Hongcun Ancient Village – The Village from Chinese Painting

Moon Pond is located at the center of Hongcun Village. It was constructed during the Yongle period of the Ming Dynasty. At that time, Wang Siqi, a resident of Hongcun, invited Feng Shui master He Keda from Haiyang County (now Xiuning) three times, along with other skilled elders from the Wang clan, to carefully study the village’s topography and water systems. They devised a plan to expand the village’s foundation and develop a comprehensive layout that would include a water system shaped like an ox. They diverted water from the Xixi Stream to flow around the village, creating the winding channels that resemble the ox’s intestines. To store water, which was essential for firefighting and drinking, they directed it into a natural spring at the village center, where they built Moon Pond. The pond was later expanded into its current crescent shape, giving it the name “Moon Pond.”

Nanhu Lake is located at the southern end of Hongcun Village. In the 35th year of the Ming Wanli period (1607), the villagers transformed a hundred acres of fertile farmland south of the village by digging it several meters deep and building stone embankments around it. Modeled after the “Autumn Moon over the Calm Lake” scene at West Lake, they created Nanhu Lake. The lake has a large bow shape, with the embankment divided into upper and lower levels, the upper level being 4 meters wide. Nanhu Lake has undergone major renovations three times in history, and in 1986, the central embankment was reconstructed, including the addition of the “Painting Bridge,” which allows for boating from east to west.

The water channels of Hongcun, built during the Yongle period of the Ming Dynasty, extend over 1,200 meters. The ancestors of the villagers constructed a stone dam on the Yixi River upstream from the village and created a man-made water channel several meters wide, made of stone, that directed water into the village using the natural slope of the land. The channels wind through the village, passing through houses and under corridors, eventually flowing into Moon Pond before entering Nanhu Lake. After leaving Nanhu Lake, the water irrigates farmland and fruit trees before rejoining the Suixi River. These channels served as an ancient “running water” system for the village. The Wang ancestors established a rule that before 8 a.m., the water in the “ox intestines” (the channels) was reserved for drinking, and only after that time could villagers use it for washing. The water channels reflect the ingenuity of Hongcun’s construction and are closely tied to the daily lives of the villagers.

At the entrance of Hongcun Village, there are two ancient trees: a Chinese wingnut tree, locally known as the Hongyang tree, and a ginkgo tree, locally called the Baiguo tree. The Hongyang tree on the north side stands 19 meters tall and has a circumference of 6 meters, requiring four to five people to fully encircle it. Its crown is shaped like a giant umbrella, providing shade over several acres of land at the village entrance. The ginkgo tree on the south side reaches 20 meters in height and resembles a sharp sword. This ginkgo tree is over 500 years old and is considered the “treasure” of the village entrance. These two trees are regarded as the “horns” of the ox-shaped village, serving as its “feng shui trees” and symbolizing good fortune. According to local customs, during weddings, the bride’s sedan chair would circle the Hongyang tree, symbolizing a harmonious and blessed marriage. For funerals, the coffin of a long-lived elder would be carried around the ginkgo tree, representing a wish for many descendants and longevity.

Chengzhi Hall is located at the middle section of the upper water channel in Hongcun and was built in the fifth year of the Xianfeng period of the Qing Dynasty (1855). The entire building is a wooden structure, adorned with ornate brick, stone, and wood carvings. Covering a total area of about 2,100 square meters and a building area of over 3,000 square meters, it is a well-preserved large residential complex.

Chengzhi Hall was the residence of Wang Dinggui, a wealthy salt merchant from the late Qing Dynasty. The house contains nine courtyards and 60 rooms of various sizes, arranged around the nine courtyards. The building is supported by 136 wooden pillars and features 60 doors and windows. The layout includes an inner courtyard, outer courtyard, front and rear halls, east and west wings, study hall, fish pond hall, kitchen, and stables. There are also rooms for bodyguards and male and female servants. The house is equipped with ponds and wells, ensuring that water needs can be met without leaving the house.

Nanhu Academy is located on the northern shore of Nanhu Lake. During the late Ming Dynasty, the villagers of Hongcun built six private schools along the northern shore of Nanhu Lake, collectively known as the “Six Lakeside Academies.” In the 19th year of the Jiaqing period of the Qing Dynasty (1814), these six academies were merged and reconstructed as “Yiwen Private School,” later known as “Nanhu Academy.” Nanhu Academy is the most well-preserved clan academy in southern Anhui.

Lexu Hall is situated at the northern shore of Moon Pond and serves as the ancestral hall of the Wang clan. It was built in the early 15th century. The front gate tower largely retains its original appearance, with the beam frame showcasing typical Ming Dynasty architectural style. The building components, such as the moon beams, fork hands, sparrow braces, and flat plate brackets, are intricately carved, reflecting a high level of artistic craftsmanship.

The layout of Lexu Hall forms a convex shape, with a width of 24.40 meters, a depth of 32.70 meters, and a ridge height of 10.20 meters. The main hall consists of seven bays, with a central courtyard and a front veranda, flanked by drum stones at the entrance. The entire structure is supported by 70 pillars, adhering to the “full hall pillar” construction method. The four front eave pillars of the main hall are robust and polygonal, while the golden pillars in the central hall are spindle-shaped. Both the front eave pillars and veranda pillars feature “column dougong,” with “ping shen dougong” between the column heads. The dougong on the front eave is larger and more elaborate than that on the veranda, with 16 brackets on the column heads and 18 on the body, and small arch heads at the corners. The joints between the curved beams and columns are supported by tingtou brackets, with cloud-like motifs in the bracket eyes. The dougong, beam frame, and spindle columns are all finely carved.

Deyi Hall is a typical Huizhou-style courtyard residence, built in the 20th year of the Jiaqing period (1815) of the Qing Dynasty. The two-story building features three bays, with a hall in the front adorned with sixteen semi-latticed lotus doors. The interior and exterior are connected by passageways, and a pond in front of the hall is linked to the village’s water system via an underground channel. The area around the pond is adorned with seasonal bonsai, and the courtyard is filled with blooming flowers and lush greenery, making it a true “open-air flower hall.” The eastern wall is covered with a vine of Anhui kiwi, and the courtyard contains two gardens—one exposed and the other hidden—planted with fruit trees and flowers. There are fish tanks, a waterside pavilion, and a pool of clear water along the edge. Deyi Hall is a quintessential example of Huizhou private gardens.

Jingde Hall is located at a bend in the “cow intestine” water system in Hongcun, built during the early Qing Dynasty in the Shunzhi period (1646). The residence is H-shaped with three courtyards. The front features a courtyard, while the core of the building is a three-room hall with front and rear courtyards. The entire structure is decorated in a simple style, with square pillars, making it a representative example of late Ming and early Qing residential architecture in Hongcun. It provides insight into the life of ordinary merchants and the architectural layout of Huizhou during the Ming and Qing Dynasties. The halls are arranged back-to-back, with courtyards for good lighting, flanked by wing rooms on both sides. The southern side has a front courtyard, while the northern side contains the kitchen, which has its own small courtyard. There is also a small side hall facing west and a large garden on the eastern side.

The main hall of Jingde Hall has six lotus doors on both the east and west sides, with a central panel carved with five bats, symbolizing “Five Blessings Bringing Longevity” and “Many Blessings, Many Fortunes.” The wing rooms, used as the owner’s bedrooms, have windows with hollowed-out carvings of copper coin patterns, while the panels below the windows feature carvings of swastika patterns, symbolizing wealth and blessings.

Jingxiu Hall is a typical Qing Dynasty residence in Hongcun, located at the western end of the north side of Moon Pond. It was originally built during the Daoguang period of the Qing Dynasty. Covering an area of 286 square meters, with a construction area of 452 square meters, the house is elevated nearly one meter above the level of Moon Pond. The building is oriented north to south, with a courtyard in front of the main hall. Unlike other residences, Jingxiu Hall features a 10-square-meter open space outside the courtyard gate, commonly known as a “tingtan.” This area serves as a place for cooling off in the summer, basking in the sun during winter, and gathering for rest or socializing.

Shuren Hall was built in 1862 during the first year of the Tongzhi period by Wang Xingju, a Qing Dynasty official bestowed with the title of Assistant Minister of State. Also known as the Folk Art Collection Hall, it serves as the private museum of Wang Senqiang, a 95th-generation descendant of the original owner. To promote the historical culture of Huizhou, Wang Senqiang has spent many years collecting various items from the Ming and Qing periods, including old workshop machinery, stone tools, Huizhou woodblock prints, folk artifacts, merchant letters, and the genealogical records of Hongcun. These collections offer glimpses into the social life of Huizhou in earlier times.

The foundation of Shuren Hall is hexagonal, symbolizing good fortune in all six directions. The main and side halls face north and south, backed by the village’s water system. The ceilings are adorned with intricate painted decorations, and the eastern side of the hall features a small pond with flowing water. The outer gate is designed with an eight-character gate tower, and inside is a decorative screen.

Taoyuan Residence was built in 1860 during the 10th year of the Xianfeng period and was named after a rare variety of peach tree once planted in its courtyard. The brick carvings on the gate tower are finely detailed, with multiple layers depicting lively animals such as lions and elephants. A unique feature is the curved brick lintel, resembling the “winter melon beam” commonly found in indoor halls, with an arched brick carving in the center of the lintel, an uncommon design in traditional residences.

The main hall’s doors and windows are decorated with motifs of treasured tripods and vases. The window openings are in a hanging grid pattern, and each side of the window is adorned with small guardian figures of children. The upper panels of the four doors feature intricate carvings of “Bats Presenting Longevity,” “Eight Galloping Horses,” and “Paradise on Earth.” The large carvings on the doors depict “Squirrel and Grapes,” while the middle panels are engraved with historical stories such as “Yue Fei Tattooing His Back,” “Wang Xiang Seeking Carp” (also known as “Fishing Through Ice”), “Ji Zi Hanging His Sword,” and “Kong Rong Letting Others Have the Pears.” These stories symbolize loyalty, filial piety, integrity, and righteousness.

Huizhou wood carving features a wide range of themes, including figures, landscapes, flowers, birds, animals, fish, insects, cloud patterns, geometric designs, eight treasures, ancient objects, calligraphy, and various auspicious symbols. The techniques used in Huizhou wood carving are determined by the architectural components, employing methods like round carving, relief carving, and openwork carving. In Huizhou-style architecture, wood carvings are typically found on beams, beam supports, eaves, railings, balustrades, window frames, and decorative panels, contributing to the ornate and luxurious aesthetic.

The frames of these wood carvings are often adorned with intertwining branches and flowing patterns, creating a rich and varied visual effect. Wood carvings are designed with both aesthetics and practicality in mind. For example, relief carvings are frequently used on lower sections of windows, around courtyard balustrades, and on eaves, while round carvings are more commonly seen on beam supports, brackets, and other structural elements. Notable examples of Huizhou wood carving in Hongcun include Chengzhi Hall and pieces like “Fishermen, Woodcutters, Farmers, and Scholars,” “A Hundred Children Celebrating Lantern Festival,” and “Guo Ziyi’s Birthday Celebration,” as well as the wooden carvings at Zhishan Mountain.

Stone carving in Hongcun is widespread and primarily consists of relief and round carving techniques. Unlike wood and brick carvings, the subject matter of stone carving is more limited due to the nature of the material, often focusing on images of animals and plants, ancient patterns, and calligraphy, with fewer depictions of human figures and landscapes. In terms of style, relief carvings usually feature shallow openwork and flat carving, while round carvings tend to be more integrated and straightforward, with a carving technique that balances simplicity with refinement, lacking the intricate detail found in Qing Dynasty wood and brick carvings.

Brick carving generally uses specially fired, pure-colored green bricks as the material. The process begins by finely grinding the brick into a block, followed by outlining the design on the surface, chiseling out the depths to create a sense of distance, and then carefully carving each section according to the contours. The final step involves bringing the pre-designed patterns to life, with certain parts rendered in intricate detail.