DATE

5/27/25

TIME

3:39 PM

LOCATION

Oakland, CA

Building Autonomy Requires Central-Local Collaboration

接《自由的觉醒 vs 被动的动员》

6-3: 各省自治的尝试

“驱张运动”发生在1920年夏,从张敬尧1918年被北洋政府任命为湖南督军,不过两年时间。毛泽东此时还没有加入中国共产党,他只是以湖南地方激进知识分子、改良派的身份出场,住到宣传也动员群众,组织罢课、罢市、示威游行。1920年11月,张敬尧被迫离开湖南,由北洋政府调任他职。毛先生尝到了组织群众的甜头,也亲身体会到动员底层人民对权力施压的实际效果。

因为张敬尧的离开,湖南迎来了短暂的政治真空。新任督军赵恒惕虽然是北洋系,但相对温和,在政治上比较务实。赵恒惕是湖南宁乡人,清朝秀才出生,后来留学去日本学法律,属于早期的开明官僚。辛亥革命之后,他曾在北洋政府体系中做过司法相关工作,还曾担任法官、司法总长的职务。在成为督军之前,他也担任国湖南省长。他属于所谓的北洋系,不是皖系、直系这种军阀核心派,相对次一级,属于本地出身的技术官僚。

当时的湖南社会舆论激昂,学生、商界、知识分子普遍希望借“驱张”胜利的东风,推动湖南的地方改革,摆脱中央军阀的控制,实现“湖南自治”。当时很多南方省份都有类似倾向,湖南最激进,毛泽东是这一潮流的积极推动者。

1921年上半年,毛先生在长沙发起并主编了《湘江评论》,提出湖南人治湖南主张。他批评北洋军阀“远在北京,不知湖南疾苦”,主张省内应由人民选举产生省议会,推行地方自治制度。他曾联合杨昌济,也是他当时的岳父、老师,语言学家黎锦熙、谢觉哉等人,提出《湖南省宪草案》初步框架,计划设立省议会、选举知事、独立财政等。这放在现在,可能会被港独、台独一样,被看成湘独。但网络还没出现,水军也没有,cancel culture还不存在。当时,不只是湖南,其他所有省也效法。大家都希望可以相对自治,自行管理,自给自足。

这印证了我一直一来的一个想法:中国与其说是“人民共和国”,不如说是“中华人民合省国”,United Provinces of China。从我自己见到的、地域之间的文化差别、各个省市直辖市之间的地头蛇文化来看,各省几乎是相对独立的文化体。不同的观念、喜好、语言、文化、传统,以及省级、市级、区级之间从上至下的层级,平级之间的相对独立,不同区域差别巨大。执法、行政习惯和规矩也完全不同。

相比今日中央集权下的省级政府完全听命于中央,当时《湖南省宪草案》中的地方财政、教育自主等条款,其实呈现出一种对‘联邦制’的原始幻想。毛泽东在这段时期尚处于改良派与联省自治思路之间,这与他后来的极端集中主义之间,存在明显断裂。这让我思考:中国到底有没有可能以一种不靠暴力革命的方式实现地方治理能力的提升?


6-4:《湖南省宪草案》与宪政幻想

《湖南省宪法》或《湖南省宪草案》的原文我已经找不到了,但在张千帆的《宪政常识》里,有提到起草这个文件的细节。


在1920年9月3日发布的《湖南建设问题的根本问题》,毛先生写到:

“大概从前有一种谬论,就是“在今后世界能够争存的国家,必定是大国家。”这种议论的流毒,扩充帝国主义,压抑自国的弱小民族,在争海外殖民地,使半开化未开化之民族,变成完全奴隶,窒其生存向上,而惟使恭顺驯屈于己。最著的例,是英美德法俄奥,他们幸都收了其实没有成功的成功。还有一个,就是中国,连“其实没有成功的成功”,都没收得。收得的是满洲人消灭,蒙人,回人,藏人,奄奄欲死,十八省乱七八糟,造成三个政府,三个国会,二十个以上督军王,巡按使王,总司令王,老百姓天天被人杀死奸死,财产荡空,外债如山,号称共和民国,没有几个懂得“什么是共和”的国民。”

我赞同他的这个思路,只是不知道后来的执行为何偏差这么大。我没有办法找到文献细节,似乎现在很多文件不能用非大陆IP访问了。我询问了一下Chatgpt,它根据各种文献推断《湖南省宪法》可能包括如下内容:

  • 省议会制度:所有年满21岁的男子,均有选举权。由基层普选产生省议员,设立湖南省议会。议会拥有制定地方法规、预算、监督行政权力。

  • 知事民选:拟取消北洋政府任命的督军制度,由省民选出“省知事”,知事对议会负责,权力受制于法定程序,设罢免机制,保障民众对地方官员的监督权。

  • 地方财政与教育自治:省内税收自管,不上缴中央军阀;财政预算由省议会审议通过;教育权交由地方主管,自编教材,自定课程,推广白话文教育与实用知识。

  • 省级宪法保障权利:明确列出人民基本权利,如言论、出版、集会、结社;军队必须受民选政府指挥,反对“军人干政”;鼓励工会、学生团体等自治性民间组织参与治理。

当时不少湖南省议员、地方人士在赵恒惕上台后提出了一系列宪政改革建议,比如设置省议会、推动有限普选;推动省级财政独立预算;鼓励地方教育机构自己制定课程,如黎锦熙推动的白话文教学。赵恒惕并未封杀这些议题,甚至曾表示“可先行调研试办”,留出模糊空间。毛泽东、黎锦熙、谢觉哉等人正是在这种“默认默许”的气氛中提出了《湖南省宪草案》的设想。

而《湘江评论》从1921年5月创刊,在长沙公开出版,提出“湖南人治湖南”等口号,批评北洋军阀的中央集权。如果赵恒惕当时立刻表态反对,完全可以用“危害国家统一”的罪名查封该刊,但他在早期选择不干预、不查禁,这本身就是一种政治信号。事实上,《湘江评论》直到数月后才被迫停刊,说明赵恒惕一开始是容忍、观望的。赵恒惕在日本学过法律,做过司法总长,对“宪政”“自治”这些概念并不陌生,甚至可能个人内心部分认同,只是他更看重官僚理性与稳定秩序,不希望改革过激。


6-5: 北洋中央的镇压

北京的北洋中央段祺瑞、曹锟等人,本质上是军人集团政府,他们不认同分省立法、民选政府等观念,认为这等于变相联邦制,可能激发地方独立倾向。当时本来就军阀林立、中央羸弱,如果湖南开了自治先例,四川、广东、云南等“本就半独立”的地区就更难控制。他们很快叫停《湘江评论》,命令赵恒惕镇压激进势力,出动驻军震慑长沙,表明“中央不可挑战”。

对各类新成立的自治推进团体,如“湖南宪政研究会”“自治促进会”等,赵恒惕开始下令禁止集会,并派军警查封办公地点。许多青年团体、学生组织被“劝退”、登记取消,部分骨干被秘密传讯、威胁驱逐。

虽然表面上保留了部分“省议会”“教育改革”的架构,但赵恒惕在关键位置安插亲信绅士、温和派文人,实质上架空了激进派的影响力。对地方教师系统、教材编写团队重新整编,把毛泽东、黎锦熙等人的话语权挤出决策圈。他配合中央政府通电全国,将湖南部分激进派的主张定性为“地方割据”、“扰乱国家统一”。毛泽东等人被贴上“地方激进分子”“鼓吹湘独”的标签,在政治生态中被孤立。运动内部也派系林立,毛代表的激进派与温和改良派、地方绅士派之间缺乏协调,无法形成统一阵线。

当时有毛泽东代表的激进派,以毛泽东、蔡和森、谢觉哉、李维汉等青年知识分子为主,很多是新文化运动背景下成长起来的一代。他们多有留法、留日背景,或受共产国际影响,信奉社会主义、群众动员、社会改造。他们主张坚决废除军阀体制,主张普选、省议会、民选知事;鼓吹底层动员、建立农民组织、工会组织;提倡白话文、扫盲、反封建、打击豪绅地主;鼓励《湘江评论》这种新式舆论平台批判中央。

还有温和改良派,或“文化自由派”。主要代表人物有杨昌济、毛先生的妻子杨开慧的父亲,黎锦熙、章士钊、任弼时、何叔衡等。他们大多是教育界人士,倾向于渐进改革、制度建设而非暴力革命。他们主张推行地方自治、议会制度;建立省宪法、普及教育;支持文化启蒙与舆论多元,但不主张群众暴动或阶级斗争。我想如果我生活在那个年代,我应该是这个流派。

最后是地方绅士派,由地主、乡绅、旧式读书人、地方商会成员组成,是地方财政、教育、治安的实际控制者。他们主张“稳定为先”,可接受有限改革,但反对群众动员。对激进派提出的农协、工会、动员“无产者”,极度警惕。他们希望用自治打破中央军阀控制,但不想改变地方既得利益结构。但他们保守、投机,墙头草。面对中央施压时迅速倒戈,向北洋靠拢。一旦形势不利,就配合镇压激进分子。

毛泽东想的是底层翻天,黎锦熙想的是文化自立,地方士绅想的是去北京不去地主。这三种诉求无法整合成一套统一的制度性行动,最后在赵恒惕和北洋政府的压力下,如同散沙,一碰就垮。



6-3: Experiments in Provincial Autonomy

The "Drive Out Zhang" Movement (qu Zhang yundong) erupted in the summer of 1920, targeting Zhang Jingyao, a Beiyang warlord who had been appointed as military governor of Hunan in 1918. By then, Mao Zedong had not yet joined the Chinese Communist Party. He emerged in this period as a radical local intellectual and reformist, organizing student strikes, business shutdowns, and mass demonstrations. In November 1920, under mounting local pressure, Zhang was forced to leave Hunan, reassigned by the Beiyang government. For Mao, this marked his first taste of mass mobilization—and its power to pressure authority from the grassroots.

Zhang's departure created a brief political vacuum. His successor, Zhao Hengti, though still part of the Beiyang clique, was comparatively pragmatic and moderate. A native of Ningxiang, Hunan, Zhao was a former Qing scholar who had studied law in Japan and held several legal and administrative posts under the Beiyang regime—including provincial governor and Minister of Justice—before becoming Hunan's military governor. While affiliated with the northern warlords, Zhao belonged to a more technocratic and locally rooted stratum, distinct from the Anhui or Zhili military cliques.

In this atmosphere, Hunan's intellectuals, students, and business leaders seized the moment, pushing for local reform and autonomy from Beijing's warlord rule. Similar trends emerged across southern provinces, but Hunan's movement was the most radical, with Mao as one of its vocal advocates.

In early 1921, Mao founded and edited the journal Xiangjiang Review (Xiangjiang Pinglun), calling for "Hunanese rule over Hunan." He denounced the Beiyang warlords as "distant in Beijing, ignorant of Hunan's suffering" and argued for a provincial legislature elected by the people to implement local autonomy. Collaborating with his mentor and father-in-law Yang Changji, linguist Li Jinxi, and reformer Xie Juezai, Mao helped draft a preliminary version of the Hunan Provincial Constitution. This draft envisioned a locally elected assembly, a provincial executive (zhishi), independent finances, and educational self-governance. Today, such a proposal might be likened to pro-independence movements in Hong Kong or Taiwan, but in the early 1920s, with no internet or cancel culture, these ideas found echoes across many provinces.

This resonates with a long-standing personal belief: that China, rather than being a single "People's Republic," has historically functioned more like a "United Provinces of China." From firsthand observation, each province operates as a semi-autonomous cultural and administrative entity, with vast differences in language, custom, law enforcement, and governance.

Compared to today's highly centralized provincial administrations, the 1921 Hunan Draft Constitution envisioned a proto-federalist structure, with local control over tax, education, and administration. Mao, still a reformist at this stage, entertained visions of decentralized governance—a stark contrast to the hyper-centralism he later came to embody. This raises the question: Could China have achieved genuine local governance reform without a violent revolution?


6-4: The Hunan Draft Constitution and Constitutional Dreams

The full text of the "Hunan Provincial Constitution" is no longer readily accessible, but its drafting process is mentioned in Zhang Qianfan's book Constitutional Essentials (Xianzheng Changshi).

In a September 3, 1920 essay titled "The Root Problem of Hunan's Reconstruction Is the Reconstruction of Political Power," Mao wrote:

"A common fallacy of the past was that only great powers could survive in the modern world. This notion fed imperialism, crushed minority nationalities, and turned semi-civilized peoples into slaves. Britain, America, Germany, France, Russia, and Austria all followed this path, though none truly succeeded. China fared worse—not even a false success. What it achieved was the extinction of the Manchus, and the slow death of the Mongols, Muslims, and Tibetans. The 18 provinces are in chaos, ruled by warlords, with three governments, three parliaments, over twenty warlord-kings, and constant killings. The so-called Republic has few citizens who understand what a republic actually means."

I resonate with this logic, though I struggle to understand why Mao later strayed so far from it. The historical documents are not easily accessible outside mainland China. Based on academic reconstructions, the Hunan Draft Constitution likely included the following elements:

  • Provincial Assembly System: All men aged 21 and above were granted suffrage. Provincial legislators were elected via grassroots ballots, and the legislature was empowered to draft local laws, approve budgets, and oversee administrative conduct.

  • Direct Election of Provincial Head (Zhishi): Abolishing Beijing-appointed military governors, the zhishi would be elected by the people and accountable to the provincial legislature. Legal procedures and recall mechanisms would ensure public oversight.

  • Fiscal and Educational Autonomy: Hunan would retain its tax revenues rather than remit them to central warlords. The provincial assembly would approve budgets, and local education authorities would devise curricula, compile textbooks, and promote vernacular education and practical knowledge.

  • Basic Rights and Civil Liberties: The constitution guaranteed freedom of speech, press, assembly, and association. The military was to remain under civilian oversight. Civil society groups like labor unions and student associations were encouraged to participate in governance.

Following Zhao Hengti's appointment, many local politicians and intellectuals submitted reform proposals, calling for an elected assembly and fiscal independence. Linguist Li Jinxi, for instance, promoted vernacular literacy. Zhao did not immediately suppress these ideas; he even encouraged pilot programs and investigations, leaving space for constitutional discussion. It was in this ambiguous atmosphere that Mao, Li, and Xie proposed the draft constitution.

The Xiangjiang Review, launched in May 1921 in Changsha, openly advocated slogans like "Hunanese Rule Over Hunan" and denounced Beijing's centralized warlordism. Had Zhao opposed this from the outset, he could have shut it down under charges of threatening national unity. But he allowed it to operate for months—a political signal in itself. Zhao, educated in Japan and once Justice Minister, likely understood and partly sympathized with constitutionalist ideals. However, his priority was bureaucratic order and stability, not radical reform.


6-5: The Beiyang Central Government's Crackdown

Beijing's Beiyang regime, led by Duan Qirui and Cao Kun, was fundamentally a military junta. It rejected provincial legislatures and electoral government, fearing a slippery slope toward federalism and local separatism. The central government quickly censored the Xiangjiang Review, ordered Zhao to clamp down on radicals, and deployed troops to intimidate Changsha—sending a clear message that autonomy would not be tolerated.

New civic groups promoting self-governance—such as the Hunan Constitutional Research Society and the Autonomy Promotion Association—were banned. Zhao ordered the closure of their offices, the dispersal of student and youth organizations, and the secret interrogation or expulsion of their leaders.

While outwardly preserving a veneer of reform, Zhao installed loyal moderates in key posts, sidelining the radicals. He reorganized local educational boards and curriculum commissions, marginalizing Mao and Li Jinxi. In joint telegrams with Beijing, he labeled Mao's faction as "provincial separatists" and "disruptors of national unity," politically isolating them.

Within the movement, three camps emerged:

  • The Radical Faction, led by Mao, Cai Hesen, Xie Juezai, and Li Weihan—young intellectuals influenced by the New Culture Movement and international socialism. They supported mass mobilization, universal suffrage, peasant associations, workers' unions, vernacular literacy, and anti-feudal reform.

  • The Moderate Reformists, or "cultural liberals," including Yang Changji (Mao's father-in-law), Li Jinxi, Zhang Shizhao, Ren Bishi, and He Shuheng—educators advocating gradual reform, constitutional institutions, and educational modernization. They favored autonomy but rejected violent revolution. I suspect I would’ve aligned with this camp had I lived in that era.

  • The Gentry Faction, composed of landlords, local elites, and business guilds. They valued stability and tolerated limited reforms but opposed mass mobilization. Though they initially supported autonomy to escape central control, they quickly sided with Beijing once pressure mounted.

Mao sought grassroots upheaval. Li Jinxi pursued cultural sovereignty. The gentry simply wanted Beijing out without sacrificing local dominance. These divergent agendas could not be unified into a single institutional project. Under pressure from Zhao and Beijing, the movement fragmented and collapsed like loose sand.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。