DATE

10/2/25

TIME

5:19 PM

LOCATION

Oakland, CA

Chasing Gold was Quite Romantic. Things Aren't too Different today

淘金热(ii)

Preface: 接上篇。


1848年1月24日,詹姆斯·马歇尔在萨特磨坊发现黄金。1848年夏天:美国总统波尔克在国会确认加州“确有黄金”,消息彻底引爆全球。消息一开始在加州本地传播,旧金山港口的船员、水手、商人最先涌入矿区。当时加州人口少、交通慢,东海岸的华盛顿、纽约很久都没有得到确切消息。很多人怀疑这是谣言。到了1848年夏天,黄金的消息陆续传到华盛顿,但缺乏权威证实。美国总统 James K. Polk收到了加州军政官员、商人带回的金块样品。Richard Mason时任加州军事总督,他写了一份详细的报告,确认在加州各地确实发现大量黄金。1848年 12月5日,波尔克在国会发表《总统年度咨文》(State of the Union Address),其中专门提到:“黄金在加利福尼亚被发现,数量极其丰富,几乎无处不在。”(Gold has been found in California in such abundance that it seems almost inexhaustible.)1849年春天,第一批大规模“49ers”潮水般从美国东部和世界各地赶往加州。1848年时,加州人口不到2万人,而到了1849年超过10万人涌入,人口突破25万,其中中国人就有2万人。旧金山从小渔港在几年内膨胀成世界级港口城市。

淘金的早期,也就是1848到1850之间,最简单的淘金盘(Gold Pan)、淘金槽,几乎人人可以试。一个铁盘或木盘,在溪流中不断摇晃,把泥沙和水冲掉,留下沉重的金粒。成本极低,几乎任何人都能上手。还有淘金槽(Long Tom / Sluice Box),是用木板做成长槽,引入溪流,把含金砂石倒入,让水流冲走轻的部分,在槽底放“横木”或“草垫”,用来截留金子。这样做,比单纯的淘金盘效率高,但还是个人或小团队操作。当时的金子往往是砂金(Placer Gold),就在河边浅层,非常容易被发现。一夜之间,人人都怀着“一夜暴富”的幻想,哪怕是农夫、厨子、裁缝,都能立刻丢下工作跑去挖金。这是淘金热最浪漫、最自由的时期,人人有机会。

但这样的浪漫,很快就被开采过度带来的资源枯竭打破。到了中期,也就是1850到1853之间,淘金工具开始升级,需要更多协作和资金。人们开始使用摇床(Cradle / Rocker),因为外形像个摇篮而得名。工人把砂石倒进摇床,用水冲洗,同时摇动装置。摇床的底部有金属网和毛毯状过滤层,可以把金子留下。这样做的效率比淘金盘高很多,可以处理更大量的砂石。大规模团队开始修建木制水渠,把高处的溪水引下来冲刷矿土。这样的操作需要合作和投入,往往是几十人一起组成矿队,用手推车运送砂石,逐渐向工业化过渡。这个时期开始出现“矿权”概念,谁先到达某一地并开采,就拥有该地的使用权。这导致竞争加剧,冲突频发,许多外国矿工(尤其是华人、墨西哥人)被排斥、赶走。1850年《外国矿工税》颁布,每人每月20美元,主要针对华人和拉美裔。到了1850年代初,“散兵游勇”式的个人淘金越来越难,只有组团、用更复杂设备,才能继续生存。

到了后期,1853到1855之间,出现了水力采矿(Hydraulic Mining)。这个技术使用巨大的水炮(水力枪)把高山坡面的砂石冲塌,再冲入长槽分离黄金。效率极高,但需要巨额投资,修水渠、水坝、水管。还有深井开采(Hard-Rock Mining),开凿矿井,进入地下岩层,寻找石英脉中的金矿,并且需要炸药、木支撑、提升设备,投入成本更大。资本集团开始进入,大公司、财团出现,买断大片矿区。个人矿工逐渐失去立足之地,只能转为雇佣工人。大量“49ers”失败而归,许多人破产。外国矿工,尤其华人更难与资本竞争,只能转入服务业,做餐饮、洗衣、裁缝等。矿区环境遭受严重破坏,河流被泥沙淤塞,农田被毁。到1855年左右,淘金热的“狂热期”基本结束,从全民梦想走向工业垄断,社会开始冷却。

当时矿区缺乏法律,暴力和抢劫频繁。淘金者带着金粉回城,半路被袭击常见。私刑泛滥,偷盗、债务纠纷,等都用私刑(lynching)解决。各族群矛盾也很尖锐,美国本地白人常通过“矿区法庭”(Mining Camp Courts)驱逐华人、墨西哥人。前面提到的,1850年加州通过 《外国矿工税》(Foreign Miners’ Tax),也是专门针对华人和拉美矿工,每人每月需交20美元,这在当时是巨额的负担。


淘金热狂潮一年之间迁徙而来的华人,大多来自广东珠三角,主要来自 台山、开平、中山、新会、恩平等地。鸦片战争后中国南方经济困顿、土地贫瘠,农民受饥荒和战乱困扰。因此,传说中的“金山梦”吸引了大量农民,旧金山在华人中当时被称为“金山”。直到大约在 1850年代末到1860年代,金山才变成旧金山,而新金山New Gold Mountain 是指澳大利亚墨尔本,来自于1851年维多利亚淘金热。因为澳大利亚淘金热也吸引了大批广东移民,需要区分两个“金山”,所以后来大家才说 “旧金山” 来专指美国的 San Francisco。

台山、开平、新会、恩平这几个地方在清代人口稠密、土地贫瘠,农民普遍贫苦。中山、东莞、顺德、番禺 等地也有大量劳工出海,后来在美国形成“台山帮”、“四邑人”社区。前面也提到,鸦片战争后(1840–1842),中国南方经济被打击,鸦片泛滥、赋税沉重。珠江三角洲土地资源有限,人口过剩,农民生活艰难。同时,太平天国运动(1851–1864)造成动荡,大量百姓被迫流亡。而“旧金山”在广东人口中被称为 “金山”(San Francisco = “Gam Saan”),民间传说“一到金山就能发财”,很多人倾尽家财买船票。

当时的主要航线,是从广州十三行,到香港,再到旧金山。航程需2–3个月,途中疾病、风暴、饥饿常见,死亡率不低。运输商多由美国、英国商船公司承运。船票费用昂贵,相当于农民数年积蓄。很多人以 “赊账” 形式购票,即成为“契约劳工”(coolies),抵达后要靠打工偿还债务。社会结构也因此很多移民是“男工社会”,因为清政府严格限制妇女外出,导致华人社区长期性别失衡。听上去是非常疯狂的一段历史,但在我眼里怎么这么浪漫呢。一定是我脑补了很多。一定是这样。

旧金山是华人最早、最主要的落脚地。初到者往往先落脚在 唐人街(Chinatown),再通过 “会馆”(clan associations)或“合股制”组织进入矿区。“会馆”按照籍贯划分,如“宁阳会馆”、“冈州会馆”,互助性强。矿区分布上,多数华人进入 内华达山脉金矿带(Sierra Nevada foothills),尤其是萨克拉门托河流域。华人多避开白人争夺的“富矿”,转向白人弃置的小溪流、尾矿。他们依靠耐心和集体合作,从别人放弃的地方挖出黄金。同时,他们降低生存成本,生活节俭,忍受恶劣环境。但后因排斥与暴力,许多华人退出矿区,转入城市和小镇经营。例如在洗衣店提供廉价劳力,几乎垄断行业。开餐馆,炒菜、面点,既服务华人,也逐渐吸引白人。开裁缝、杂货店,以满足矿区和城市生活需求。许多华人退出矿区,转向城镇经济,奠定了唐人街的经济基础。

Preface: A continuation of the previous piece.


On January 24, 1848, James Marshall discovered gold at Sutter’s Mill. In the summer of 1848, U.S. President James K. Polk confirmed before Congress that “gold has indeed been found in California,” and the news set off a global explosion. At first, the story circulated only locally in California, with sailors, merchants, and dockworkers in San Francisco rushing inland to the diggings. At the time, California had a tiny population and poor communications—so much so that the East Coast cities like Washington and New York went months without solid information. Many dismissed it as rumor.

By summer 1848, reports began trickling into Washington, but without official proof. Polk eventually received gold samples carried back by California officials and businessmen. Richard Mason, then the military governor of California, had also written a detailed report confirming large deposits of gold throughout the region. On December 5, 1848, Polk delivered his State of the Union Address to Congress, stating: “Gold has been found in California in such abundance that it seems almost inexhaustible.”

By spring 1849, the first great wave of “49ers” was flooding into California from the eastern U.S. and across the globe. In 1848, California’s population had been fewer than 20,000; by 1849, over 100,000 had arrived. Within a year it surged to 250,000—among them 20,000 Chinese. San Francisco, once a tiny fishing port, swelled into a world-class seaport city within a few years.

In the early phase of mining (1848–1850), techniques were rudimentary: the simple gold pan or sluice box—anyone could try. A metal or wooden pan, swirled in a stream to wash away mud and lighter gravel, left behind heavier flakes of gold. Costs were minimal, making it universally accessible. The sluice box (or “Long Tom”), a long wooden trough fed with water, let miners wash through larger volumes of pay dirt, with riffles or mats at the bottom to trap the gold. This was far more efficient than simple panning, though still a small-scale, individual or team effort. Most of the gold at the time was placer gold, lying close to the surface in riverbeds, easy to extract. Overnight, it seemed, everyone—from farmers to cooks to tailors—dropped their work and rushed to mine. It was the most romantic, freewheeling period of the Gold Rush—anyone had a chance.

But the romance quickly faded as over-mining depleted the easy deposits. By the middle phase (1850–1853), methods advanced, requiring teamwork and capital. The cradle or rocker, named for its resemblance to a baby’s crib, allowed miners to dump in gravel, wash it with water, and rock it back and forth, with mesh and carpet below to trap gold. It was far more efficient than pans, able to handle much greater quantities. Larger groups of miners began building wooden flumes and ditches to divert water onto gold-bearing earth, operations requiring labor and investment, often with dozens of men working together, hauling gravel in wheelbarrows. The industry began shifting toward semi-industrial methods.

This period also saw the emergence of the concept of mining claims: whoever arrived first and began working a site claimed its rights. Competition intensified, and conflict was constant. Foreign miners—especially Chinese and Mexicans—were often targeted, driven off, or attacked. In 1850, California passed the Foreign Miners’ Tax, charging $20 per month per foreign miner, a sum ruinous for Chinese and Latin American diggers. By the early 1850s, the era of solitary prospectors was ending; survival now required working in teams with advanced equipment.

By the later phase (1853–1855), hydraulic mining emerged. This technology used giant water cannons to blast entire hillsides into rubble, washing the debris into sluices where gold could be separated. The efficiency was staggering, but so were the costs: dams, aqueducts, iron pipes—massive infrastructure projects. Hard-rock mining also took hold: tunneling into quartz veins underground, requiring explosives, timber supports, hoists, and heavy investment. Big capital entered the scene; corporations and syndicates bought up claims and dominated the industry. Individual prospectors lost ground, often reduced to wage laborers. Many of the “49ers” went home bankrupt. Foreign miners—especially the Chinese—had even less chance to compete, forced instead into service trades like cooking, laundry, tailoring, or shopkeeping. The environment was ravaged—rivers choked with silt, farmland destroyed. By around 1855, the feverish phase of the Gold Rush was effectively over: the dream of universal wealth gave way to industrial monopoly, and society cooled down.

The mining camps were virtually lawless. Violence and robbery were common—gold dust stolen on the road back to town was routine. Lynching was widespread: theft, debt disputes, even minor quarrels often ended with vigilante justice. Racial conflict was sharp. White Americans often used “mining camp courts” to expel Chinese and Mexican miners. As noted, California’s 1850 Foreign Miners’ Tax specifically targeted Chinese and Latin Americans, charging each foreigner $20 per month—an enormous burden in that era.

The Chinese who surged in during the frenzy of a single year mostly came from the Pearl River Delta in Guangdong—particularly Taishan, Kaiping, Zhongshan, Xinhui, and Enping. After the Opium War, southern China’s economy was devastated, land was poor, and peasants suffered famine and turmoil. The lure of the “Gold Mountain dream” drew many abroad. San Francisco was called Gam Saan (Gold Mountain) among Chinese. By the late 1850s and 1860s, as Australia’s 1851 Victoria gold rush attracted another wave of Guangdong migrants, distinctions arose: San Francisco became known as Old Gold Mountain, and Melbourne as New Gold Mountain. To differentiate the two destinations, “Old Gold Mountain” came to mean the U.S. city of San Francisco.

Taishan, Kaiping, Xinhui, and Enping were densely populated and poor in Qing times; peasants lived in hardship. Zhongshan, Dongguan, Shunde, Panyu likewise sent many laborers overseas, later forming associations in America—such as the “Taishan gang” or the “Siyi (Four Counties) people.” The Opium War (1840–1842) had wrecked the local economy, while opium addiction and crushing taxes deepened misery. The Pearl River Delta’s limited land could not support its growing population. The Taiping Rebellion (1851–1864) further devastated the region, displacing many. Against this backdrop, the legend of Gold Mountain—“go to Gam Saan, and you will get rich”—pushed many to sell everything they owned for passage.

The main route was from Guangzhou’s Thirteen Factories to Hong Kong, and then across the Pacific to San Francisco. The voyage lasted 2–3 months, plagued by disease, storms, and starvation, with high mortality. Ships were often run by American or British companies. Tickets were costly, equal to years of peasant savings. Many traveled on credit, entering as “coolies” under labor contracts, repaying their debt through years of work. This created overwhelmingly male communities, since the Qing government heavily restricted female emigration—leaving Chinese settlements in America with long-term gender imbalance. To modern eyes, this history sounds desperate, but to me it feels strangely romantic. Perhaps I’ve just filled it in with imagination. Perhaps that’s all it is.

San Francisco became the Chinese immigrants’ first and most important foothold. New arrivals usually settled first in Chinatown, then, through clan associations or pooled partnerships, ventured to the mines. Associations were often based on county of origin—like the Ningyang Association or Kong Chow Association—providing mutual support. Most Chinese went to the Sierra Nevada goldfields, especially along the Sacramento River basin. They generally avoided direct conflict with whites over the richest claims, instead working abandoned streams and tailings. Through patience and teamwork, they could recover gold others had missed. They also lived frugally, enduring harsh conditions.

But as hostility and violence grew, many Chinese left the diggings and turned to town-based enterprises. They ran laundries, providing cheap labor and soon dominating the trade. They opened restaurants, cooking stir-fry and noodles not just for Chinese but eventually attracting white customers. They started tailor shops and groceries, serving the needs of mining towns and cities alike. This shift laid the economic foundation of Chinatown. Over time, Chinese presence moved from mining to urban trades, anchoring communities that endured long after the Gold Rush ended.




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。