Quzhou Confucius Temple, often referred to as the Southern Ancestral Hall, boasts a history spanning over 700 years. At the conclusion of the Northern Song Dynasty, as Jurchen forces invaded the southern regions, Emperor Gaozong Zhao Gou was compelled to hastily relocate southward, setting up his capital in Lin’an. It was during this time that the 48th descendant of Confucius, Kong Duanyou, left Qufu, Shandong, carrying with him the wooden images of Confucius and his wife, eventually settling in this new location. Subsequently, under imperial order, the Confucius family temple was constructed, which also served as the ancestral temple.
Designed after the Confucius Temple in Qufu, Shandong, the Quzhou Confucius Temple is divided into two distinct sections: the Confucius Mansion and the Confucius Temple itself. The temple is encircled by towering ancient trees and majestic halls. A notable feature is the ‘Portrait of the Sage’ stele positioned in front of the Silu Pavilion, which is believed to have been painted by the renowned Tang Dynasty artist Wu Daozi, making it an extremely valuable piece. The entire complex of these ancient buildings conveys a solemn and substantial atmosphere, rich with the essence of Confucian culture.
The tradition of the Sage’s Wooden Images dates back to the time following Confucius’s death. His disciples, in a gesture of gratitude for his teachings, built huts in front of his tomb and observed a three-year mourning period, with Zigong extending his stay by an additional three years. During this extended period, Zigong sourced Kai wood from the Confucius Forest and meticulously crafted a pair of images representing his teacher and his wife. These images later became known as the ‘Kai Wooden Images’. At the onset of the Southern Song Dynasty, Kong Duanyou, along with his clan, journeyed southward, carrying these precious ‘Kai Wooden Images’ as a family treasure.During the Qing Qianlong period, Feng Shiduo recorded the story of “Protecting the Sage’s Image.” The tale recounts Kong Duanyou’s journey with a wooden image, which he carried southward and stopped overnight at Zhenjiang. There, the boat carrying the image capsized in the waves. Miraculously, three divine figures went against the current and retrieved it from the riverbank. In gratitude, the Duke of Yan offered incense, and the smoke formed the characters “Lu Fu Mountain Deity.” Consequently, Kong Duanyou lodged the sacred image in Quzhou, and “Lu Fu Mountain Deity Temples” were built at the four corners of the city to pray for divine favor. The sacred image is treasured by the Confucius’ Southern Ancestral Hall and has been diligently protected through generations.
During the Japanese invasion of Quzhou, to avoid plunder, Kong Fanhao, a descendant of the Southern Ancestral Hall, followed the order of the Nanjing government and escorted the sacred image to the Longquan and Qingyuan mountain areas. In 1946, the Kai Wooden Images were returned to the temple and treasured in the “Silu Pavilion” of the family temple.
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Preferential policies are as follows:
– Children & Elderly: Elders over 70 years old and children under 18 are free.
– Elders: Elders aged 60 to 70 can purchase tickets at the manual window at half price.
– Students: Students with a student ID can purchase tickets at the manual window at half price.
