Tianjin Ancient Culture Street Tourist Area (Jinmen Guli)

Tianjin Ancient Culture Street Tourist Area (Jinmen Guli)

Tianjin Ancient Culture Street Tourist Area (Jinmen Guli) is a national AAAAA-level tourist attraction.

Centered around the Tianhou Palace, the ancient culture street features a large plaque inscribed with "Jinmen Guli" (Old Hometown of Tianjin) on the archway at its southern entrance, marking this area as a residential settlement 800 years ago. The Jin Dynasty established the earliest political governance structure in Tianjin here—Zhigu Fort. The present urban area gradually expanded from this original central zone. As visitors stroll along this ancient street, they can't help but seek out historical traces, experiencing the old-world charm, Chinese flavor, Tianjin vibe, and cultural richness—only then does the true delight emerge. This is how the name "Tracing the Old Hometown" came about.

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

"Tianhou Palace"

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

There is an ancient temple on this street, originally named "Tianfei Palace" and later renamed "Tianhou Palace." The section of the street north of the temple gate is called Gongbei Dajie (North Palace Street), and the section south of the gate is called Gongnan Dajie (South Palace Street). To understand the history of this area, one must start with this ancient temple.

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

This ancient temple is a sea god temple, enshrining the Goddess of the Sea, who is a real historical and legendary figure. Historical records state that she was surnamed Lin, from Meizhou Island in Putian, Fujian, during the Song Dynasty. She was born in the first year of the Jianlong era of the Northern Song (960 AD) and died in the fourth year of the Yongxi era (987 AD). Because she did not cry for a period after birth, she was named Lin Mo. Growing up on the island and being skilled in swimming, a beautiful legend arose among the people: "She could ride a mat across the sea and travel between islands, hailed as a goddess or a dragon maiden." During the Song Dynasty, although China's maritime industry saw significant development, under the shipbuilding and navigation technologies of the time, the lack of maritime safety was a harsh reality. Many practitioners fantasized about a supernatural power to protect them as they sailed the seas, and some of Lin Mo’s legends were naturally chosen as symbols of such divine protection, becoming their "guardian deity."

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

It is said that during the Xuanhe era of the Northern Song Dynasty, the envoy Lu Yundi’s fleet encountered a storm at sea, sinking six out of seven ships. Inspired by his crew, Lu Yundi sincerely prayed for protection from Lin Mo, and his ship survived. Later, due to Lu Yundi’s report, the worship of Lin Mo gradually gained official recognition. In 1156 AD (the 26th year of Shaoxing, Southern Song), Lin Mo was posthumously honored as "Linghui Furen" (Spiritual and Benevolent Lady); in 1190 AD (the first year of Shaoding, Southern Song), she was further honored as "Linghui Fei" (Spiritual and Benevolent Consort). By the 15th year of Zhiyuan during the Yuan Dynasty under Kublai Khan, she was elevated to "Huguo Mingzhuo Linghui Xiezhen Shanqing Xianzhu Tianfei" (Protectress of the Nation, Illustrious and Manifest, Righteous and Harmonious, Auspicious and Celebrated, Heavenly Consort). Over time, her titles were elevated repeatedly—from consort to imperial consort, and then to heavenly consort. In 1684 AD (the 23rd year of Kangxi, Qing Dynasty), this "guardian deity" received her final imperial promotion, titled "Huguo Bimin Zhao Ling Xianying Ren Ci Tianhou" (Protectress of the Nation and Its People, Illuminating Spirit, Manifest Response, Compassionate and Benevolent Heavenly Consort), reaching the highest level of imperial enshrinement. She was then referred to as "Tianhou" (Heavenly Consort), commonly known to the public as "Niangu" (Goddess).

Since the Yuan Dynasty, sea god temples in northern coastal areas were often called "Tianfei Palace"; after the Qing Dynasty honored her as "Tianhou," the name changed to "Tianhou Palace."

After the Jin Dynasty established "Zhigu Fort" in the area of the ancient culture street, by the third year of the Yuanyou era of the Yuan Dynasty (1316 AD), "Haixin Town" was set up at the same location. With the Yuan Dynasty establishing its capital in Beijing, to sustain the court’s military and administrative expenses, large quantities of grain were collected from the south and transported north via inland rivers and sea routes—a practice historically known as "caoyun" (grain tribute transport). At that time, grain-laden fleets departed from Liujia River (now Liuhe Town, Taicang, Jiangsu), exited the Yangtze River estuary, sailed north along the coast, entered the Haihe River, and arrived at the nearby Sancha Kou (Three Forks) near the ancient culture street, where the grain was unloaded and transferred to smaller boats. These boats then carried the grain along the North Canal to Beijing. Additionally, it became a busy hub for "caoyun" transport. Thus, in the third year of the Taiding era of the Yuan Dynasty (1326 AD), the "Tianfei Palace" was built here; during the Kangxi era of the Qing Dynasty, it was renamed "Tianhou Palace."

The incense at this ancient temple has always been strong. A poem by Zhang Zhu of the Yuan Dynasty vividly describes the grandeur of worship at the time: "At dawn at Sancha Kou, masts cluster with thousands of ships. Heaven’s grace rains equally, the vast sea calms its waves. Entering the temple, sacred winds blow solemn, incense smoke rises high. After the envoy completes the three libations, joy fills his ceremonial robe."

A Long History

In front of the "Tianhou Palace" lies an open space. With the arrival of large numbers of people and southern goods, the "Gongqian Ji" (Market in Front of the Palace) emerged, giving rise to a new scene of dense population and bustling markets. Throughout the Ming and Qing Dynasties, with continuous "caoyun" transport and unwaning reverence for the sea goddess, the "Gongqian Ji" remained for many years a lively place teeming with goods and activity. At some point, a street gradually formed in front of the temple, with shops of various sizes erected. The former daytime-only markets were replaced by the operations of these shops. Thus, Gongnan Dajie and Gongbei Dajie came into existence.

In the late reign of Emperor Qianlong of the Qing Dynasty, a segment of the painting "Luguo Ducun Tujuan" (Illustrated Scroll of Grain Transport Supervision on the Lu River) by painter Jiang Xuan depicts the streetscapes of Gongnan Dajie and Gongbei Dajie: shops stand in close rows, corridors and houses are elegant and tidy, some courtyards adorned with flowers and trees; most storefronts feature open-front designs, including distilleries, banks, butcher shops, seafood stores, pharmacies, fabric shops, rice and flour shops, sauce workshops, tobacco shops, restaurants, and inns. In slightly more spacious corners, vendors set up stalls to hawk their wares. The streets are filled with endless streams of pedestrians, carts, and pedestrians; the green-tiled, red-walled "Tianhou Palace" and the richly painted, spacious stage in front of the palace are particularly eye-catching. From this, one can glimpse the prosperity of over 200 years ago.

However, after the Second Opium War, Tianjin was opened as a treaty port, Western capitalist economy infiltrated the city, and the economic center gradually shifted southeastward. This area began to decline, with fewer large shops, leaving only small storefronts and workshops. The incense at the "Tianhou Palace" also dwindled, and the Taoist priests had to rent out temple halls to make ends meet. This once sacred site of "solemn spiritual winds and rising auspicious air" transformed into a vendor market, selling unique goods rarely seen elsewhere in the city—such as goldfish, glass fish tanks, clay opera masks, potted plants, rockeries, and bamboo or wooden crafts—to attract customers.

After the liberation, some of the small shops along the street either merged and relocated, turned into factory workshops, or were mostly converted into residences. The main hall of the "Tianhou Palace" was also once used as a factory and residential space.

A Place You’ll Never Want to Leave

In 1985, the Tianjin municipal government decided to develop Gongnan Dajie and Gongbei Dajie into an ancient culture street while restoring the "Tianhou Palace." The restored ancient culture street stretches 580 meters, with nearly 100 shops showcasing elegant, varied architectural styles that create ever-changing scenery, making it a place people never want to leave.

At both the southern and northern entrances of the ancient culture street stand grand archways. The plaque on the southern archway reads "Jinmen Guli" (Old Hometown of Tianjin), symbolizing that today’s Tianjin urban area gradually developed from this original central zone, which has remained a bustling commercial district for six or seven hundred years, often evoking a sense of nostalgia. The northern archway bears the inscription "Gu Shang Yi Yuan" (Art Garden by the River), signifying that the street’s appearance, shops, and goods all exude a strong artistic flair—especially the antiques, calligraphy and paintings, steles, traditional scholar’s stationery, and Tianjin folk crafts, which are dazzling and culturally enriching. These two grand archways at the street’s entrance, with their exquisite designs, vibrant colors, and unadorned yet meaningful inscriptions, touch the hearts of visitors, stirring emotions that blend historical reverie with aspirations for a bright future.

The nearly 100 shops along the street all feature Qing Dynasty-style architecture, built with blue bricks and precise mortar joints. There are buildings with sloped roofs, flying rafters, and columned corridors, as well as flat-roofed pavilions adorned with ice-plate eaves, hanging lattices, and vertical railings. Looking around, the varying heights and undulating forms create a distinctive scene. At the heart of the ancient culture street stands the "Tianhou Palace," with its grand and imposing overstreet theater stage, flagpoles reaching toward the sky, a spacious and bright square in front of the palace, and surrounding buildings suddenly appearing taller, creating a climactic visual experience for visitors. Standing before the "Tianhou Palace" and looking south and north along the street, one sees winding alleys filled with the ambiance of deep, ancient lanes.

The "city and marketplace intertwined" ancient culture street offers a dazzling array of crafts and cultural goods from all over China and Tianjin. Among them, the most famous are the internationally renowned Yangliuqing New Year paintings, "Clay Figurine Zhang" colored sculptures, and "Kite Wei" kites, all bearing strong local characteristics of Tianjin.

Yangliuqing New Year paintings are a renowned form of Chinese folk woodblock prints, originating in the Chongzhen era of the Ming Dynasty and flourishing during the Yongzheng era of the Qing Dynasty. The production of Yangliuqing New Year paintings was not limited to Yangliuqing Town, west of Tianjin City; at the time, villages within dozens of miles of the area were almost all "skilled in painting and excelling in brushwork." Developed on the foundation of Song and Yuan Dynasty paintings as well as Ming Dynasty woodblock printing, these paintings combine woodblock printing with hand-painted colors, using various expressive techniques such as symbolism and realism to convey the people's beautiful emotions and aspirations. They are particularly known for depicting scenes from different periods, folk customs, and historical stories. After the liberation, with the care of the Party and government, the Yangliuqing New Year Painting Cooperative and the Yangliuqing Painting Store were established. In 1960, Premier Zhou Enlai visited the Yangliuqing Painting Store and greatly encouraged its innovative spirit. Today, this splendid flower of folk art continues to bloom in the garden of art.

The "Clay Figurine Zhang" clay sculptures had gained considerable reputation during the Qianlong and Jiaqing eras of the Qing Dynasty. "Clay Figurine Zhang"—Zhang Changlin, courtesy name Mingshan, was born in 1826 and died in 1906. He elevated the traditional craft of molding clay figures to the level of three-dimensional sculpture art, further enhancing them with color and props to create a unique style. His works ranged in size from over a foot to just an inch, featuring elegant shapes and vivid expressions that closely resembled real people, making them a marvel of folk art. Zhang Mingshan passed on his skills to his son, who then passed them to his grandson and great-grandson, with several generations of the Zhang family inheriting the craft. In 1959, the "Clay Figurine Zhang" Clay Sculpture Studio was established in Tianjin, led by the fourth-generation descendant Zhang Ming, who trained a group of clay sculpture artists, enabling the continuous development and innovation of this art. Comrade Guo Moruo once wrote a poem in praise: "The creation of humans from clay began with Nüwa, Mingshan’s clay figures are the icing on the cake. In the past, only one family made them, but now their students are spread far and wide."

The "Kite Wei" kites are famous overseas. The craft of kite-making in Tianjin has a long history, but the major contributor to this art was "Kite Wei"—Wei Yuantai. Born in 1872 and died in 1961, he dedicated over 70 years to kite-making. His kites are renowned worldwide for their fine craftsmanship, lifelike shapes, stable flight, and colorful designs with ethnic characteristics. At the 1914 Panama International Exposition, the kites he made won international medals. Today, the descendants of Wei Yuantai have inherited and developed his techniques, making this folk art even more vibrant.

The world-renowned "Imperial Festival"

The "Imperial Festival" held in Ancient Culture Street is also a widely celebrated traditional event. The "Imperial Festival" was originally called the "Goddess Festival." Legend has it that the 23rd day of the third lunar month is the birthday of the Sea Goddess at the "Tianhou Palace." During the Qing Dynasty’s Kangxi era, someone proposed holding a four-day festival before the Sea Goddess’s birthday, starting with the "Sending Off the Deity" on the 16th of March (lunar calendar), where the statues of the Sea Goddess and the Goddesses of Eyesight, Offspring, Measles, and Childbirth were sent to the Tianhou Hall of the Minyue Guild Hall for worship. On the 18th, the "Welcoming the Deity" ceremony took place, bringing the wooden statues of the five goddesses back. On the 20th and 22nd, the "Blessing Procession" involved parading the statues through the streets to receive incense offerings from the people. These were the original activities of the "Goddess Festival." During this time, folk performances such as drum ensembles, large music groups, crane dance troupes, layered pavilion performances, flagpole dances, and stilt walking would showcase their skills along the streets, creating a grand spectacle.

By the Qianlong era, Emperor Qianlong, while traveling south by boat, stopped in Tianjin and, in a moment of delight, requested to see the "Goddess Festival." At the time, his boat was anchored at Sanchakou. Various performance troupes passed by the boat, each striving to display their best acts, presenting a spectacular show that earned the emperor’s praise. Among them, the Xiangci Drum Troupe gave an outstanding performance, prompting the emperor to reward each of the four drummers with a yellow mandarin jacket. The Crane Dance Troupe performed exceptionally well, and the emperor awarded each of the four performers a golden collar. The emperor also highly commended the organization of the "Goddess Festival" and presented two dragon flags. From then on, the "Goddess Festival" gained much prestige and was renamed the "Imperial Festival."

From the Qianlong and Jiaqing eras onward, the "Imperial Festival" grew increasingly grand and lively, with various troupes parading in sequence: the Street-Cleaning Troupe, responsible for cleaning the streets; the Banner Troupe, carrying large banners inscribed with the historical titles of the Sea Goddess to form a ceremonial procession; the Lion Troupe, carrying two wooden lions modeled after the stone lions in front of the Tianhou Palace hall for protection; the Drum Troupe, featuring thirteen- or fourteen-year-old drummers performing songs and dances. Additionally, there were flower drum performances, stilt walking, folk singing, lion dances, layered pavilion performances, flagpole dances, and ensemble music, among other acts. Finally, came the palanquin carrying the wooden statues of the five goddesses, with a drum troupe leading the way and eight riders on horseback carrying eight large yellow flags to escort it. Whenever the "Imperial Festival" was held, the streets were packed with people, filled with excitement and enthusiasm, creating an unprecedentedly grand occasion.

In later years, the "Imperial Festival" was no longer held annually. The last few editions took place in the 30th year of the Guangxu era of the Qing Dynasty (1904 AD), the 4th year of the Republic of China (1915 AD), the 13th year of the Republic of China (1924 AD), and the 25th year of the Republic of China (1936 AD), roughly once every ten years.

After the restoration of Ancient Culture Street, the "Imperial Festival" was revived on the 23rd day of the third lunar month each year. On this day, performances such as dragon lanterns, stilt walking, dry boats, yangge dances, drum ensembles, flagpole dances, lion dances, and martial arts take center stage. The streets are bustling with activity, creating a lively celebration that enriches the cultural life of residents. This distinctive folk entertainment activity with strong Tianjin local characteristics has regained its vitality.

Time Needed

1-2 hours

Transportation

Take buses such as Routes 1, 1 Interval, 605, 610, 611, 619, 632, 633, 641, 671 Air-conditioned, 804, 904, 908, 954, and Sightseeing Route 2, and get off at Dongbeijiao Station.

Admission

Free

Opening Hours

All day

Location

Gongnan and Gongbei Streets, Nankai District, Tianjin (near the intersection of Tongbei Road and Dongma Road)

Address: Ancient Culture Street, Nankai District

Phone: 27359628