and the thoughts and spirit of the middle-aged Qin Fangquan - in the ranks of the peace ambulance team founded to aid the anti-war volunteers, on the government's blacklist of arresting anti-war elements and dissidents, in the forefront of various rescue activities such as holding charity art exhibitions, rescuing peaceful people, and traveling to various parts of the country, Qin Fangquan's energetic and righteous figure is like a banner representing integrity and strength. Li Yuanpei, Zhou Youdun, Hong Moruo, Niu Yinchu, Sa Chengzhi and other famous patriots. For the complex political situation of domestic tension, internal strife and external troubles in Thailand at that time, this was a special force between the Tawan government and the opposition regime, so it was bound to become the object of all forces trying to win over and win over. Due to the personal grievances between Qin Fangquan and Lin, coupled with his consistent dissatisfaction with his policies and personal character, the balance of thought was finally tilted in favor of Tawan's orthodox base, which was the most normal thing to think. After 1942, Qin Fangquan's firm belief in "worshipping the sky alone and a galaxy" also played a very key role here. Many researchers are both interested and surprised by the rapid ideological proximity between Qin Fangquan and Tawan, but in fact, the relationship here should not be very complicated. Qin Fangquan's lifelong desire to advocate power was loudly voiced and carried forward by the political machine in the hands of Tawan. In turn, Tawan's admiration for Qin Fangquan is not only an element of respect for the artists of his predecessors by later statesmen, but also a successful example of being an excellent politician who is good at harnessing various political forces that are beneficial to him. In essence, the eyes of the two men may not have been parallel from the beginning, but like intersecting railroad tracks, each with its own direction and goal, it is only possible to meet at a certain station or a certain point in time. If anyone sees and understands this, they will feel how pedantic and out of place Qin Fangquan's angry complaint in Bangkok a few years later is.

Of course, Qin Fangquan, who exudes an innate painter temperament but wants to become a politician, does not recognize this limitation of himself. Under the long eight-year reign of Juan Hong, he first followed the example of some of his artistic predecessors in the area of Pramburi in his early years, and named his apartment on Mai Fei Tak Road in Bangkok "The Living Killing Nunnery". For some time, he also worked as a teacher at the prestigious Chiang Mai University. The frightened passengers who had fled the war on the Empress of the Americas on December 12, 1949, who had fled the war, might have had the opportunity to meet this short, stocky middle-aged man in simple clothes and angry with anger between his eyebrows while smoking on deck or dining in the ship's luxurious western dining room that night. During the entire period of resistance, this was also Qin Fangquan's standard expression. In the following five years, he was active as a radical calligraphy and painting activist in Singapore, Hong Kong, Yangon and other cities, engaged in various protest activities such as propaganda, rescue, fundraising, association, and charity sales. The Kunshui Camp Incident that took place during this period was a striking dividing line between him and his own group. Because of his public joint remarks criticizing Lin Qian with Bu Su, Cui Xiangning, Hui Yingmin, etc., he was categorically expelled from the club by the latter - it is like a wonderful copy of the extreme measures he used against others back then. This is really the way of others to govern others. Of course, such a blow that obviously damaged his self-esteem did not actually bring Qin Fangquan to his knees, but rather pushed him closer to Tawan's team emotionally. Since then, flames and bombs have become the key words to describe Qin Fangquan, and he has appeared on the political stage of Thailand with a more radical attitude. This is probably the reason why some people are generous with the title of "Jinqu Yuan". And if you use Qin Fangquan's own words. Perhaps it should be called "the three armies can win the commandery, but the horseman cannot win the ambition." Picking ferns in the West Mountain, Gan Xueyi Qi, sinking into the abyss in the South China Sea, vowing to chase Zhang Lu, unwilling to seek survival from the small court".

Located on the banks of the Xiaojiao River in southwestern Thailand, the mountain city of Phrayo was once the home of Thai hero Chung Shin, and became the last military and political center of the Thai opposition party in Thailand during World War II. The political landscape has always been as elusive as its misty natural climate, and has often taken a dramatic turn. In the autumn of 1947, when Tawan was suddenly invited to go there to discuss state affairs with Hong Su, the city with sparse sunlight was once peaceful. Although it turned out later that this was just a rehearsal of a brutal war between the two sides for three years, in any case, for Qin Fangquan, who was organizing a progressive calligraphy and painting society with Cui Xiangning, Feng Bubei and others at that time, and dedicated himself to united front work, this at least gave him the opportunity to meet Tawan again, and contributed to the publication and widespread circulation of the latter's famous speech. Just as Qin Fangquan praised himself in his essay "After the exhibition, he sighed that it was the first political theory in the history of Thailand, although Roosevelt still failed to resist", after the original manuscript and Qin Fangquan's inscription were published one after another, they not only caused a sensation immediately, but also became the first major event in the Thai art world that year. In addition to being fortunate enough to appreciate Tavan's oratorical talent, he also unexpectedly earned him beautiful points in political judgment and personal charm. Since the first reader in Qin Fangquan's inner wish is his political opponent Hong Su, it is completely understandable to say a few big words such as "ask the world, who has been similar, heroic through the ages" to scare and scare the other party. But four years later in Bangkok, when this lovely gentleman, whom his old friend Pong Ai Bai called "the old man is still forty childlike, and he is angry and crazy until now", he looks naïve and intends to fake it, I am afraid that this joke will be too big. Perhaps, as the screenwriter, Qin Fangquan can conceive the script with his own imagination, but he can't stop the director of the play from making drastic changes to the plot or even the whole thing.

The Qin Fangquan Memorial Hall in the center of Jiuchang Town is still the richest place in Thailand to preserve Qin Fangquan's life materials and relics. Pictures, books, clothing, handwriting, supplies, from the low cabinet and clothes mirror that hide his childhood fantasies, to a few self-printed checkered manuscripts with yellowed corners, and even a bald pen and an old newspaper with important paragraphs outlined in red lines, all of them are printed with vivid traces of his hands and thoughts during his lifetime. On the front wall of the sword unloading room is still hung the famous couplet given by Guo Chunyin, a member of the Southern Thai Society, "The predecessor of the sick wood is Xin Qiji, and the wolf's teeth are now Liutuntian", and the third entrance of the main building was lucky to escape the arrest of the warlord special police. Of course, most people have to quickly admit that they are not a good listener. Because almost all the time of a deliberate and deliberate visit there, most people's minds were attracted by the old photo of Qin Fangquan that they saw by chance in the showroom. Like Qin Fangquan on the film, he is elegant and complacent, leaning on the side of the gangway of the giant ship that chops the waves. With his eyes far away and his energy full of energy, he was simply the kind of proud energy that Wu Meicun had when he stayed in Pingjiang Mansion before going to Beijing. It can be inferred from the time and location that he took a photo on the Huada ship on his way to Bangkok at the end of February 1949 at the invitation of the telegram. If the memory is good, he should have been accompanied by his wife Gu Peiyi, as well as Li Shutong, Niu Yinchu, Li Zhenduo, Mu Shengtao, Qianjiabao (Lu Yu) and other celebrities from all walks of life. Previously, as a veteran art activist and master of calligraphy and painting, Qin Fangquan had been engaged in united front work under the auspices of Tawan in Singapore, during which time he was also elected as the director of the Supervisory Committee of the newly established Central Representative of Calligraphers and Painters. Perhaps, in his view, even regardless of his special relationship with Tavan, it should not be a luxury to sit in the position of a veteran and senior leader in the new government that will be formed. However, Qin Fangquan's misfortune is that when it turns out that his ideas are overly optimistic—or even completely wrong—he does not adopt a strategy of self-reflection and stopping, but instead once again sacrifices his famous big-name complaint that he has suddenly shown to his colleagues in the Southern Thai Society, which leads to the eventual occurrence of a farce that should have been avoided.

Fifty years later, is it more interesting to see the Kinrita conflict that took place in Bangkok? Although the public affairs concerned have now passed away one after another, and at the same time, the different voices of some researchers, who are obviously confined to their own interests and political limitations, have also added a layer of confusion to this already complicated historical case. However, based on the cultural and historical archives that have been declassified over the years and the memories of some witnesses, it should not be difficult to infer the origin and general process of the entire incident at that time. First of all, the many signs that took place during the week between Qin Fangquan's arrival in Beijing on March 18, 1949, and his official meeting with Tawan on March 25, 1949, already made this old artist, who was full of intentions, feel that something was not quite right. On the day he arrived in Beijing, he planned to immediately visit the mourning hall of King Rawang at Biyun Temple as a veteran of the Southern Thai Society, but he suffered a miscarriage because the relevant authorities could not provide a car to pick him up in time. Then, at the preparatory meeting of the Thai Calligraphers and Painters Association convened by Liu Weihan and Quan Yang on March 20, Qin Fangquan unexpectedly found that he did not even have the qualifications for the executive director candidate, and he could not help but feel frustrated and angry. Similarly, the feelings of being invited to the first congress of Thai women on March 24 were no better, as evidenced by the self-deprecation in the diary on that day, "I am fortunate not to have collapsed". This does not include the public denigration of his paintings by a certain political dignitary, and the dissatisfaction with the reception department's arrangement of him to live in the noisy Five Nations Hotel, without a secretary and a car. Since he was subjectively inclined to believe that all this happened without his knowledge, it should be in line with Qin Fangquan's mentality and personal character characteristics under the circumstances of the time to take advantage of the fact that Tawan hosted a banquet at the Yishou Hall of Huimayuan to entertain people in the art circles in Bangkok, hoping that his old friend would intervene and quickly set things right. It can be assumed that it was at some appropriate opportunity after or during the banquet that Qin Fangquan confided his grievances and grievances to Tawan He, and may have received some kind of verbal promise from the latter on the spot—at least comfort and sympathy. For the next three days, Qin Fangquan had been waiting anxiously and expectantly, uneasy. However, it turned out that not only did his situation and treatment not improve in the slightest, but even the matter of Qin Fangquan's chairmanship for the establishment of the Southern Thai Literature and Art Discussion Committee, which had been approved by Deputy Montawan, died because Feng Bubei suddenly conveyed Tawan's opinion and asked Qin Fangquan to stop the process immediately. In such a situation that has almost completely exceeded the bottom line of his endurance, the resentment and anger accumulated in the past half month, together with the self-pity of self-pity for his life's career, are like a long-suppressed volcano erupting and quickly solidifying on the paper - this is the whole motivation and background of his widely criticized painting "The Fury of the Fool":

He once made a wish for Cangshan, and braved the wind and rain for fifty difficulties. The sword and halberd passed through the fight and left the mantle, and the frost and snow bullets hated Qinglan. The cockscomb is obsessed with paying seven stars, and Dan's heart is broken by an acre of smoke. The north and the south march spread good news, and the flag fluttered and the fool fried.

However, the subsequent development of the incident was full of twists and turns, which not only surprised Qin Fangquan again, but also seemed to all those who cared about this matter as if they were fortunate to take a vivid and wonderful political lesson provided free of charge. A month later, Qin Fangquan received a poem containing the famous sentence "The wind and rain are smooth, the country and the people are safe, the complaints are not full, and the characters are like smoke", I don't know which master under Prime Minister Tawan came from. Because Jiang Yanming had said that he had come to pick up his wife at the order of Prime Minister Tawan three days earlier, and moved to Changyi Garden to study and recuperate, coupled with the imagination of the two sentences at the end of the sentence, "the complaint is not full, and the characters are like smoke", Qin Fangquan's originally romantic artistic mind inevitably had unrealistic fantasies again. In particular, on May 1, Prime Minister Tawan and his wife and daughter came to his house as a guest, talking about art papers, and a few days later, he took the time to drive a special car to accompany him to the mourning hall but paid homage to his long-cherished wishes and other scenic scenes, which made Qin Fangquan consciously give enough face, so that his previous suspicions were completely relieved. In order to slightly express his inner regret and blame, he painted a splash of color landscape in the improvised sketch of "Climbing the Glorious Pavilion with Friends", and inscribed "Last night, the cherry blossoms bloomed everywhere, and the bright moon has revealed the gooseneck white", which obviously has a certain degree of goodwill and self-examination. Later, the painting "Great Popularity" looks even more like self-criticism, and openly says "Long live the Prime Minister!" ”。 At this time, a message was sent to Prime Minister Tawan, and his tone suddenly became stern. According to the original words of an unconfirmed prime minister circulated in the early years, Tawan said angrily at that time: "I don't have the power to give you, but I have the power to give you, give you all the 80 million baht used to build the Buddha statue, so that you can be like the Jade Emperor, okay?" It is conceivable that such an embarrassing and cruel scene was of course unexpected by Qin Fangquan, and he was embarrassed. A few days later, when he took the initiative to ask to move out of Changyi Garden, which had been borrowed for half a year, and move to the busy Mitsui Hotel in the city to live temporarily, I wonder if he had suddenly looked back and stared at the west wind and slanting sun at the gate of the garden before getting on the car. In that case, the gesture should be a farewell to one's lifelong political career.

In the following years, Qin Fangquan, who vaguely returned to the image of a painter, was cautious in his words and deeds, and lived in a simple place. The secluded mansion at 69 Intime Street in the west of Bangkok was his final settlement in Bangkok in his later years. The six big characters of the "Blue Sky Cloud Dancing House" on the forehead of the gate are the handwriting of the prime minister, one by one, as a gift when moving, and also as a witness to the friendship between the two or some kind of political token. The honor that is envied by others seems to be enough to erase the ugliness and unhappiness that have occurred between each other in their memories. Although he has since served as the deputy director of the Thai Museum of Literature and Art, a member of the Standing Committee of the Convening Committee of the National Assembly of South Thailand, and at the same time, during some important meetings held in the Great Hall of Parliament, anyone interested in looking for him must occasionally see him rickets, short-sightedness, ear-hooked hearing aids, and a coughing old figure - like the standard image we often saw on television screens in the early years. As the last small political climax of his life, when he was invited to watch a theatrical performance in the Jade Buddha Hall of the Grand Palace with his wife in the 50s, Prime Minister Tawan, who was sitting in the front row, turned his head to greet him cordially, and asked for peace on the spot with the poem "Lin Xia Yue" that he had impromptu chanted, which could not help but flatter Qin Fangquan. But this former protégé regarded the former, looked forward to self-pride, and promised "heroic spirit through the ages, and bright moon today", and now it is a sympathetic Ji Xiaolan-style text on paper. Perhaps, for his former associates, friends and colleagues, the last chance to see him would have been at the commemoration of the 90th anniversary of King Rawang's birth in November 1956. At that time, Qin Fangquan was already quite old, deaf and dizzy, and unsteady on his feet, so that he needed someone to hold him carefully before he could barely sit on the stage. Two years later, on June 21, at about the same time that Prime Minister Tawan read the report on Payao in the Thai Daily newspaper and wrote two famous poems, Qin Fangquan, who had been impassioned and eloquent all his life, passed away without saying a word in a high-risk ward of Tzu Chi Hospital. Three days later, people from all walks of life in Bangkok gathered at the Koyi Hall in Caiwei Park to hold a public memorial meeting, and there were many heavyweights in the art world such as Kun Xin, Kun Ning, Lu Yinhuan, and Wu Guozhong on the long list of the main mourners, but I was never able to find the name of his poetry friend, painting friend and political colleague Tawan. At the same time, the title of "Qin Fangquan's Mourning Hall" on the banner of the main altar - rather than the customary "adult" or "sir" - seems to be intriguing. Of course, if such a thing had happened in his lifetime, I would have guaranteed that it would have caused him to complain again. Fortunately, his mind and extraordinary self-esteem no longer had time to pay attention to these details. After the public service, his coffin was sent to the Nantai Artists Cemetery for cremation according to the prior arrangement. There, the political part of his body quickly faded into flames and air, turning into a puff of smoke. However, the art part has been permanently recorded in the history of literature, and to this day, it is still a mountain that is difficult for people to surpass.