The Dacheng Hall of the Juye Confucius Temple

The Dacheng Hall of the Juye Confucius Temple

The Dacheng Hall of the Juye Confucius Temple is a National Key Cultural Relics Protection Unit.

The Dacheng Hall of the Juye Confucius Temple is a Ming Dynasty structure and a site dedicated to the worship of Confucius, the founder of Confucianism. It is located in the southeastern part of Juye County, about 100 meters north of the Yongfeng Pagoda, adjacent to the government housing compound to the west and bordering Wenmiao Street to the south.

In 1979, the Juye County Revolutionary Committee designated the Confucius Temple as a county-level key cultural relics protection unit. On December 7, 2006, it was listed as a third batch provincial-level cultural relics protection unit by the Shandong Provincial People's Government.

During the Jin and Yuan dynasties, the original Juye Confucius Temple was built in the northern part of the city but was repeatedly destroyed and rebuilt due to floods. In the 15th year of the Hongwu reign of the Ming Dynasty (1382), it was relocated to its current site as a place for worshipping Confucius. Continuous expansions were carried out during the Yongle, Zhengtong, Chenghua, and Zhengde eras of the Ming Dynasty, including the construction of the Wenchang Palace, Zunjing Pavilion, Minghuan Shrine, Xiangxian Shrine, and twenty mu of school fields. In the 33rd year of the Wanli reign (1605), the Taihe Yuanqi Archway was built; in the 1st year of the Taichang reign (1620), the Kuilou Tower was erected; and in the early Tianqi reign (1621–1627), the two side halls were constructed. By the 41st year of the Kangxi reign of the Qing Dynasty (1702), County Magistrate Zhang Hong “renovated the main hall, completed the various shrines, and finalized the layout,” and also established a free school. The Confucius Temple complex comprised over 70 structures including halls, chambers, towers, pavilions, dormitories, side halls, kiosks, and archways. From south to north, these formed the central axis of the temple: the Taihe Yuanqi Archway, Lingxing Gate, Pan Pond, Jimen Gate, Dacheng Hall, Minglun Hall, Zunjing Pavilion. On both sides were auxiliary buildings such as the Jinde Dormitory, Xiuye Dormitory, East and West Side Halls, Minghuan Shrine, Xiangxian Shrine, Donghua Gate, and Xihua Gate, covering an area of over thirty mu. In the 11th year of the Yongzheng reign (1733), County Magistrate Liao Kaichun renamed the free school as “Lin Chuan Academy.” In the 2nd year of the Guangxu reign (1876), Bi Bingyan expanded the academy westward and renamed it “Lin Zhou Academy.” By 1947, the Confucius Temple had fallen into disrepair, and its auxiliary structures were gradually destroyed. After the Cultural Revolution, only the Dacheng Hall remained.

In 1982, the Shandong Provincial Bureau of Cultural Relics allocated special funds to renovate the Dacheng Hall, which was on the verge of collapse. In 1995, after the relocation of the grain depot, the Dacheng Gate was rebuilt, and the statues of Confucius and the Four Disciples were restored inside the Dacheng Hall. Ancillary facilities such as the shrine niche, imperial plaques, and incense table were also created.

The Dacheng Hall is the main structure of the Confucius Temple. Its foundation is built with a mix of brick and stone, with a platform 1.4 meters high, 22.3 meters long from east to west, and 14.25 meters wide from north to south. The hall itself is 13.7 meters tall, with a width of five bays and a depth of three bays, featuring a double-eaved, nine-ridged, hip-and-gable roof style. The upturned roof corners, green tiles, red beams, interlocking brackets, and carved beams and painted rafters showcase exquisite craftsmanship. The hall is supported by 24 large stone pillars, each 3.48 meters high and approximately 0.55 meters in diameter. The eight pillars under the front eaves and the two end pillars at the rear eaves feature high-relief carvings of dragons playing with pearls, adorned with floating clouds above and waves below, demonstrating vivid designs and fine carving. The other pillars are decorated with shallow-relief carvings of entwined floral patterns, intricate in composition and exquisitely crafted. The middle two pillars at the rear corridor bear inscriptions: “The 21st day of the 7th month in the 41st year of the Kangxi reign of the Great Qing” and “Reconstructed by Xuan Yi Lang, Magistrate of Juye, Zhang Hong from Wanping.” Inside the hall are eight vermilion pillars, each 0.5 meters in diameter, resting on drum-shaped stone bases and supporting the roof framework. The layered beams and rafters intersect intricately, displaying superb architectural skill. This Dacheng Hall was modeled after the one in the Qufu Confucius Temple. The hall also houses a set of Qing Dynasty cloisonné ritual vessels, which are exquisitely made and well-preserved.

In front of the hall is a terrace, 1.2 meters high, 16.1 meters long from east to west, and 10.30 meters wide from north to south.

The Juye Confucius Temple is the most intact Ming Dynasty structure remaining in southwestern Shandong. Its main building, the Dacheng Hall, imitates the design of the Dacheng Hall in the Qufu Confucius Temple in both architectural planning and construction. It integrates architectural technology and artistic culture, featuring ingenious structure and refined craftsmanship. The eaves are adorned with magnificent paintings, and the stone pillars around the hall are either deeply carved with coiling dragons or lightly engraved with floral patterns, combining dynamism with stability. The Dacheng Hall, modeled after the one in Qufu, showcases the fusion of architecture and artistry, with elaborate structure and fine workmanship. The colorful eaves are splendid, especially the stone pillars adorned with deep carvings of dragons or shallow floral motifs, combining liveliness with solemnity. This reflects the exceptional skills of ancient craftsmen. The Juye Confucius Temple stands as a historical testament to the flourishing of Confucian thought and culture in southwestern Shandong, possessing unique artistic value and profound cultural significance.

Further Reading:

· Seventh Batch of National Key Cultural Relics Protection Units