Kong Family Mansion, Qu Fu – The Residence of Confucius’ Descendants

Facing north to south, the main gate of Kong Family Mansion is adorned with a prominent pink and white screen wall (照壁) and flanked by a pair of over 2-meter-tall round carved stone lions. The gate itself, with its red-bordered black lacquered doors, features a mythical creature known as Suan Ni as its door knocker. Above the central archway hangs a high blue plaque inscribed with the characters “圣府” (Holy Mansion), traditionally believed to be hand-written by the Ming dynasty statesman Yan Song. On either side of the gate, elegantly calligraphed couplets by the Qing calligrapher Ji Yun adorn the columns.

Known as the “二门” (Second Gate) along the central axis, it dates back to the Ming dynasty. The gate is surmounted by a vertical plaque inscribed by the Ming poet and scholar Li Dongyang with the characters “圣人之门” (Gate of the Sage). The entrance is flanked by side gates and ear rooms. Traditionally, the main gate remains closed except for solemn occasions, symbolizing its sanctity.

Constructed in the sixteenth year of the Hongzhi Emperor’s reign (1503), the Screen Gate stands as a wooden structure detached from the surrounding walls, separating the front and rear courtyards. Topped with gray tiles, its lintel holds a plaque bestowed by the Ming Emperor, thus earning the name “重光门” (Gate of Renewed Light). Decorated with hanging wooden carvings and gold-pasted flowers, it is also known as “垂花门” (Gate of Hanging Flowers). The Screen Gate historically remained closed except during major ceremonies attended by emperors or when royal decrees were read.

The main hall of the Kong Family Mansion serves as the venue for issuing imperial decrees, conducting family meetings, and hosting ceremonial events. Spanning five bays deep by three bays wide, it features a suspended roof with dougong brackets typical of Ming dynasty architecture. At its center stands a painted cloud and precious gem alcove, flanked by a grand chair covered with a tiger skin, symbolizing authority. Above the chair hangs a plaque reading “统摄宗姓” (Governing All the Family Lineages), inscribed with a decree from the Qing Emperor Shunzhi, outlining the privileges and responsibilities of the Yansheng Gong in upholding Confucian teachings and family traditions.

Flanking the hall are displays of ceremonial items and symbols of noble rank, including golden melons, banners, flags, drums, and insignias such as “袭封衍圣公” (Hereditary Title of Yansheng Gong) and “光禄寺大夫” (Grand Master of Splendid Happiness), underscoring the authority and prestige of the Kong family. These artifacts highlight the mansion’s role not only as a residential complex but also as a center of political and cultural authority within the Confucian tradition.

The Second Hall, also referred to as the Rear Hall, served as the venue where the Yansheng Gong received officials of fourth rank or higher and oversaw imperial examinations and educational ceremonies. Dominating the hall are large plaques inscribed with “钦承圣绪” (Honoring the Sacred Heritage) and “诗书礼乐” (Poetry, Literature, Rites, and Music), flanked by stone steles. Notable among these is the “寿” (Longevity) stele handwritten by Empress Dowager Cixi, presented during a special visit by Yansheng Gong Kong Lingyi and his family in 1894. The hall is structured with the Announcement Hall (启事厅) to the east and the Official Companion Hall (伴官厅) to the west.

The Third Hall, also known as the Retreat Hall, served as a place where the Yansheng Gong received officials of fourth rank or higher, settled family disputes, and administered punishments to servants within the mansion. East and west of this hall are administrative courtyards: the Register Room (册房), managing the estate documents and land deeds, and the Steward Room (司房), overseeing the mansion’s general affairs and finances. Beyond the Third Hall lies the Inner Residence of the Kong Family Mansion, also known as the Inner Courtyard, guarded by the Daojin Gate (道禁门) to restrict access from outsiders. This gate was heavily guarded, and unauthorized entry was strictly prohibited, enforced by gatekeepers armed with ceremonial weapons gifted by Qing emperors, including tiger-tail cudgels and jade-tipped spears.

The Front Upper Hall is where the master of the mansion received close relatives and extended family members, hosting family banquets, weddings, and funerals. Dominating the hall is a large plaque inscribed with “宏开慈宇” (Grandly Open the Compassionate Universe), and above the central hall hangs a calligraphy piece of the character “寿” (Longevity) penned by Empress Dowager Cixi. Inside are ancient furniture, antiques, and cultural relics. The east side displays items such as the cane bed and chairs gifted by Emperor Qianlong, an original imperial decree from Emperor Tongzhi, and Ming Dynasty cloisonné. On the central table, a complete set of 404 pieces of Manchu-Han banquet utensils are meticulously arranged. The west side room was where Kong Lingyi, the 76th generation descendant of Confucius and Yansheng Gong, reviewed documents, with shelves displaying Confucian classics and the Kong family genealogy.

Surrounding the Front Upper Hall courtyard to the east and west are five rooms each, serving as the mansion’s internal storage for ceremonial utensils and accounting offices.

Within the Front Hall Tower courtyard, ancient pines and fish ponds set the serene atmosphere. The Front Hall Tower itself is a two-story, seven-room pavilion, still retaining its original layout and furnishings. In the center stands a bronze heater used for warmth in ancient times. The eastern “Treasure Pavilion” houses treasures such as phoenix coronets, ginseng, coral, lingzhi mushrooms, jade carvings, and ivory carvings. The inner suite was the bedroom of Mrs. Tao, wife of Kong Lingyi, the 76th generation descendant of Confucius and Yansheng Gong. Further inside are the bedrooms of Kong Lingyi’s two daughters.

The Rear Hall Tower courtyard encompasses a two-story building with seven rooms in the front gallery, flanked by three auxiliary buildings on both the east and west sides. This section served as the residence of Kong Decheng, the 77th generation descendant of Confucius and Yansheng Gong. Within the hall are displayed the items used during Kong’s wedding, along with calligraphy and gifts presented by friends. The eastern side room served as a reception area furnished with a blend of Chinese and Western furniture, while the inner suite was the bedroom of Kong Decheng and his wife, Sun Qifang. On the eastern wall, a framed photograph of Kong Decheng and his family adorns the mirror frame, while two rooms on the western side were allocated as bedrooms for Kong Decheng’s nursemaid.

Adjacent to the Rear Hall Tower lies the Buddhist Hall, a place where Yansheng Gong conducted Buddhist rituals. Further west, five main rooms known as the Rear Five Rooms or Zao Huai Xuan, formerly served as Kong Decheng’s study area and later as residences for household staff during the late Qing Dynasty.

The Kong Family Mansion’s expansive garden dates back to the Ming Dynasty’s Hongzhi reign (1503), concurrently expanded during the mansion’s reconstruction. Renovations and expansions occurred several times, enlarging the garden to over 10 mu (approximately 0.67 hectares). It features landscapes of mountains, water features, forests, winding bridges, pavilions, and fountains. Notable elements include a stone island in the water, a pavilion for enjoying the cool breeze, a stone altar for flower worship, a moon-viewing terrace, and a pavilion for burning incense while reading.

The Kong Family Mansion preserves numerous precious cultural relics, bestowed over generations by imperial edict to honor Confucius and his direct descendants. These relics include calligraphy and paintings by emperors and empresses, imperial writings, Confucian classics, ceremonial instruments, and scholar’s treasures. The descendants of Confucius meticulously collected artifacts throughout history, enriching the mansion’s collection with items such as gold and stone carvings, ceramics, bamboo and wood artifacts, ivory carvings, jade carvings, pearls, agate, coral, and various attire and utensils from the Yuan, Ming, and Qing Dynasties. Noteworthy are the “Ten Bronze Ritual Vessels of the Shang and Zhou Dynasties,” originally part of the Qing Imperial Collection and gifted to the Kong Family Mansion by Emperor Qianlong.