Category: 人生故事

陳琪著

高中时，我仍在中学生艺术团，依旧每个星期的周末练歌或演出。寒暑假时，就会背上行装随团去各地义务演出，而我们同学们在寒暑假必须去义务劳动，修铁路或是乡下种田。有一年我们沿铁路演出，为每段铁路义务劳动的人们演出。刚好演到我们学校义务劳动的那段，同学们见到我都说：“你多好啊，这里唱唱那里跳跳的，而我们就苦了，沉重的体力劳动，太阳把我们的皮肤晒得脱一层皮又一层皮的，肩膀抬土抬肿了还是要继续抬，每天只有蒙在被子里面掉眼泪，不能哭也不能诉苦，更不能退却。我真的感到自己很幸运。当然中学生艺术团也不是那么好进的哦！两千多学生的学校里才收一两个，有的学校一个也考不进。

在大跃进时，到处墙上都是宣传画，每面墙都是大大的壁画。我们学校也必须把每一面墙画上宣传画。我们班也分到一副，老师派我和另一位男同学一同去完成这幅画。我们在“脚手架”上爬上爬下的辛苦完成了这幅巨大的图画。这是我人生中完成的最大的一幅图画，值得回忆的一幅巨画！

有一天，一位体育老师（年龄很大的）拦着我追问我：“昨天我们老师们在开会前，等待的时间里闲谈我们学校两千余学生中谁最漂亮，大家都说是陈琪，但是都奇怪你怎么总是戴一顶帽子，还把帽舌头压到眉毛，又围一条大围巾一直盖到眼下，只露出一双眼睛，不知道是什么原因？大家推我来问你，‘为什么？你怕别人见到你漂亮的脸吗？’”我告诉老师我经常头痛，不能吹风，一吹就疼，所以才戴帽子和用大围巾围上。这位老师笑道，“你真是一个病西施呀。”其实那是因为粮食缺乏，营养不虫，血压太低而已。

那时，我是学校的文娱干事，学校里的一些文娱活动都得做，也经常要写一些大横幅的标语，就必须写标语美术字，贴美术字。我的字写的很不好（我姐姐的字就很漂亮），我只有用直尺画出来，画的多了，也能应付美术字了。遇到节假日还要检查各班级的节目，安排好各个班的节目顺序，还要评选各个节目的名次。记得有一年，初中某班的荷花舞我很满意，评选了第一名！领舞的叫王玉玲，人长得很美，舞也跳得好，评选第一名她很感谢我，我们大家都留下了好印象。

陳琪著

琴棋书画都是我的所爱，同学们常说“你是十八世纪的人，却错入了二十世纪”。当时我的理想只想“琴棋书画常相伴，黄卷青灯论文章”，把一些政治论、出身论以及人与人的纷争远远的离开我。

有一次演出，刚好和铁路文工团一起演出，我弹了古筝也独唱了一首民歌，当时文工团的团长问我：“想不想去他们文工团？”我告诉他，我是反动军官的子女，家被充公，母亲被拉去坐五年牢。我是反革命家属你敢要吗？他哑了口。

他还问我：“古筝是祖传的还是老师教的？”原来他们团也想找人教古筝。我告诉他古筝是老师教的，但是老师说过“不为五斗米而折腰”，虽然他很穷但是他只想教几位值得他教的学生，而不为收工资教那些“艺术家”。

结果在文化大革命时，他家里的古筝全部被砸烂了，本人也被送到农村去种田，一直到文化大革命后，才能重回南京城里。我回到南京去见过他，当他知道了我已经把师爷爷的古筝带去香港得以保存，并在香港开馆教学生、表演古筝，又为古装电影配古筝音乐……听后，他流泪的连声直说：“谢谢！谢谢！”。

陳琪著

小时候放了学只能乖乖的留在家中画画、唱歌学女红。从图书馆借书来看，以增加自己的知识，什么音乐知识美术知识，古诗古词等……，在家自学，小学已经在小红花艺术团，到了中学，老师又为我报考了中学生艺术团，但是报错了歌咏组，到了考场才知道，只好将错就错的考吧！

第一场考“听音”，老师在钢琴上弹一段，你必须立即唱出来，老师再转一个调子弹一段，我仍然正确的唱出来，几次转调我取得满分；第二场是“识谱”，给你一首他们写的短歌（从未有人唱过的），五分钟后，把这首歌唱出来，我又得了满分；第三场是你自己选的一首歌唱出来，这些我根本没有准备，从来只是跳舞，未表演过唱歌，我不知道唱什么，其他考生说“一条大河”你总会唱吧？

话还未说完，就叫到我的名字了，我见到一排老师坐在那儿，心里很害怕，张开口只唱了一句“一条大河，波浪宽……”，已经抖得唱不下去了，这时老师说，“不要怕，你转过身子，面对墙，你看不到我们，放开声大声唱吧。”我于是转过身大声的唱，外面的考生突然发现，这是谁那么大声的唱，全部爬到窗口来看。

我见到两个窗子上爬满了人，吓得歌未唱完又停下来了。心想我准考不上了，唱两次也没有把一首歌唱完，怎么录取？结果老师评语：可以录取，适合唱民歌。就这样我进入中学生艺术团，每周末我都要去练歌。先是大合唱，后来是小组唱，最后才是独唱，在艺术团里我学到很多音乐知识、演唱技巧、舞台经验……不少是我以后人生道路所需的知识。

我省下每一分钱好不容易存够能买一个水彩颜色，再存下钱买另外一种颜色，我一共只有红、黄、蓝三种颜色，是我存了很久的钱才买到这三个颜色，其他颜色我只有用这三种色调出来，先在废纸上画（画完还得留下当厕纸），画得成绩好了，才能靠再省些钱买纸来画。见到一些懂诗词的老学究，我一定要向他们讨教一些诗词的学问。这也是为什么我的古筝老师愿意教我古筝，不愿意去音乐学院教古筝。他只是粮站的小职员，而他教我不收学费。

我特别喜欢古筝，学得也很是努力，老师很满意。我取下我唯一值钱的东西——项上的项链，换了老师的老师（师爷）娄树华留下的古筝。背面有他刻下的一首古诗及他的名字。我如获珍宝的拿回家中，当然也被母亲骂得狗血淋头，不过我心满意足。以前的古筝是十三根弦线（现在已是钢丝线），故声音低沉、古雅。我尤其喜欢在夜深人静时弹奏，声音特殊得好听！也因此经常被母亲骂：“你看，半夜弹筝，引来一屋子的鬼，阴风阵阵，凉气逼人。”尽管如此古筝也成为我以后人生道路和事业上的基石。

陳琪著

我家前院有位姑爷爷（母亲的姑父）七十多岁，儿女都去世了。他喜欢研究麻衣神相、 手相、生辰八字，院子里的孩子谁也不愿意听他说这些，因为我胆小，如果被他拉住谈神相和八字，我不敢走，只好忍了又忍的一次次一遍遍的听他谈这些，让他看了又看我的手相与面相。他常对我母亲说：“前院后院三十多个孩子，手相面相、命运最好的就是她。你不要对她不好，将来你只有靠她的。”

姑爷爷的话我不信，母亲更是不信，“这个二呆子，哪样也比不了姐姐和弟弟，能靠她？谁相信？”不过等我长大后因为对姑爷爷的话听得多了，也 买了些书来专门研究，并加以纪实，的确人的命运早已安排好的，要想改变命运，只有多做善事，其他求神拜菩萨作用不大，尤其小心上当。

1949年4 月23 日南京解放了，10月1 号共产党建立了中华人民共和国，姐姐1950年才十多岁就去当解放军，离开了家。妈妈被拉去坐了5年牢，家被抄个干干净净，只留下佣人房的东西，佣人也走了，还留下一个80多岁的男佣人，因为他没有家，没有亲人，以前是个叫花子，母亲留下他看看门口、种种花，好心有好报，只有他留下照顾10岁的我和9岁的弟弟。十岁的我已经是户主，三婶去卖鸡蛋赚钱来养活自己及照顾我们。她拐着小脚，背着一篮鸡蛋去做生意，连帐都算不过来，宰好，那些买鸡蛋的人看她老实都没有骗她，还能糊口。

我就成了小反革命、反动军官子女，因为成分不好，我在学校抬不起头了。更不敢多说话，只能多做事，没有资格入团，当然更别提入党。连成绩也不敢太好，怕又被别人批评你只专不红。考试时明明可以得满分我却特地把一些容易的题目空白，故意不答。

有一次老师在考场见我那么容易的填充题不答而空白。他觉得不可能，也许是我粗心大意忘了，他敲敲我的书桌上那空白处提醒我，我只好摇摇头交了头卷。事后我告诉老师我不能全答的原因，我怕挨批评说我只专不红，因为我成分不好，哪敢考满分。老师的母亲在香港，他的冲击更大，他也只有摇头的份。数学老师很喜欢我，常给我一些难题让课外去做，他说：“陈琪，我希望你成为中国的女华罗庚。”结果他被贴大字报，一张又一张的批评他教学目的不正确、阶级立场不坚定……

陳琪著

为了想被人少骂些，我总想做个乖孩子，不敢顽皮，只想多努力学习争取最好的成绩。记得有一次成绩单拿回家我是第二名，母亲看了又丢给我说：“又不见你拿个第一回来？！”而弟弟却拿了个留级的成绩单回来，她却说“没关系明天我请校长吃个饭，你照样升级。”母亲她没有骂弟弟一句，当然也不会赞我一句。

妈妈每次出门带上姐姐带上弟弟，从来不会带我出去，我也习以为常。因此，妈妈的朋友都以为我母亲只有两个孩子。他们来拜访母亲也只是带上两份孩子的礼物，一份给姐姐一份给弟弟，对我却说：“你太太在家里，去通报一声，我來了。”我含泪转身就走了，访客对我母亲说：“你家这个丫头好没礼貌。”事后我当然少不了的挨一顿打。

有一次三叔来我家，母亲礼貌的让我们叫三叔，可是我们爱三婶，谁也不肯叫这个负心混蛋。姐姐和弟弟立即转头就走了，母亲凶狠狠把我叫住：“快叫三叔！”我怕母亲，只好低低的叫声“三叔”。事后姐姐狠狠的骂我，弟弟也在一旁骂我“没骨气”。我真的不愿意叫这个混蛋，可是我怕不叫，妈妈没有面子，我不敢不叫，你们不叫妈妈只有我叫啊！在这里我有申辩余地吗？

有一次在街上，见到大姨夫（另一位司令），姐姐大声的叫了声“大姨夫好”。大姨夫很高兴给我们十元钱（大约等于工人三个月工资）。姐姐带我们在街上花个痛快，吃个痛快。剩下很多钱她放在袜子里的脚板底下说：“不许和姆妈说。”

回到家中三个都吃不下饭，母亲追问为什么吃不下饭，当然姐姐和弟弟不会说实话。母亲只有打我一顿逼我说实话，我怕得要死，只好说了大姨夫给了十元钱，所以我们在外面花了、吃了。那是一大笔钱，不可能花完，母亲把姐姐全身衣服脱光也找不到剩余的钱，母亲又回头打我，我只好指一 指姐姐的袜子，母亲才脱掉姐姐的袜子，在脚底搜出剩余的钱充公。当然事后我又少不了被姐姐弟弟打一顿。我怕母亲也怕姐姐和弟弟。

姐姐、弟弟因为不怕母亲常常和母亲頂嘴，尤其姐姐的口才很好，弟弟又很蛮不讲理，母亲有气只好找我出气。我一见他们頂嘴早就躲入房中，每次仍然被叫出来臭骂一顿：“你死到哪里去了，你哑的，你不会说话吗？见到你就来气，你哭死你父亲，又想哭死我呀？”

由于我在家中没地位，我绝不能在学校也是一个没有用的人，所以我努力学习，不但功课好、品德好，体育、音乐、美术都很好，所有老师都喜欢我，没有同学看不起我，我们平等的相处。我也从来没有和谁发过脾气、吵过架，能忍的就忍了，同学给我起了外号“糯米 团子”。怎么按怎么压都不出声、不发火（其实我一生气，就什么话都说不出，自知之明，故绝不会吵架，只会生气）。

例如，一次我被别人撞了一下，对方反而开口骂人“你瞎了眼吗？走路不长眼睛？”同学们看不过眼，一齐上去骂他：“明明是你撞了人，反而骂她，你应该向她道歉。”双方大吵一仗，最后对方理亏只好道歉，灰溜溜的走了。同学们回过头又训我，“我们为你跟他吵骂，你倒事不关己高高挂起，站在一边一声不吭，真没有叫错你——糯米团子。”

陳琪著

在我家中只有一个人爱我，那就是被我三叔抛弃的原配妻子三婶。她没有孩子又无颜回娘家，就留在我们家。她当我是女儿一样疼爱我，当然她心地善良对每个人都充满爱。我常常把學校里的事一一的告诉她，也喜欢抱着她闻她的体香和她头油的香，真是永世难忘。我也喜欢睡在她的床上挤在她的身边。

她在我的中学附近菜市场卖菜，我经常和同学放学后回家绕道去菜市场见她，介绍给每个同学说：“这是我妈妈。”而同学们都奇怪：“你那么漂亮、高大，怎么你妈妈那么丑，那么矮小？”我说：“她的内在美是谁也比不上的，内 在美比外在美更重要！”

三婶很善良，对每个人仁爱宽厚，从不发脾气或批评人，她虽然没有读过书，但是教我很多做人的道理。她常说“量大福大”，待人要厚道，要能宽恕人，别人叫你“二呆子”别生气，呆人有呆福，上天会保佑你的，我也最不放心你的直肠肚，不懂得人情世故，口齿不伶俐，胆小怕事，将来怎样在社会上立足？你能有你姐姐一半聪明就好了。

陳琪著

放学后，我总是不敢走前门，生怕遇到她。多数从后门进入厨房，到佣人房。我是在厨房边与佣人同住。而我姐姐拥有三楼的三个房间，弟弟和母亲在二楼住，而我在楼下与佣人同住。从小我经常被弟弟打姐姐骂，经常被罚跪，一跪就跪很久，不敢起身，直到她们记得时，才叫你起身。因为跪久了站都站不起来。我弟弟叫我姐姐“大姐”但是他一辈子也未叫过我一声“二姐”。

家中任何人都可以打我骂我，连佣人高妈也可以随手给我一巴掌。家中的佣人们叫我姐姐“大小姐”、叫我弟弟“三少爷”，而每个佣人叫我就直呼小名“二毛”！除非佣人有求于我帮忙做个事、看个假时，才会叫一声“二小姐”。

因为怕妈妈、躲妈妈，我已经不习惯叫“姆妈”了，因为如果見到她已經怕得张开口叫不出声了。要是被母亲遇上了，她每次都骂：“你哑的，你认识我吗？看到你就来气，这个小老婆养的贱骨头。”她还经常说：“你不是我生的，是我从垃圾堆拾来的，我可生不出这么个二呆子。”当然二呆子也就是我理所当然的名字。

我总是在想：“谁是我母亲？为什么要我在垃圾堆边，不要我呢？”我绝不会 是小老婆生的，父亲很疼爱妈妈的，也从未变过心没有小老婆，而且以母亲的性格也絕不会容许父亲有小老婆，更不会留下小老婆留下的骨肉。我绝不会是小老婆生的。可能我是从垃圾堆拾回来的，为什么我在垃圾堆边？什么时候我才能见到我的亲母亲？每次我见到孩子在母亲面前撒娇而母亲对孩子的百般呵护、亲热的拥抱，我的心就会很疼，痛不可忍的疼！我从来也没有这种幸运，我多希望有妈妈抱抱我、亲亲我。

陳琪著

我的儿女总是这样对我说:“你是令我们崇拜敬爱又值得骄傲的妈妈，我们不希望你給我们房屋和金钱，我们只希望你给我们一本书，一本你写的自传，你的经历。这是我们想要你的最重大的财富。”

我一直很懒，至今也没有达成他们的心愿。现在我觉得我时日无多，我已七十三岁了，离开中国五十多年（其间香港十二年、澳大利亚四十余年），中文已到提笔忘字的地步，很多字已写不出来，错别字众多！为了兑现对孩子的承诺，我提起精神写下我的前半生。至于我来到澳大利亚的后半生，留给我的孩子来写更好！

以下是我的前半生的经历：每个人、每件事、每句话都是千真万确，绝不夸大絕无虚假！！

1940年我出生在一个经济还不错的家庭，父亲是国民党的军官——纵队司令、少将。 在抗日战争、国共合作抗日期间与陈毅将军一起在苏北抗日，父亲被日本人包围打死，并被 割下人头挂在城门上示众！他为国牺牲是有名的“断头将军陈中柱”，他死后国民党嘉封一级成为中将。那时我才一岁，我弟弟是父亲身后三个月才出世的“遗腹子”，也是家中唯一的男孩子。我姐姐是家中的老大我们就三个姐弟。当我出生时母亲希望我是个男孩，结果非常失望。我祖母说:“哼！又是一个赔钱货。”但是我的父亲却很开心的说：“你看！多漂亮呀！是我的小公主，小仙女！”。所以我的名字叫陈琪，安琪儿（仙子）的琪，父亲很愛我，可 惜一年后他就去世了。

弟弟出生前祖母带上大伯母和她的儿子来，如果我母亲再生的是女孩，那么她必須把大伯母的儿子过继为儿子！幸好，老天爷保佑母亲这次生下的是男孩。第二天，大伯母只得失望的带着她的儿子离去。因此母亲对我的弟弟过分宠爱，父亲的去世我姐姐也成为家中的顶梁柱，来信件、人事的决定等等她是母亲不可缺少的左右手。她大我五岁，而我是中间多余的女儿，母亲的出气筒，发泄的对象。从我记事起，母亲对我没说过一句温暖的话、家长的话。总是没有一句好话：“我见到你就来气，小老婆养的贱骨头，小老婆痞子。“我怕她怕得要死，总是躲着她，不敢见到她。因为见到她不是被她打，就是被她骂，尤其是她喜欢用两根手指在我身上拧我，一拧我身上就留下一块青，两个星期也退不掉！这块还位退，那边又被她拧下另一块青。我身上的青紫块从来不断，很疼很 疼！（不知她这样做是否有快感？）

By Susan Chen, ChatGTP & Ethan Lin contributed to the Chinese-English translation

In a radio and television magazine in 1970, there was a striking full-colored picture of an elegant and graceful young woman wearing a qipao, with her hair styled in a bun, playing the guzheng with concentration. The caption read, “Chen Qi performs the guzheng on ‘Joyful Tonight.'” 

“Joyful Tonight” was once the most popular and long-lasting variety show on Hong Kong television in the 1970s and 1980s. Many top actors from TVB participated in it. When Chen Qi appeared on the stage of “Joyful Tonight,” many viewers and even production staff were curious and asked, “Where did this unknown Chen Qi come from, and how can she play the guzheng and sing so beautifully?” 

She Was the Beloved Daughter of a General 

“I was born in 1940 into a fairly well-off family. My father was a Nationalist Army officer – a division commander and major general. During the Sino-Japanese War, he staunchly resisted the Japanese and was killed, with his head cut off and displayed on the city wall. He became China’s famous ‘Beheaded General Chen Zhongzhu.’ After his death, the Nationalists promoted him to lieutenant general. I was only one year old at the time.” (Chen Qi, in her autobiography “Journey of the Guzheng”) 

General Chen Zhongzhu, a native of Yancheng, Jiangsu, sacrificed himself against the Japanese in 1941 at the age of only 35, leaving behind two daughters and a posthumous son. Chen Qi was the second daughter. Although Chen Qi had no memory of her father, according to her older sister, she was the most precious daughter to General Chen. General Chen loved to hold baby Chen Qi in his arms, praising her for being beautiful and naming her “Qi” Anqi’er, meaning angel in Chinese. After coming home from work every day, General Chen’s first act was to visit Chen Qi in her room. 

A Challenging Fate, But Blessings from Above 

Her father’s love did not bring happiness to Chen Qi’s life. From the time Chen Qi could remember, she felt like an extra in the family, a punching bag for her family members, and the most useless individual. This upbringing molded her into a timid and fearful individual to the point where she was even afraid to speak and had developed unclear speech. Moreover, after the Chinese Communist Party (CCP) took power, Chen Qi’s family was targeted due to her mother’s background as the wife of a Nationalist Army officer. Her mother was imprisoned, and due to Chen Qi’s “bad class,” she faced discrimination at school and within society. With a strong-willed personality, Chen Qi put all her energy into studying, striving to be a good child in hopes of earning the approval of others. Despite growing up in adversity, her determined personality and innate musical talent led to her future success in the arts. 

Music had always been Chen Qi’s passion, and a music teacher recommended her to join the “High School Arts Troupe.” However, due to a mix-up, she was accepted into the singing section, which eventually revealed her talent in singing. Chen Qi learned a lot of musical knowledge which would be useful later in life. Since she frequently participated in the art troupe’s performances, she was fortunate to avoid the difficult times when students of her generation were forced into labor or sent to the countryside during the Cultural Revolution. 

During the Cultural Revolution, all traditions and cultures were trampled upon. Sun Zi Xian, a master of the guzheng and one of the disciples of Chen Qi’s master, was a school worker in charge of the grain station during those times. In his spare time, he taught eight of his favorite apprentices for free, and Chen Qi was fortunate to be one of them. Chen Qi had a special fondness for the deep and elegant sound of the guzheng, so she worked diligently at her guzheng playing. Chen Qi even exchanged her valuable gold necklace for her master’s guzheng and inscription. Later, when she moved to Hong Kong, her master’s guzheng was saved from the horrors of the Cultural Revolution and her learning continued in Hong Kong. When Sun learned about these events, he tearfully said to Chen Qi, “Thank you! Thank you!” 

Outstanding Academics and the Arts, but No Opportunities 

Despite excelling in academics and the arts, Chen Qi, who had graduated from high school, was unable to be accepted into an art school due to her “class background.” Finally, she had the opportunity to enroll in a medical school as a backup. Chen Qi had no interest in traditional Chinese medicine, but she saw it as a path to get into college and hoped to find a job after graduation. However, the Ivory Tower was no longer a haven. The political mess of the Communist society had tainted every corner of China. Despite her outstanding academic achievements, Chen Qi faced discrimination at school due to her “bad class” background. However, what caused Chen Qi to become truly despaired was an incident that happened shortly thereafter. 

One of Chen Qi’s former schoolmates came to the medical college to apply for a job, and the head of the personnel department asked to meet her in the dormitory. Chen Qi waited outside. A short while later, the schoolmate came out, her face flushed with anger and her hands trembling, she told Chen Qi, “That jerk wanted me to be his girlfriend in exchange for admitting me to the medical college.” At that time, the female student union leader seemed approachable, so Chen Qi told her about what had happened to her schoolmate. 

To her surprise, the next day, the party branch secretary came to find Chen Qi and scolded her harshly, accusing her of spreading rumors and undermining the credibility of the party and its leaders. After this incident, Chen Qi’s days at school became even more difficult. In despair, Chen Qi had to ask a doctor for a certificate of neurasthenia and took a leave of absence from the medical college. Without a college degree, Chen Qi couldn’t find a job and had to work as a substitute teacher. She felt insignificant and useless. 

From the time she was aware of her surroundings, Chen Qi had been subjected to political persecution by the Communist Party. This left an indelible scar on her life. More than a decade later, Chen Qi went from the pinnacle of the Hong Kong art scene to washing dishes in a restaurant in Perth, without ever complaining about her hardships. For her, even the hardest and most tiring work in the free world overseas could not compare to the life in mainland China where she couldn’t hold her head up politically, not knowing when she might fall victim to political movement. 

Serendipity Leads to the Hong Kong Entertainment Scene 

One’s only love in a lifetime, a love etched deep in the heart during the budding of youthful affection, can never be forgotten. However, the cruel reality led Chen Qi to marry far away in Hong Kong, and from then on, every day of Chen Qi’s life was no longer lived for herself. 

Chen Qi, a homemaker, had to work tirelessly teaching the guzheng and providing musical accompaniment to make a living for her three children and her idle husband. She sent her children to the best private schools, sent large sums of money to her mother still in mainland China, and saved money to buy a property in Hong Kong. However, her own life was extremely frugal. She had never eaten a whole piece of fruit and often had to combine the leftovers of her children’s meals for herself. 

Chen Qi’s artistic talents gradually emerged. Once, a friend who played the erhu asked her to provide vocal accompaniment for his erhu performance at a cultural evening. Knowing nothing about the entertainment industry in Hong Kong, Chen Qi only wore a white shirt and a black skirt to the event, only to find out that it was attended by many famous stars in elegant evening gowns. When Chen Qi took the stage and sang a song called “Searching for Love,” the applause was thunderous, and the audience demanded an encore. After performing another song, “Embroidered Purse,” the audience still wanted more. With only two songs prepared, Chen Qi had to thank the audience and leave the stage. 

Unbeknownst to her, the host that evening was Hu Zhangzhao, a well-known host of Hong Kong’s Radio Television Hong Kong (RTHK) program, “Floral King Club.” He was excited to discover Chen Qi’s talent and immediately arranged for the station’s producers to find this “homemaker who sings folk songs.” This invitation from RTHK was the start of Chen Qi’s career in Hong Kong’s entertainment industry, where she played the guzheng and sang folk songs, bringing a breath of fresh artistic air to television audiences. After her first performance, the station received countless phone calls, praising her exquisite rendition of folk songs. In addition to singing folk songs, Chen Qi also performed Huangmei opera and played the guzheng, all of which were well-received by the audience. 

Sharing the Stage with Bruce Lee, Teaching Josephine Siao Sleeve Waving 

During her time performing at the television station, Chen Qi not only shared the stage with already-famous stars like Bruce Lee but also witnessed the early success of many future celebrities. 

One day, while performing on the “Voice of Lai” program at Rediffusion Television, Chen Qi met Josephine Siao, who was a temporary actress then. Josephine Siao, later known as “Sister Josephine” and one of the most renowned Cantonese opera actresses in the Chinese-speaking world, did not know how to sing at that time and needed accompaniment from Chen Qi and others backstage. When she wore traditional costumes backstage, her water sleeves were unruly and did not cooperate. Chen Qi couldn’t help but teach her the technique: “Lower the water sleeves and use your index and middle fingers to pinch the middle of the sleeves. Then, use the other three fingers to flick the sleeves up, and they will hang neatly.” After learning this, Josephine Siao’s water sleeves flowed gracefully. She was very grateful and asked Chen Qi if she had received formal training. Chen Qi told her, “I didn’t study the arts; I studied medicine.” 

Chen Qi faced several challenges during her first few years of teaching the guzheng in Hong Kong, including a test from the renowned local musician and composer Wang Yuesheng. Wang was proficient in various instruments, including the guzheng, and had released several guzheng albums. One day, he unexpectedly visited Chen Qi and asked her to play a piece for him. Chen Qi hesitated but eventually played a piece called “Weeping for Zhou Yu.” Using a single string, she conveyed the cries and sobs of sorrow while simultaneously expressing the tears on another string. Wang Yuesheng was deeply impressed. 

Another incident involved a young guzheng teacher from Taiwan who visited Hong Kong. He played many pieces for Chen Qi to hear. This teacher was fast and skilled with his techniques. When he played “Busy at the Loom,” he advised Chen Qi on her hand positioning, comparing it to weaving. Chen Qi admired his technical skills but had a different perspective. She believed that guzheng playing should emphasize classical charm and not just speed. For instance, in the song “Busy at the Loom,” one should capture both the busyness of the weaver and the loneliness and helplessness. Each note should be rich with charm, emotion, and classical aesthetics. A few days later, this teacher from Taiwan, who was an expert, lost in a competition to one of Chen Qi’s beginner housewife students. This experience left him in awe of Chen Qi. 

Later, the President of the Chinese Music Society of Taiwan and guzheng master Liang Zaiping contacted Chen Qi. He introduced himself as a disciple of the famous guzheng master Lou Shuhua, who belonged to the Henan school of guzheng. Chen Qi was also a disciple of Lou Shuhua’s other student, Sun Zixian, making them part of the same lineage. Lou Shuhua was a representative figure in the northern Chinese guzheng art, and his composition “Fishing Boat Singing at Dusk,” created in 1938, marked a new era in guzheng music, remaining popular for decades. Chen Qi’s guzheng was actually Lou Shuhua’s, with his poems and name engraved on the back. When Liang Zaiping heard about this, he immediately sent his daughter to Hong Kong to meet Chen Qi, pay homage to the master’s guzheng, and provide Chen Qi with many of his own records. 

Chen Qi had the opportunity to meet Chen Leishi, a famous guzheng master in Malaysia, during one of her performances in Kuala Lumpur, Malaysia. It was her first overseas performance, and it happened right after the well-known superstar Teresa Teng had finished her concert. Chen Qi was anxious, unsure if anyone would come to watch her performance. Surprisingly, the seats at the hotel’s nightclub were fully booked, with more tables being added. The hotel manager informed Chen Qi, “All of them are booked by local music groups and Chinese music enthusiasts. They are demanding that you perform the guzheng tonight.” This performance in Southeast Asia marked a turning point in Chen Qi’s career. 

Guzheng master Chen Leishi brought his two albums and a group of students to meet Chen Qi and perform the guzheng. In the presence of these guzheng masters, Chen Qi felt humbled. Despite her busy life teaching guzheng and singing to support her family, Chen Qi believed she was leading a mundane life. The lavish lifestyle filled with “bright lights and revelry” was not what she had pursued. Even at the peak of her guzheng performing career, she was contemplating retirement from the entertainment industry. 

Deng Lijun Wants to Learn Guzheng from a Master 

After Chen Qi made her appearance on television in Hong Kong, not only did more people want to learn Guzheng from her, but local and foreign hotel owners also continuously approached her to sign contracts for performances. During this period of performing at various hotels, Chen Qi not only acquired a wealth of performance knowledge and social experience but also gained a deeper understanding of interpersonal relationships and more. At the same time, she maintained her integrity, refrained from getting involved in any questionable activities, and skillfully avoided many troubling situations. Among the many experiences of performing abroad, one particularly precious memory was sharing the stage with Teresa Teng. 

One time, during a performance at a foreign hotel, Chen Qi coincidentally performed on the same stage as Teresa Teng. Teresa Teng’s mother was skilled in cooking and often prepared delicious dishes for everyone backstage, such as noodle sheets, noodles, scallion pancakes, and more. Teresa Teng had a great fondness for the Guzheng and, after watching Chen Qi’s performance, expressed a desire to learn it from her. However, at that time, Chen Qi was busy traveling for performances to earn a living and support her family. She could only say, “When you have free time, and I have free time as well, you can come and learn.” Unfortunately, that day would never come as in 1995, Teresa Teng tragically passed away due to a severe asthma attack. 

“People are doing, and heaven is watching” – one must believe this. 

During her twelve years in Hong Kong, where she worked for six or seven years, Chen Qi went from knowing nothing about Hong Kong to establishing herself in the city, supporting herself and her family, and achieving a successful career with a stable income. During this time, she received help from many people which she deeply appreciated. Chen Qi believed that she had been treated kindly by fate and was grateful for it. As a result, she urged herself to avoid doing anything wrong in life because “people are doing, and heaven is watching.” She believed that it was essential to have faith in this principle. 

Remarrying in Perth for the Sake of the Children 

Despite her growing success in Hong Kong, Chen Qi made a life-changing decision to leave the city. She heard from a pediatrician that the climate in Hong Kong was not conducive to treating her three children’s asthma and that Perth, Australia, was the best place for natural asthma treatment. Another concern was that if Hong Kong were to be reclaimed by the Chinese Communist Party in the future, the same tragic experiences she endured during her childhood might happen to her children. 

Although determined to leave Hong Kong, Chen Qi faced a significant challenge: she didn’t speak English and had difficulty adapting to her new environment. To ensure her children’s well-being, she made the difficult decision to remarry and move to Perth. Before leaving Hong Kong, Chen Qi had a heartfelt conversation with “Chun,” a longtime maid who had been like family to her. Undisclosed to their mother, Chun told Chen Qi’s children, “Your mother chose to marry in Australia for the sake of all of you. If you are not filial, divine punishment will befall upon you all.” 

Chen Qi gave up her flourishing career in Hong Kong to work as a dishwasher and open a restaurant in Perth. She sacrificed her delicate hands that had once played the Guzheng and her youthful appearance, and she endured this lifestyle for over 40 years. Fortunately, as the pediatrician had predicted, her children’s asthma never returned. Her children loved and respected their mother deeply, resulting in them being dutiful children. 

Holding Up the Sky Like Her Father Did 

After immigrating to Perth, Chen Qi not only raised her children but also used her savings and efforts to help her mother, younger brother’s family, and sister’s family immigrate to Perth as well. It seemed as if she knew that her father had entrusted her with the responsibility of supporting the family. She believed that even in the face of great hardships, her father was watching over her from the beyond. No matter how unfairly she was treated, Chen Qi had faith that heaven held a scale, weighing her actions. 

Through 70 years of trials and tribulations, joys and sorrows, Chen Qi now hopes for the right opportunity to publish her autobiography, “Journey of the Guzheng,” so that more people can experience the hardships of life through her story and gain insight into the true meaning of life amidst adversity. 

文 ：安琪

1970年的一份无线电视杂志里，一位端庄清秀的少妇身着旗袍，头梳盘髻，静心弹奏古筝的彩色整幅图片引人注目，

“欢乐今宵”，这个曾经是香港电视70、80年代最受欢迎和最长寿的综艺节目，不少无线电视的一线当红演员都曾参演。当陈琪出现在“欢乐今宵”的舞台上时，很多观众甚至制作人员都在好奇地问：这个名不见经传的陈琪能弹那么好的古筝、能唱那么动听的民歌，她从哪里来？

曾是将军最珍爱的女儿

“1940年我出生在一个经济还不错的家庭。父亲是国民党军官──纵队司令少将，在抗日战争中坚决抗日，被日本人打死并割下人头，挂在城墙上示众。他成为中国有名的‘断头将军陈中柱’。死后国民党加封一级中将。那时我才一岁。”（陈琪自传《筝路历程》）

陈中柱将军，江苏盐城人，1941年抗日牺牲时年仅35岁，留下两个女儿和一个遗腹子，陈琪是次女。尽管陈琪对父亲没有任何记忆，据姐姐描述，她曾是陈将军最为珍贵的女儿。陈将军喜欢把襁褓中的陈琪抱在手中，夸她生得漂亮，给她取名为“琪”，取仙子安琪儿的意思。陈将军那时每天一下班回家，第一件事就是去陈琪的房间看她。

命运多诘难 幸有上天眷顾

父亲生前对陈琪的珍爱并没有给她的人生带来幸福。从陈琪记事起，她就像是家里多余的人，是家人的出气筒和最没用的人，因此从小形成胆小怕事的性格，甚至话都不敢多说，口齿也不清楚；再加上中共夺取政权后，陈琪家里因为国民党军官的背景，母亲被拉去坐牢，“成分不好”的她在学校和社会上也抬不起头来。生性好强的陈琪只好把所有精力都放在学习上，努力做一个好孩子，以期赢得他人的认可。尽管从小在逆境中成长，好强的个性加上天生的音乐才赋，成就了陈琪日后在艺术上的辉煌。

琴棋书画 18世纪的人生在20世纪

刻苦用心换来的好成绩得不到家人认可，因为政治原因也得不到学校的承认。陈琪却因为天生对艺术的喜爱，在那片浊世中寻得一方净土。琴棋书画都是陈琪的所爱，也样样用心去学。她的同学们常说她是18世纪的人，却错生在20世纪。

陈琪从小就喜欢音乐，被音乐老师推荐报考“中学生艺术团”，却阴错阳差地被歌咏组录取，从而启发了她的歌唱天赋，并学习了很多以后用得到的音乐知识。因为常常要参加艺术团的演出，陈琪也因此幸运地躲过了那个年代的中学生被强制“义务”修铁路或下乡种田的艰苦时光。

在中共的文革中，一切传统和文化都被踩在脚下。孙子仙，一位身怀古筝绝艺的先生，不为五斗米折腰，屈身于粮站职员，用业余时间免费教八个他喜欢的徒弟，陈琪有幸成为其中一个。陈琪特别喜欢古筝低沉、古雅的声音，学筝特别努力。陈琪还用她唯一值钱的金项链换了师爷的琴和题字，并因为日后移居香港，使得师爷的古琴得以逃脱文革厄运，并将所学在香港发扬。当后来孙先生知道这一切后，流着泪对陈琪说：“谢谢你！谢谢你！”

学业、文艺出众却没有出路

尽管学业、文艺出众，中学毕业的陈琪却因“家庭成分”问题不能被艺术院校录取，最后终于有机会候补上了当时没人去的中医学院。陈琪对中医不感兴趣，但能上大学，想着毕业后能找到工作，就已经很知足，也因此勤奋读书，成绩也是名列前茅。然而象牙塔里已不是净土一片，中共社会上的政治污浊早就玷污了中国的每个角落。尽管成绩拔尖，陈琪仍因为成分不好，在学校里备受歧视，然而真正让陈琪感到绝望的，是不久后发生的一件事。

陈琪以前学校的一位女同学来中医学院求职，人事科长约她在宿舍见面，陈琪在外面等。不一会儿女同学满脸通红、气愤得手直发抖，出来对陈琪说：“这个混蛋，要我成为他的女朋友就让我进医学院。”当时女团支书看起来和蔼可亲，陈琪就把同学遭遇的事情告诉她。

哪曾想转天党支书就来找陈琪，把她大骂一顿，说她造谣生事，破坏党和领导的威信。此后陈琪在学校的日子就更难过了。绝望的陈琪只好请医生开了张“神经衰弱”的证明，休学离开了中医学院。大学没毕业的陈琪找不到工作，只好做代课老师，内心里觉得自己太低微、太没用。

从懂事起就遭受中共的政治迫害，这给陈琪的人生刻下了永远无法抹去的伤痕。十几年后陈琪从香港艺术圈的顶峰，跌落到在珀斯餐馆洗碗的低谷，也从未叫过苦。对她而言，海外自由世界里再苦再累的工作，也苦不过在中国大陆那种在政治上抬不起头来，不知道会在哪一场政治运动中倒下的生活。

机缘引路 进入香港娱乐圈

一生中唯一的一份爱情，一段刻骨铭心的爱恋，定格在少女情窦初开的心田深处，永远都无法忘怀。然而残酷的现实让陈琪远嫁香港，陈琪的人生从此开始的每一天都不再是为自己而过。

陈琪，一个家庭妇女，为了养活三个孩子和游手好闲的丈夫，每日拚命教古筝、配乐配歌赚钱。她送孩子去最好的私立学校、给还在大陆的母亲寄大笔大笔的钱、在香港攒钱买楼，自己的生活却非常拮据，从没吃过一个整个的水果，吃饭也常常是把孩子们剩下的拨在一起，草草打发一顿。

陈琪的艺术才华却逐渐显露。一次，一位表演二胡的朋友请她帮忙在一个文艺晚会上给他的二胡表演配唱。完全不了解香港娱乐圈的陈琪只穿了一件白衬衫和一条黑裙子就去了，后来才发现那个晚会有多位歌星穿着华丽晚宴服装来表演。到陈琪上台时，唱了一首〈探情郎》，结果掌声雷动，安哥声不断，主持人请她再唱一首。一首〈绣荷包》后，观众仍要求再唱。因为只准备了两首歌，也就谢过下台。

不曾想当天的主持人是胡章钊──香港家喻户晓的无线电视“花王俱乐部”节目主持人，他发现陈琪的才能后异常兴奋，发动电视台编导寻找这位唱民歌的“家庭妇女”。陈琪因此被香港当时最出名的无线电视台邀请，上电视弹古筝、唱民歌，给电视观众们带来一股清新的艺术气息。第一次演出完，编导告诉陈琪：你唱完后电视台的电话不停，说这民歌唱得太好了，他们喜欢听。除了唱民歌，陈琪还表演黄梅戏、弹古筝，都深受观众欢迎。

和李小龙同台 教汪明荃甩水袖

陈琪在电视台演出，除了和当时已经鼎鼎大名的明星如李小龙等同台演出外，也见证了不少后来成名的明星当时青涩的成功之路。

一次在“丽的呼声”（Rediffusion）电视节目演出时，陈琪在后台遇到当时还只是临时演员的汪明荃。后来被称为“汪阿姐”的华人世界里知名度最高的越剧演员之一的汪明荃，那时还不会唱歌，要由陈琪等人在幕后仪唱。她在后台穿上古装后，水袖总是不听话，掸不上手。陈琪看到忍不住教她门道：放下水袖，在袖口的中间用大指和食指夹住，然后用其他三指把水袖弹上去，水袖就会整齐地弹在袖子上。汪明荃学会后果然水袖就挥洒自如了。她很感激，并问陈琪是科班出身吗？陈琪告诉她：“我不是学艺的，我是学医的。”

古筝古韵 得到大师们的认可

作为初出茅庐的新手，陈琪在香港教古筝的几年中也经历过不少坎坷。第一关就是本地有名的中乐演奏家、作曲家王粤生给她的考验。王会多种乐器，包括古筝，也出过几张古筝唱片。有一天他突然登门要陈琪弹一曲给他听。陈琪百般推脱未果，只好弹了一首古曲〈哭周瑜〉。见陈琪在一根弦上揉出四个音体现出哭的意境，同时在另一根弦上弹哭中的抽泣，王粤生听得心服口服。

另一次是台湾有名的一位青年古筝教师特地从台湾来港登门拜访，弹了很多曲子给陈琪听。这位教师手法又快又好又熟练。他弹到〈纺织忙〉时，告诉陈琪，弹时要注意手的姿势，像在纺织一样。陈琪赞赏其高超的技术，但有不同的观点。她认为弹古筝讲究古典韵味，不能只顾快，比如这曲〈纺织忙〉，既要弹出织女的忙，也要弹出她的孤单与无奈，每一个音都要揉得很有韵味、感情和古典意境。几天后，这位台湾来的教师在一个香港文人雅士的集会上，输给了陈琪一位初学的家庭妇女学生，由此他对陈琪佩服得五体投地。

接着，台湾的国乐大师、中华音乐会会长，也是古筝教师梁在平给陈琪打来电话，介绍他自己的师父是河南派的娄树华。陈琪也正是娄师父的另一个弟子孙子仙的徒弟，可谓是师出一脉。娄树华是中国北方古筝艺术的代表，他于1938年创作的筝曲〈渔舟唱晚〉，一经问世就开创了筝曲的新纪元，几十年来历久不衰。陈琪保存的琴正是师爷娄树华的传琴，筝后刻有他的诗和名。梁在平会长听到此事，立刻叫其女儿赴港与陈琪会面，瞻仰了师爷的传琴并送了陈琪许多他的唱片。

陈琪有一次在马来西亚吉隆坡演出时，也有幸会见了马来西亚著名的古筝大师陈蕾士。那是陈琪第一次出国登台演出，又正好赶上大明星邓丽君刚刚演完，陈琪心里忐忑不安，不知会不会有人来看她的演出。没想到酒店的夜总会座位已订满，还在不断加台。酒店经理告诉陈琪说：“全部都是本市音乐团体、国乐爱好者订的台。”他叮嘱陈琪当晚一定要表演古筝。这一次演出为陈琪在东南亚打响了名声。

古筝大师陈蕾士带着他的两张唱片和一班学生来见陈琪，也表演了古筝。面对着这些古筝老师们，陈琪忽然觉得汗颜。为了生活、为了孩子、为了赚钱每天不停地教筝和唱歌，陈琪觉得自己太俗了，现在这种“灯红酒绿尽徬徨”的生活，根本就不是她追求的“黄卷寿灯论文章”的境界。正处在古筝演出事业顶峰的陈琪却萌发了退出娱乐圈之意。

邓丽君要拜师学古筝

陈琪在电视台亮相后，不仅找她学古筝的人多了，也不断有香港本土和外国的酒店老板找她签约演出。在各种酒店演出的这段时间，陈琪学到了很多演出知识、社会知识，懂得了更多人与人之间的关系等；同时洁身自好，不贪不恋，也智慧地避免了很多麻烦。在国外演出的众多经历中，很珍贵的一件事是与邓丽君同台。

一次在外国酒店演出时，正好赶上邓丽君同台。邓丽君的母亲很能干，也很体贴，在后台经常会弄些面叶、面条、葱油饼等给大家吃。邓丽君很喜欢古筝，看了陈琪的表演后，希望能跟陈琪学。那时的陈琪忙于各地演出赚钱养家，只好说：“等你有空、我也有空时再学吧。”可这样的日子永远也等不到了。1995年邓丽君因哮喘病发作失救而香消玉殒。

“人在做，天在看” 不可不信

陈琪在香港12年，工作了六、七年，从对香港一无所知，到一个人带着三个孩子在香港立足，有了自己的事业、不错的收入，这期间得到很多人的帮助。陈琪对此心存感激，认为老天爷待她不薄。她也因此敦促自己，在人生的路上不可做一件坏事，因为“人在做，天在看”，不可不信。

为了孩子改嫁珀斯

尽管在香港事业蒸蒸日上，为了让三个有哮喘病的孩子不再发病，陈琪听到儿科医生说香港气候不好，不利于治疗，而澳大利亚的珀斯是自然治疗哮喘病的最好地方，决心离开香港。另一个让陈琪心有余悸的是，一旦将来香港回归，共产党统治了香港，她从小经历的凄惨遭遇会不会在她的子女身上又一次上演？

尽管决心离开香港，不懂英语的陈琪却寸步难行，为了孩子，最后只能选择改嫁到珀斯。在离开香港时，一直在陈琪家做佣人、陈琪待她如母的珍姐偷偷对孩子们说：“你母亲全是为了你们才选择嫁去澳大利亚的，如果你们不孝，雷会劈你们的。”

舍弃了在香港的事业，来到珀斯洗碗、开餐馆，磨破了曾经弹古筝的玉手，催老了姣好的容颜，这样的日子一过40年。所幸的是，正如儿科医生所讲，三个孩子的哮喘病再也没有发过。儿女们对母亲也爱得很深，很孝顺。

像父亲那样撑起一片天

移民到珀斯的陈琪，除了养育孩子，还耗尽心思和积蓄，将母亲、弟弟全家和姐姐移民到珀斯。冥冥中她似乎知道，父亲把挑起一家人的重担交给了她，再难也要走下去，而父亲在冥冥中也在保佑着她。陈琪无论受到多大的委屈，她相信，老天爷自有秤一把。

70年的坎坷辗转、悲欢离合，陈琪盼望着有合适的机缘出版自传《筝路历程》，让更多人能通过她的人生故事体验生活的艰辛，了悟在磨难中的心灵真谛。◇