Jinhua Museum

Jinhua Museum

Jinhua Museum is a patriotic education base.

Jinhua, anciently known as Wuzhou, has a long history of governance, a flourishing culture, and has produced many notable figures, earning it the title "Little Zoulu." Jinhua Museum is located in the core area of the ancient Guci City historical and cultural district, steeped in rich historical and cultural ambiance. The museum currently houses a collection of over 37,000 cultural relics and ancient books (sets). The total building area is 13,600?, with an exhibition area of 4,700?. The exhibitions are themed around the line from Ai Qing’s poem: “Why are my eyes always filled with tears? Because I love this land so deeply.” Supported and guided by the Zhejiang Provincial Cultural Relics Bureau and the Jinhua Municipal Cultural Relics Bureau, the exhibitions were curated and designed by a team led by renowned exhibition planner Professor Yan Jianqiang from Zhejiang University. The displays interpret the region through multiple disciplines and perspectives: the “Ancient Charm of Eight Wuzhou” gallery offers a historical view of Jinhua’s land; the “Magical Earth” gallery explores Jinhua’s landforms and paleontological resources from a geological perspective; the “Rural Customs” gallery interprets traditional villages from a sociological and cultural heritage angle; the “Hometown of Hundred Crafts” gallery showcases unique industrial and commercial cultures from an industrial and commercial perspective. With a “grand narrative intertwined with focused themes,” the exhibitions are clear in structure and smooth in storytelling, presenting a condensed view of Jinhua’s identity as “a land of historical culture, breathtaking landscapes, a gathering place of notable figures, and a city of vibrant literary traditions.” It is a comprehensive municipal-level museum integrating education, research, collection, preservation, and exhibition functions.

I. Ancient Charm of Eight Wuzhou — Jinhua Through a Historical Lens

This gallery presents a general historical overview of Jinhua, organized along the timeline “Ten Thousand Years of Shangshan — A Millennium of Renowned Figures — A Century of Vicissitudes.” The exhibition traces Jinhua’s history from the Shangshan Culture over ten thousand years ago, progressing chronologically through the prehistoric period, pre-Qin era, Qin-Han to Six Dynasties, Sui-Tang-Song-Yuan periods, Ming-Qing dynasties, and into modern times.

The introductory hall features iconic and well-known elements from various counties and cities in Jinhua, such as the Wanfo Pagoda, Bayong Tower, Houwu Village in Yongkang, the Lu Residence in Dongyang, the Tongzhou Bridge in Lanxi, the Huangshan Octagonal Hall in Yiwu, the Zhengyimen in Pujiang, the Guodong Huilong Bridge in Wuyi, and the Changwen Tower in Pan’an. These elements highlight Jinhua’s distinctive historical and cultural characteristics. In the mysterious and serene starry sky of the introductory hall, the planet Venus and the constellation Girl (Wunu) shine brilliantly, echoing the scene described in the Southern Dynasties poetry anthology “New Songs from a Jade Terrace”: “Venus and the Girl constellation vie in splendor,” from which Jinhua derived its name.

1. Ten Thousand Years of Shangshan — Prehistoric Jinhua

Jinhua is one of the cradles of prehistoric civilization in the lower reaches of the Yangtze River. The earliest signs of human activity can be traced back over ten thousand years to the Shangshan Culture. “Ten Thousand Years of Shangshan” marks the beginning of the Ancient Charm of Eight Wuzhou gallery. Archaeologists speculate that the inhabitants of the Shangshan Culture may have been among the first groups to transition from cave dwellings in mountainous areas to settlements in river valley plains. The exhibition reconstructs scenes of early Shangshan people constructing houses on river terrace platforms, illustrating their departure from cave life and preference for locations that provided easy access to water while avoiding floods. It also objectively depicts the natural environment of the Shangshan period. The stone tools unearthed from the Shangshan Culture represent a more primitive type of Neolithic culture compared to polished stone tools, showing clear transitional features from the Paleolithic to the Neolithic. Gathering, fishing, hunting, and rice cultivation were likely their primary means of obtaining food, making Jinhua one of the birthplaces of global rice farming and further proof that China is among the earliest countries to cultivate rice. Thus begins the story of prehistoric civilization in the lower Yangtze region and the Neolithic cultural lineage of Zhejiang.

The Shangshan Culture not only marks Jinhua’s entry into civilization but also heralds the dawn of Zhejiang’s Neolithic cultures. Following the Shangshan Culture, Zhejiang saw the emergence of a series of Neolithic cultures, including the Kuahuqiao, Hemudu, Majiabang, Songze, Liangzhu, and Qianshanyang cultures. Based on archaeological evidence, the Kuahuqiao, Hemudu, Liangzhu, and Qianshanyang cultures all left profound imprints on this land, together with the Shangshan Culture, forming the unbroken prehistoric legacy of Jinhua.

2. Yu Yue and Goumei — Jinhua in the Pre-Qin Period

The residents living in the Jinqiu Basin during the Pre-Qin period belonged to the Yu Yue people, one of the oldest and most advanced branches of the widespread Baiyue ethnic groups along the southeast coast. Stamped pottery, bronze tools, and earthen burial mounds are among the distinctive material cultural features of the ancient Yue people. In their process of survival and development, they also formed numerous cultural traits and customs distinct from those of the Central Plains. They used double-shouldered stone axes, stepped adzes, and geometric stamped pottery, practiced rice farming and fishing-hunting, lived in stilted houses (“ganlan-style”), excelled in sword-making, were adept at swimming, skilled in boat-building, and practiced tooth filing and body tattooing—all common cultural features of the ancient Yue people. The Yu Yue people not only established states but also briefly held dominant power in the late Spring and Autumn period.

During the Spring and Autumn and Warring States periods, the Goumei tribe, who had migrated from the north, lived in what is now Tangxi. Very little historical material about the Goumei State remains. We know only that they were once a prominent clan of the Dongyi group, migrating from Sishui in Shandong to the Jinqiu Basin during the Spring and Autumn period and becoming allies of the Yue State against the Wu State. Their territory is roughly located in present-day Tangxi in Jinhua, western Lanxi, and Longyou in Quzhou.

3. Early Rise of Wuzhou — Jinhua in the Qin-Han to Six Dynasties Period

After the Yue defeated the Wu and then lost to the Chu, the Chu were in turn defeated by the Qin. In 221 BCE, after unifying China, the Qin implemented the commandery-county system and established Wushang County centered around the present Jinhua area, under the jurisdiction of Kuaiji Commandery. This marked Jinhua’s earliest administrative establishment. In the third year of the Initial Peace era of the Eastern Han (192), the western part of Wushang County was divided to form Changshan County, covering the present Wucheng District and Jindong District of Jinhua, as well as the entire territory of Lanxi. By the end of the Eastern Han, the Western Commandant’s Office was established here, surpassing Wushang in status and becoming Jinhua’s political and economic center. In the first year of the Baoding era of the Wu Kingdom of the Three Kingdoms (226), the eastern part of Kuaiji Commandery, centered on Changshan County, was divided to establish Dongyang Commandery, with its seat in Changshan County (present-day urban Jinhua). It was renamed Jinhua Commandery during the Southern Dynasties.

During the late Han and Three Kingdoms period, the social and political environment in the Jinhua area was relatively stable, and foundational construction began, laying the groundwork for agricultural economic development. The eastern part of the Jinqiu Basin features rugged terrain, with the Puyang River, Jinhua River, and Lan River—tributaries of the Qiantang River—winding through the area, making it one of the regions more prone to droughts and floods. The local population built weirs and dams based on the terrain to divert water for irrigation, promoting agricultural growth.

Meanwhile, handicraft manufacturing also advanced, with the rise of bronze smelting and vigorous development in the ceramics industry. During the Eastern Han, the Wuzhou Kiln successfully produced celadon, becoming one of the earliest kiln systems to master celadon firing techniques. In the Western Jin, the invention of glaze laid significant groundwork for China’s celadon production.

Buddhism began spreading to the Jinhua area around the late Han and Three Kingdoms period. The earliest Buddhist temple in Jinhua was the Dongyang Faxing Temple during the Sun Quan era of the Three Kingdoms. During the Northern and Southern Dynasties, there was the Zhizhe Temple on Beishan. This period also saw the popular tale of the monk Songtoutu building temples and preaching in Jinhua. Legend has it that under Songtoutu’s influence, Fu Xi pioneered the syncretic Chinese Weimo Zen that integrated Confucianism, Buddhism, and Daoism, advancing the sinicization of Buddhism. The belief in Huang Daxian originating from Beishan in Jinhua has since become a shared emotional bond for the Chinese diaspora worldwide.

During the Two Jin periods, two outstanding poets, Yin Zhongwen and Shen Yue, served as governors of Dongyang Commandery. With their fresh poetic styles, they broke away from the metaphysical “mysterious speech poetry” and brought refined literature and poetry to Jinhua, while also encouraging the Yue people’s society to evolve from martial to cultural pursuits. During this time, Liu Jun built a retreat in the Ziyang Cave on Beishan, and Xu Bozhen lectured at Jiufeng, fostering an atmosphere of teaching that gave rise to Jinhua’s thriving academy culture.

4. A Millennium of Renowned Figures — Jinhua in the Sui-Tang-Song-Yuan Period

After being renamed Jinhua Commandery during the Southern Dynasties, Jinhua underwent several administrative changes. In the fourth year of the Wude era of the Tang (621), the commandery was officially established as a prefecture named “Wuzhou.” In the late Tang and Five Dynasties period, under the rule of Qian Liu, king of Wuyue, socioeconomic development flourished. Wuzhou built the outer Luocheng city wall beyond the inner Zicheng, replacing the military defensive role of the Zicheng. After the Southern Song court moved south and established its capital in Lin’an, Jinhua, being close to the capital, attracted numerous high-ranking officials and nobles, becoming a true stronghold of the Southern Song. The Yuan Dynasty established the Zhe Dong Dao Xuanwei Si, governing most of present-day Zhejiang.

During the Tang and Song periods, Jinhua’s economy began to prosper. The Wuzhou Kiln reached its peak, with its finest works rivaling those of the Yue Kiln. The Tang Dynasty saw the successful production of opaque glaze porcelain, which was exported overseas, and the molding techniques of the Tang and Song also reached a high level. In the Southern Song, the Wuzhou Kiln mainly used dragon kilns, typically built on natural slopes with abundant vegetation, water sources, and transportation advantages. The exhibition recreates a dragon kiln scene next to the staircase connecting the first and second floors of the gallery, transforming the original stair steps into the flame-viewing trench of a traditional dragon kiln. This design not only seamlessly links the two floors but also visually showcases the form and grandeur of the dragon kiln.

During the Southern Song, Jinhua was heavily influenced and stimulated by the capital Lin’an, leading to frequent commercial activities. Local specialties such as crisp cakes, ham, Jinhua wine, Wuluo silk, and Wucha tea gained fame during this period. The exhibition recreates a Song Dynasty commercial street in this area, with crisp cake shops, silk fabric stores, taverns, teahouses, and ham shops lining the ancient street, reflecting the prosperity of the economy and trade. In 1134, poet Li Qingzhao ascended Bayong Tower, gazed at the flowing Ou River, and wrote the majestic “Inscription on Bayong Tower,” which includes the lines “The waters connect to the southern lands for three thousand li, the air pressure weighs on fourteen prefectures of the river city.” These lines express longing for her homeland through the metaphor of the “southern lands” and depict the developed waterways and thriving economy of Jinhua at the time.

This period also saw new developments in Jinhua’s literature, philosophy, and religion. The Tang Dynasty poet Zhang Zhihe from Wuzhou sang the beauty of the Jiangnan region with his “Fisherman’s Song,” setting a timeless example for the genre. The grand structure of Zhejiang’s tallest pagoda, the Wanfo Pagoda, and the exquisite offerings in its underground palace bear witness to the flourishing of Buddhism. During the Southern Song, the Zhe Dong School emerged prominently, with the Jinhua School led by Lü Zuqian and the Yongkang School led by Chen Liang forming the core of Wuxue (Jinhua Learning). By the Yuan Dynasty, the “Four Masters of Beishan” inherited the teachings of Zhu and Lü, merging Wuxue with literature. The philosophy of “practical application and the pursuit of both righteousness and profit” continues to this day.

5. Prosperity of Eight Wuzhou — Jinhua in the Ming-Qing Period

In the late Yuan and early Ming, Zhu Yuanzhang led his forces from Anhui into Zhejiang, captured Wuzhou, renamed it Ningyue Prefecture, and praised it as the “Heart of Zhejiang.” Zhu recruited a large number of literati and scholars, including Song Lian and Wang Yi, accelerating the unification of the nation. In the seventh year of the Chenghua era of the Ming (1471), Ningyue Prefecture was renamed Jinhua Prefecture, governing eight counties, and “Eight Wuzhou” became synonymous with Jinhua. Resisting Japanese pirates was a major political focus of the Ming Dynasty, and the Yiwu soldiers became the main force in Qi Jiguang’s army, achieving immortal feats on campaigns across the country. In the late Ming and early Qing, Zhu Dadian and Zhang Guowei of Wuzhou sacrificed their lives defending Jinhua against the Qing. Due to the indomitable resistance spirit of the Wuzhou people, the Qing government increased its military presence in Wuzhou to maintain stability. In the late Qing, the Taiping Rebellion’s King of Service, Li Shixian, established Jinhua as the command center for the uprising in Zhejiang and built the grand Shiwang Mansion, leaving a significant mark on Jinhua’s history.

During the Ming and Qing periods, the introduction of early-maturing rice changed traditional farming methods. The promotion of new crops such as sugarcane, sweet potatoes, and corn helped meet the needs of a growing population. Wushang merchants adapted to local conditions, leveraging their strengths to carve out unique livelihoods, leading to a flourishing era of agriculture, commerce, and industry in Jinhua.

The Ming and Qing periods also saw a vibrant cultural and artistic scene in Jinhua. He Shiying from Dongyang was honored by Emperor Xuande of the Ming, who treasured the Dingwu version of the “Orchid Pavilion Preface” stone rubbings. Hu Yinglin from Lanxi introduced new theories on poetry and built the “Eryou Mountain House” library housing over 40,000 volumes. Li Yu, the theatrical master who transitioned from the Ming to the Qing, prolifically wrote plays such as “The Ten Kinds of Plays by Li Weng” and infused daily life insights into “Xianqing Ouji.” Xu Xiake’s “Travel Diary of Zhejiang” celebrated the scenery of Shuanglong, while finger-painting artists captured beautiful landscapes using their fingers instead of brushes. Jiang from Pujiang was a master of the qin (zither), carving, calligraphy, and painting, and traveled to Japan. Hu Fengdan from Yongkang in the late Qing compiled the “Jinhua Series,” collecting writings from generations of Jinhua’s esteemed scholars. Wujue opera and daoqing storytelling rapidly developed and became popular among the local people.

6. A Century of Vicissitudes — Jinhua in the Modern Period

In the late 19th century, China was in turmoil under the corrupt rule of the Qing government and the aggression of foreign powers. Amidst profound internal and external crises, the Chinese people turned their eyes to the West, beginning to ponder strategies for national salvation. The land of Eight Wu also experienced sweeping changes.

On September 26, 1937, Japanese forces dropped the first bomb on Jinhua Railway Station, and the flames of war spread to counties across Jinhua. On December 24, 1937, Hangzhou fell. Due to its strategic location at the junction of Zhejiang and Jiangxi, the Nationalist Government of Zhejiang Province relocated to Jinhua, and the Zhejiang Provincial Committee of the Chinese Communist Party was subsequently established. At the time, Jinhua, with a population of less than 50,000, became one of the five major cultural hubs in the country, attracting a gathering of anti-Japanese patriots and igniting a fervent resistance movement.

During the Liberation War, the underground Communist Party organization in Jinhua led the people in revolutionary struggles. On February 22, 1939, General Li Youbang founded the Taiwan Volunteer Corps and the Taiwan Youth Corps in Jinhua. The former site of the Taiwan Volunteer Corps, located at No. 18 Jiufang Lane, is the only remaining Taiwanese anti-Japanese site in China. With the victories of the three major campaigns, the rule of the Chiang family dynasty collapsed. In May 1949, the sound of liberation echoed across the land of Eight Wu, and Jinhua turned a new page.

Modern Jinhua produced numerous literary giants and scientific luminaries: the People's Poet Ai Qing, the Light of Science Yan Jici, the Master Historian He Bingsong, the Bard of the Era Shi Guangnan... They expressed their love for this land and its people through brushstrokes and poetry, and pioneered the path of natural science research with their earnest and rigorous academic attitudes, influencing and transforming the trends of Jinhua and even the entire nation.

II. Magical Land — Gifts of Geological Movements

Surrounded by mountains on three sides with a river in between, basins scattered across the land cradle three rivers. The Jinhua region is rich in natural beauty and talent, boasting abundant geological heritage, including ancient dinosaur fossils, petrified wood, unique danxia and karst landforms, as well as rich underground minerals and hot springs. These materials formed through geological evolution constitute the most distinctive and valuable part of Jinhua’s natural resources, closely linked to today’s economy, culture, and daily life. The exhibition primarily focuses on three locally unique natural and geological resources: ancient geological movements, early life forms, and abundant underground treasures. It invites visitors to trace the distant geological history with gratitude and gain a clearer understanding of nature’s benevolence.

III. Local Customs — Jinhua’s Ancient Villages in the Context of Cultural Heritage

The Jinhua region is home to numerous well-preserved traditional villages, which have not only attracted international academic attention but are also regarded as important examples for understanding traditional rural life in southern China. Their intact appearances and exquisite architecture embody education in social ethics and personal integrity, interpreting societal changes in their own unique way. Today, these ancient villages offer us not only moral teachings that encourage diligence and virtue while discouraging vice, but also spiritual nourishment and comfort.

In China’s traditional political structure, the administrative reach of the central government typically extended only to the county level. Beyond that, village autonomy relied on clan systems. The essence of rural society was a kinship-based residential community. The exhibition explores aspects such as village layout and construction, family precepts and clan rules, clan governance, and rural festivals. Using prominent local clans like the Zheng family of Pujiang and the Yu family of Wuyi as case studies, it demonstrates the operation of rural autonomy through specific clan governance practices. Through warm and down-to-earth visual elements, it recreates the rustic and lively atmosphere of traditional village life.

IV. Land of Artisans — The Industrial and Commercial Legends of the Red Soil

Contemporary Jinhua is home to a number of distinctive industries that have earned it national and even global renown, such as Yiwu’s small commodity market, Dongyang’s wood carvings, and Yongkang’s hardware. Why has such a unique economic phenomenon emerged in this land? Tracing its roots, it is closely tied to Jinhua’s natural and geographical conditions and the practical philosophy of “Wuyi Learning,” which advocates “applying knowledge to practical use.” Starting from this, we explain the formation of Jinhua’s industrial and commercial cultural traditions.

The edges of the Jinhua-Quzhou Basin are covered with red soil, characterized by being “acidic, infertile, and sticky,” making it unsuitable for growing grain crops and thus constraining agricultural economic development. In the mid-to-late Ming Dynasty, efforts such as population-driven land reclamation, expansion of cash crop cultivation, and internal migration still failed to resolve the regional issue of tense human-land relations.

Influenced by Wuyi Learning’s pragmatic philosophy of “balancing righteousness and profit, considering industry and commerce as equally fundamental,” the people of Jinhua sought new ways to survive. Beyond pursuing scholarly success through farming and reading, they embraced both agriculture and commerce, sustaining livelihoods through hard work. Building on traditional craftsmanship, they forged a path to survival by “mastering crafts” and “engaging in trade.” While securing their livelihoods, they also established the region’s unique industrial and commercial culture.

Conclusion

Jinhua boasts a long history, a flourishing literary tradition, and highly distinctive regional culture and natural resources. However, due to spatial constraints, the exhibition still has some room for improvement. Yet everything displayed here is worthy of our cherishment, and everything told here is worthy of our reverence. As Ai Qing’s poem goes, “Why are my eyes always brimming with tears? Because I love this land so deeply...”

The museum industry is one that builds on the past and paves the way for the future, and we have only just begun. Let us wish the museum cause of Jinhua continuous growth and prosperity, living up to history, to the times, and to the people.

Further Reading:

· National Second-Class Museum of China