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| HONG KONG — Often shirtless in summer, smelling of sweat and ink, the aggrieved artist wrote incessantly, and everywhere: on walls, underpasses, lamp posts and traffic light control boxes. | 香港——这名愤愤不平的艺术家夏天常常光着膀子，身上散发着汗水和墨汁的味道，四处不停地写字：墙上、地下通道、灯柱和交通灯控制箱上。 |
| He covered public spaces in Hong Kong with expansive jumbles of Chinese characters that announced his unshakable belief that much of the Kowloon Peninsula rightfully belonged to his family. | 他用洋洋洒洒的杂乱汉字覆盖了香港的公共场所，宣布了一个坚定不移的信念：九龙半岛的大部分土地理应属于他家。 |
| During his lifetime, the graffiti artist, Tsang Tsou-choi, was a ubiquitous figure, well-known for his eccentric campaign that struck most as a peculiar personal mission, not a political rallying cry. | 在涂鸦艺术家曾灶财的一生中，他曾是个处处可见的人物，以一个古怪的行动而闻名，在大多数人的印象中，他执着的是一个奇怪的个人使命，而不是一种政治信念。 |
| But Hong Kong has become a very different place since Mr. Tsang died in 2007, and his work — once commonly spotted, but now largely vanished from the streetscape — has taken on a new resonance in a city where much political expression has been stamped out by a sweeping campaign against dissent since 2020. | 但在曾灶财2007年去世后，香港已变成了一个非常不同的地方。在这个自2020年以来一直进行着大范围压制异见运动的城市，大部分政治表达已被扼杀，而他的字迹——过去随处可见，但现在已经基本上从街头消失——却在引起新的共鸣。 |
| “In his lifetime, particularly early on, people thought he was completely crazy,” said Louisa Lim, author of “Indelible City: Dispossession and Defiance in Hong Kong,” a new book that examines Mr. Tsang’s legacy. “Even at the time that he died no one was really interested in the content or the political message of his work. But actually, he was talking about these Hong Kong preoccupations long before other people were — territory, sovereignty, dispossession and loss.” | “在他生前，尤其是他年轻的时候，人们认为他完全是个疯子，”《不可磨灭的城市：香港的剥夺与反抗》的作者林慕莲(Louisa Lim)说，这本书探讨了曾灶财遗留下来的东西。“即使在他去世的时候，也没有人真正对他作品的内容或政治信息感兴趣。但实际上，他早在其他人之前就在谈论香港的这些问题——领土、主权、剥夺和失去。” |
| When a decades-old work surfaced earlier this year, it started drawing a crowd to a setting that could hardly be more mundane: a concrete railway bridge, built over a roadway and adorned with little besides a registration number and a warning against graffiti. | 今年早些时候，他几十年前的一件作品重新出现，将人群吸引到一个再普通不过的地点：一座横穿马路的混凝土铁路桥，除了桥的编号和禁止涂鸦的警告外，它几乎没有任何装饰。 |
| The bridge sits near a bird market and a sports stadium on Boundary Street, a road that marks the edge of the territory ceded by the Qing dynasty to the British in 1860 after the Second Opium War. It is covered in gray paint, some of which flaked away this spring — exactly how remains a mystery — to reveal a palimpsest of Mr. Tsang’s work from several eras of painting at one of his favorite sites. | 这座桥位于界限街的一个鸟市和一个体育场附近。界限街标志着1860年清朝在第二次鸦片战争后割让给英国的领土的边界。桥涂了灰色的油漆，有部分地方的油漆在今年春天脱落（究竟是怎么脱落的仍是个谜）之后，显露出来自不同时代、层层叠压的曾灶财作品。这座桥曾是他最喜欢的涂鸦地点之一。 |
| Lam Siu-wing, a Hong Kong artist, said he happened across the Boundary Street work while out for an evening walk in late March. | 香港艺术家林兆荣说，今年3月底的一个晚上，他出去散步时偶然看到了界限街桥上的字迹。 |
| “I thought the old Hong Kong was saying hello again,” he said. | “我觉得老香港又在跟我打招呼了，”林兆荣说。 |
| News of the discovery began to spread, with When In Doubt, an artist collective that Mr. Lam belongs to, describing his find as a rare treasure. The group noted that it’s one of the earliest artistic creations to prod discussion of an essential and increasingly pressing question in Hong Kong: Who does urban space belong to? | 消息开始传开，林兆荣所属的艺术家团体“怀疑人生就去”称这一发现为墨宝重见天日。他们指出，这是推动人们对香港一个日益紧迫的问题展开讨论的最早艺术创作之一：城市空间到底属于谁？ |
| While the legitimacy of his territorial claims is questionable, based on his reading of his own family tree, Mr. Tsang became a sort of popular sovereign in his own right; he is now widely known as the “King of Kowloon.” His death at 85 was given blanket coverage in the local media, with some newspapers covering their front pages with rarefied characters reserved for royalty. | 曾灶财对土地的主张根据的是他对家谱的解读，虽然这个主张的合法性存疑，但曾灶财凭自己的努力成了某种大众喜爱的君主；他现在以“九龙皇帝”的称号广为人知。他85岁去世的消息曾得到当地媒体的广泛报道，有些报纸刊登在头版的大标题使用了只用于皇帝去世的说法。 |
| Despite his fame, his works were often daubed over by municipal workers tasked with keeping graffiti at bay. | 尽管他很有名，但他的作品经常被负责清除涂鸦的市政工人覆盖掉。 |
| But even as his art disappeared, the questions it touched on became more relevant and wrenching, permeating the pro-democracy protests that engulfed Hong Kong in 2014 and 2019. | 但即使他的作品消失了，其所涉及的问题也变得更具相关性、更加让人痛苦，影响着2014年和2019年席卷香港的亲民主抗议活动。 |
| And while many of those protesters were too young to have ever known a city slathered with Mr. Tsang’s work, they also covered public places with their own slogans and painted over symbols of Chinese authority in the Legislative Council and other government buildings. | 虽然很多抗议者都太年轻，不知道这个城市曾经涂满了曾灶财的作品，但他们也用自己的口号覆盖了公共场所，曾在立法会和其他政府大楼的国徽上涂鸦。 |
| “Again and again over the years, his ideas had trickled into the lifeblood of the city through the medium of calligraphy, percolating into its veins,” Ms. Lim writes in her new book. | “多年来，他的理念一次又一次地通过书法这个媒介渗入这座城市的命脉，在城市的血管里流淌，”林慕莲在她的书中写道。 |
| The protest graffiti from 2019 has now been almost entirely erased, although “Be Water” — a Bruce Lee mantra adopted by demonstrators — and other messages can sometimes still be seen faintly on walls and walkways. | 虽然2019年的抗议涂鸦现已几乎被完全抹去，但偶尔在墙上或人行道上仍能隐约看到示威者使用的李小龙的口头禅“Be Water”（像水一样吧）和其他一些信息。 |
| Likewise, little remains of the thousands of works by Mr. Tsang that once plastered the city. A few, particularly items he did on paper and other more portable mediums, have sold at auction. M+, Hong Kong’s new art museum, has more than 20 works of his in its collection, including a pair of ink-painted wooden doors. | 同样，曾灶财在这座城市涂写的数千件作品也差不多消失殆尽。一些作品在拍卖会上售出，尤其是他写在纸上或其他更便于携带的媒介上的作品。香港新建的艺术博物馆M+收藏了他的20多件作品，包括两扇写满墨迹的木门。 |
| But far more are hidden under paint on the streets of the city. | 但更多的作品隐藏在香港街头，被油漆所覆盖。 |
| Mr. Tsang received just a few years of formal education, and some experts have sniffed that his writing, almost all done by brush and ink he used by the gallon, was not calligraphy in the formal Chinese tradition. Still, his work was shown at the Venice Biennale in 2003, and pieces sell for as much as $100,000. | 曾灶财只接受过几年的正规教育，一些专家对他的书法不以为然，认为这些几乎都是用毛笔和大量墨汁写的字并非中国传统意义上的书法作品。尽管如此，他的作品曾在2003年的威尼斯双年展上展出，有些已卖出了10万美元的高价。 |
| Researchers say the style of his work, which is filled with lists of ancestors and names of places he claims, was likely inspired both by the writing primers he used as a child and the text-heavy advertisements that filled the city in the middle of the 20th century. | 研究人员说，他的作品主要是祖先的名字和他声称拥用地方的地名，风格可能受了他小时候学毛笔字用的字帖和20世纪中期充斥香港的大量文字广告的启发。 |
| Over the years, efforts to preserve Mr. Tsang’s work have been piecemeal, with some works destroyed through negligence. In 2017 a city contractor painted over a work on an electric switch box near an arts college, damaging it beyond repair. Officials have said others are too badly deteriorated to warrant protection. | 多年来，保护曾灶财作品的努力一直比较零星，一些作品因疏忽而遭毁坏。2017年，曾灶财涂在一所艺术学院附近一个配电箱上的字迹被一名城市承包商用油漆覆盖，毁坏到无法修复的程度。官员们曾表示，其他作品损毁得过于严重，已不值得保护。 |
| The MTR Corporation, the Hong Kong mass transit operator that owns the bridge at Boundary Street, said it is investigating how to preserve the site’s work, with Hong Kong’s government saying it was offering technical advice. | 界限街桥的所有者港铁公司表示，它正在研究如何保护桥上的字迹，香港政府称将提供技术建议。 |
| Two other Tsang pieces — a pillar near the Star Ferry terminal at the southern end of the Kowloon Peninsula and a lamp post outside a public housing estate — were covered with clear plastic boxes more than a decade ago in response to growing public demands that they be preserved. | 为回应公众要求保护曾灶财作品越来越高的呼声，香港政府已在十年前用透明塑料盒将曾灶财的另外两件作品罩了起来，一件在九龙半岛南端天星码头附近的一根柱子上，另一件在一处公屋楼宇外的电灯杆子上。 |
| Willie Chung, a collector who met Mr. Tsang in the early 1990s and spent years documenting his work, helped organize a petition to protect the art. But he laments there is no commemorative signage to tell passers-by about them. He has documented dozens of other sites as well, but is cautious about publicizing the locations, saying official preservation policy is still too inconsistent. | 收藏家钟燕齐在20世纪90年代初与曾灶财相识，他花了多年时间记载曾灶财作品的详情，曾帮助组织了保护艺术品的请愿活动。但钟燕齐对没有向路过者介绍这些作品的纪念性标志表示失望。他还有其他几十处字迹的纪录，但对公布这些地点持谨慎态度，他说，官方的保护政策仍不太一致。 |
| “There’s still a lot of uncertainty,” he said. | “仍然有很多不确定性，”钟燕齐说。 |
| For now, he makes regular visits to check on them and add protective coatings. After days of spring rains, he traveled to a handful of sites in eastern Kowloon. At one he took out a small wire tool and removed layers of adhesive accumulated from advertisements slapped onto a lamppost that Mr. Tsang had painted years ago. His characters peeked out from under gray paint, declaring him owner of that spot. | 就目前而言，他会定期去这些地点查看，给它们添加防护涂层。数日的春雨过后，钟燕齐去了九龙东部的几个地点。在一个地点，他拿出一个小的钢丝工具，把在路灯柱上贴小广告留下的一层层的胶刮掉，那根柱子上有曾灶财多年前留下的字迹。灰色油漆下显露出来的字迹宣称了他是那个地方的所有者。 |
| At another location, Mr. Chung crossed several lanes of traffic near a construction site. Bemused workers in yellow hard hats watched as he walked past thorn bushes and plastic barriers to series of pillars. He scraped off the traces of dead vines with a putty knife, then a layer of paint. | 在另一个建筑工地傍的地点，钟燕齐穿越了几条车道。戴着黄色安全帽的工人们困惑不解地看着他穿过荆棘丛和塑料栅栏，走到一排柱子前。他先用油灰刀刮掉了枯藤的痕迹，然后刮掉一层油漆。 |
| Gradually, the characters became clearer. “Tsang,” read one. Then above it, “China.” Once, the stark characters had stretched around the pillar and others nearby. For now, they remain almost completely hidden. | 渐渐地，字迹变得清晰可见。一个字是“曾”。在它上面是“中国”。曾几何时，这些字迹曾鲜明地遍布在这根柱子和附近其他几根柱子上。现在，它们几乎完全隐蔽起来。 |
| “I hope there will be a day,” Mr. Chung said, “when we can share this with everyone.” | “我希望有那么一天，我们能与所有的人分享这个作品，”钟燕齐说。 |
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