Temple of Confucius in Qufu

The Temple of Confucius in Qufu is situated in Shandong Province. Located 300 meters west of the Drum Tower in the city center of Qufu, it is a temple dedicated to Confucius, the renowned ancient Chinese thinker and educator.

The Temple of Confucius (the main temple) is located inside the southern gate of Qufu City, Shandong Province. It is the first temple dedicated to Confucius, originally built in 478 BC on the site of his former residence, constructed to imperial palace specifications. It is one of China’s three great ancient architectural complexes and holds an important place in the history of world architecture.

Temple of Confucius

Temple of Confucius

The Temple of Confucius (Northern Confucius) is located at 116°58’30” east longitude ---- 35°36’42” north latitude. The Confucius Temple in Qufu is the main temple dedicated to Confucius. It is said that the temple was first built in 478 BC, the year after Confucius’ death, when Duke Ai of Lu converted his former residence into a temple. Since then through successive...

Temple of Confucius

dynasties, emperors continuously conferred posthumous titles on Confucius and expanded the temple. By the Qing Dynasty, Emperor Yongzheng ordered a major renovation, expanding it to its current scale. The temple complex consists of nine courtyards, aligned along a north-south central axis, divided into left, middle, and right sections. It stretches 630 meters in length and 140 meters in width, containing over 460 halls, chambers, altars, and pavilions, 54 ceremonial archways, and 13 “Imperial Stele Pavilions,” with a total of more than 100 buildings and over 460 rooms, covering an area of approximately 95,000 square meters. This vast architectural complex houses numerous stone tablets and carvings, especially a large collection of Han Dynasty steles—the most in the country—and other historically valuable inscriptions. Its number of stone tablets is second only to the Xi’an Stele Forest, earning it the title of China’s Second Stele Forest. The Temple of Confucius is the largest ancient architectural complex in China after the Forbidden City, one of China’s three great ancient architectural complexes, and a model of large-scale ancestral temple architecture in ancient China.

Temple of Confucius

The overall design of the Temple of Confucius is highly successful. The front features a spirit path flanked by cypress trees, creating a solemn and respectful atmosphere and fostering reverence among visitors. The main body of the temple is arranged along a central axis, with symmetrical left and right sections and a rigorous layout. The nine successive courtyards include the first three as introductory spaces, featuring only smaller ceremonial archways. The courtyards are shaded by rows of lush pine and cypress trees, creating a serene environment that clears the mind. The towering ancient cypresses form a deep, quiet passage, evoking both the long history of the temple and the profundity of Confucius’ philosophy. The inscribed plaques above each archway praise Confucius' achievements, leaving a strong impression and naturally inspiring admiration. The fourth courtyard is grand, with yellow tiles, red walls, and green trees complementing each other—symbolizing both the depth of Confucius’ thought and his great accomplishments. The eastern and western side halls, which enshrine Confucian sages, stretch 166 meters each, symbolizing the enduring legacy of Confucian thought. The ancient architectural area of the temple is about 16,000 square meters. Major structures include Jin-Yuan Dynasty stele pavilions, the Ming Dynasty Kuiwen Pavilion, the Apricot Altar, the De Mu Tian Di Archway, and others, along with the Qing Dynasty-reconstructed Dacheng Hall and Sleeping Hall. The wooden structure of the Gold Medal Pavilion exhibits many Song Dynasty characteristics, such as widely spaced bracket sets, gradually increasing lengths of the goujiao, lingjiao, and manjiao brackets, a reduction of two levels in the inner jump of the six-puzuo, and identical appearances of column-top and intercolumnar bracket sets. The use of surrounding corridors in the main hall courtyard is a rare surviving example of the enclosed temple style common in the Song-Jin period. The Dacheng Hall, Sleeping Hall, Kuiwen Pavilion, Apricot Altar, and Dacheng Gate all feature mixed wood-and-stone structures, also relatively uncommon. The arrangement and detailing of the bracket sets...

Temple of Confucius

are flexible, with varying numbers, densities, and lengths of bracket arms per bay, even extending some to compensate for visual gaps—resulting in differing bracket lengths between adjacent bays or dramatic differences on either side of the same column-top bracket set. This is a unique feature of the temple’s architecture.

Temple of Confucius

The temple preserves 1,044 stone tablets from the Han Dynasty onward, including records of imperial posthumous titles, enfeoffments, sacrifices to Confucius, and temple renovations, as well as poems and inscriptions by emperors, generals, scholars, and literary figures. The texts are in Chinese, Mongolian, 'Phags-pa script, and Manchu, with calligraphy styles including regular, cursive, clerical, and seal scripts. These are precious historical materials for studying the politics, economy, culture, and art of feudal society. Among them are over 20 Han Dynasty steles and inscriptions—the largest collection preserved in China. Notable works include the Yi Ying Stele, Ritual Vessel Stele, Kong Zhou Stele, and Shi Chen Stele as representatives of Han clerical script, and the Zhang Menglong Stele and Jia Shijun Stele as models of Wei-style regular script. There are also calligraphic works by Sun Shifan, Mi Fu, Dang Huaiying, Zhao Mengfu, Zhang Qiyian, Li Dongyang, Dong Qichang, and Weng Fanggang, as well as inscriptions by Yuan Haowen and Guo Zijing. The massive calligraphy collection "Jade Rainbow Tower Calligraphy Series" by Kong Jisul contains 584 stone engravings. The temple’s stone tablets represent a treasure trove of ancient Chinese calligraphy.

Temple of Confucius

The temple also features famous stone artworks such as Han Dynasty relief carvings, Ming-Qing carved stone pillars, and Ming Dynasty engraved “Sacred Traces” illustrations. There are over 90 Han relief carvings with diverse themes, depicting social life, historical stories, and mythological legends. The carving techniques vary, including line engraving (with subtractive, relief, plain, and lined backgrounds) and relief carving (with varying depths, smooth or rough surfaces). Styles range from refined and meticulous to bold and unconstrained, with smooth lines and elegant forms. The 74 Ming-Qing carved stone pillars include 56 with subtractive flat engraving and 18 with high relief. The subtractive flat engravings mostly feature small motifs like dragons, phoenixes, and peonies, with those in the Chongsheng Shrine dating to 1729 (Qing Yongzheng 7th year) and floral designs like peonies, pomegranates, and lotuses from 1504 (Ming Hongzhi 17th year), all exquisitely composed. The finest stone carvings are the dragon pillars in high relief: the ten front-eave pillars of the Dacheng Hall, each six meters tall, are the most imposing, while the two in the Chongsheng Shrine feature vigorous dragons and lively cloud patterns, representing the highest craftsmanship. Additionally, the shallow-relief cloud-dragon stone steps at the Holy Times Gate, Dacheng Gate, and Dacheng Hall also hold high artistic value. The “Sacred Traces” illustrations, created in 1592 (Ming Wanli 20th year) based on Song-Jin wooden carvings of the temple, were compiled by Qufu scholar Mao Fengyi, illustrated by Yang Zhi of Yangzhou, and engraved by stonemason Zhang Cao of Suzhou. The 120 illustrations vividly depict Confucius’ life and are among China’s earliest large-scale graphic novels, with significant historical and artistic value. For over two thousand years, the Qufu Temple of Confucius has been repeatedly destroyed and rebuilt but never abandoned. Under national protection, it evolved from Confucius’ private residence into a massive architectural complex rivaling imperial palaces in scale and design. Its longevity and rich documentation make it a unique case in the history of human architecture.

Temple of Confucius

Temple of Confucius Scenic Area

Temple of Confucius

The Temple of Confucius is a temple where feudal dynasties throughout China’s history worshipped Confucius, the philosopher, statesman, and educator of the Spring and Autumn Period. It is located in the center of Qufu City. It is a grand ancient architectural complex with distinctive Eastern architectural features, magnificent in scale and imposing in presence.

Temple of Confucius

Lingxing Gate

Temple of Confucius

Lingxing, also known as the Spirit Star or Tian Tian Star, was believed by the ancients to “bestow the joy of gaining scholars.” In ancient heaven worship ceremonies, the Spirit Star was worshipped first. The Temple of Confucius names its gate Lingxing to signify that respecting Confucius is akin to respecting heaven.

Temple of Confucius

Temple of Confucius

The Lingxing Gate is located behind the Pan Water Bridge. It has four pillars and three bays. The stone pillars are topped with iron beams, which are cast with 12 dragon-shaped valve decorations. The four round stone pillars are adorned with auspicious clouds, with fierce heavenly generals seated atop. The lintels are carved with flaming jewels. The central lintel is composed of two stone slabs: the lower one bears the three large characters “Lingxing Gate” handwritten by Emperor Qianlong, and the upper one is decorated with decorative patterns. During the Ming Dynasty, this gate was made of wood but was rebuilt with stone in 1754 (Qing Qianlong 19th year). Lingxing Gate of the Temple of Confucius

Temple of Confucius

Inside the Lingxing Gate stand two memorial archways: the southern one is the Taihe Yuanqi Archway, built in the spring of 1544 during the Ming Dynasty's Jiajing era. Its design is identical to that of the Jinsheng Yuzhen Archway, and the inscription on its plaque was handwritten by Zeng Xian, the governor of Shandong, praising Confucius’ philosophy as being akin to heaven and earth nurturing all things. The northern archway is the Zhisheng Miao Archway, which originally bore the three seal characters “Xuansheng Miao” (Temple of the Exalted Sage) during the Ming Dynasty. In 1729, the seventh year of the Yongzheng reign in the Qing Dynasty, it was renamed to its current title. The archway is carved from white marble, featuring three bays and four pillars, with cloud motifs adorning the pillars and flaming jewels on the lintels.

The Confucius Temple

To commend the profound influence of Confucius’ philosophy on Chinese society, later generations coined the eight characters “De Mou Tian Di” (Virtue Matches Heaven and Earth) and “Dao Guan Gu Jin” (Doctrine Surpasses Past and Present), meaning his contributions were as vast as the universe and his teachings have always been the best throughout history. Accordingly, two symmetrical wooden memorial archways were constructed on either side of the first courtyard of the Confucius Temple: the eastern one inscribed “De Mou Tian Di” and the western one “Dao Guan Gu Jin,” serving as the temple’s first side gates. These archways were built in the early Ming Dynasty and exhibit distinct characteristics of that period. The structures are wooden, with three bays, four pillars, and five tiers of roofs, covered with yellow glazed tiles. They feature ruyi-style brackets, with the central bay having thirteen-tiered brackets, the side bays nine-tiered, and the small central roof five-tiered. Each archway is adorned with eight stone-carved mythical beasts at the base—four central Tianshu (heavenly deer) with scales, curled tails, long necks, and sharp claws, and four side Pixie (mythical guardians) with fierce expressions and twisted necks, presenting strange and unique appearances.

The Confucius Temple

Shengshi Gate

The Confucius Temple

Shengshi Gate

The Confucius Temple

According to Mencius, “Mencius said: ‘Bo Yi was the sage of purity; Yi Yin was the sage of duty; Liu Xia Hui was the sage of harmony; Confucius was the sage of timing.’” This means that among the sages, Confucius was the most attuned to his times. Based on this, Emperor Yongzheng of the Qing Dynasty officially designated the main gate of the Confucius Temple as “Shengshi Gate” in the eighth year of his reign (1730). Originally built in 1415 during the Ming Dynasty’s Yongle era, Shengshi Gate initially had three bays. It was expanded during the Hongzhi era to five bays with three arched gateways in the center, topped with green-glazed tiles and a hip-and-gable roof. The surrounding walls are deep red, while the inner walls of the archways are apricot yellow. Stone-carved dragon steps are found on both the front and rear staircases. Looking through the arched gateway evokes a sense of deep mystery.

The Confucius Temple

The Confucius Temple

Passing through Shengshi Gate, one is greeted by a suddenly expansive courtyard, densely shaded by ancient cypresses, with lush greenery covering the ground and carpets of fragrant grass. Three arched bridges stretch across, traversing a body of water shimmering with clear waves and lotus leaves. Delicate stone railings line the water. The water “surges and encircles like a wall,” hence named “Bi Shui” (Wall Water), and the bridges are thus called “Bi Shui Qiao” (Wall Water Bridges).

The Confucius Temple

To the south of the bridge are two east-west gates connected by a passageway. The eastern gate is inscribed with “Kua Du Men” (Swift View Gate), derived from Li Bo’s phrase “like a lucky star or phoenix, everyone vies to see it first”—meaning “the joy of seeing something first.” The western gate is labeled “Yang Gao Men” (Gazing Upward Gate), taken from the Analects’ phrase “the more you look up, the higher it seems,” praising the profound depth of Confucius’ scholarship. These form the second side gates of the Confucius Temple. In the past, only the emperor could use the main gate during sacrifices, while ordinary people entered through Yang Gao Men. Hongdao Gate

The Confucius Temple

Hongdao Gate

The Confucius Temple

North of Bi Shui Bridge lies the Hongdao Gate (Gate of Promoting the Way), which served as the main entrance to the Confucius Temple in 1377 during the Ming Dynasty’s Hongwu era. In 1729, the seventh year of the Yongzheng reign in the Qing Dynasty, it was officially named based on the Analects phrase “man can promote the Way,” in praise of Confucius’ elucidation of the teachings of Yao, Shun, Yu, Tang, and the Duke of Zhou and Duke of Zhou. Beneath the gate stand two Yuan Dynasty steles: the eastern square stele titled “Chronicles of Historical Changes in Qufu County,” which documents the evolution of Qufu and holds high historical value; the western stele, “Epitaph of Mr. Wang Chushi,” possesses notable calligraphic merit and was moved into the Confucius Temple for preservation in 1966.

The Confucius Temple

Dazhong Gate

The Confucius Temple

Passing through Dazhong Gate leads into the fourth courtyard of the Confucius Temple. The courtyard is spacious, with ancient trees thriving, birds flying about—summer brings cranes and egrets dancing, along with elegant egrets, while winter and spring echo with magpie calls, sparrow chatter, and evening crows, creating a serene and secluded atmosphere.

The Confucius Temple

Originally named Zhonghe Gate, Dazhong Gate is longer and narrower than Hongdao Gate, with five bays. It was originally the main gate of the Confucius Temple during the Song Dynasty, renovated during the Hongzhi era of the Ming Dynasty, and the current structure dates to the Qing Dynasty. On either side of the gate stand green-tiled corner towers, built in 1331 during the Yuan Dynasty’s Zhi Shun era to give the Confucius Temple the imposing appearance of an imperial palace. Each tower has three bays, with a right-angle plan, standing atop square high platforms with interior ramps for access. These two corner towers, together with those at the northeast and northwest corners of the temple, form a large rectangle for guarding purposes.

The Confucius Temple

Kuwen Pavilion

The Confucius Temple

Upon entering Dazhong Gate, visitors are immediately faced with Tongwen Gate. The gate building has five bays in width and two in depth, topped with a yellow-glazed hip-and-gable roof, and features a spacious arrangement of brackets. In the early Qing Dynasty, this gate was once called “Can Tong Gate,” but was renamed after the Shunzhi era.

The Confucius Temple

Passing through Tongwen Gate, a grand pavilion rises at the northern end of the courtyard. Under its eaves, a wooden plaque encircled by carved dragons prominently displays the three large characters “Kui Wen Ge” (Kuiwen Pavilion). This is the renowned library building of the Confucius Temple, celebrated both in China and abroad for its rich collection of books and distinctive architecture.

Temple of Confucius

The Kuiwen Pavilion was originally built in the second year of the Tianxi era of the Song Dynasty (1018), initially named the "Book Depository." It was renamed the "Kuiwen Pavilion" during renovations by Emperor Zhangzong of the Jin Dynasty in the second year of the Mingchang era (1191), and its plaque was rewritten by Emperor Qianlong of the Qing Dynasty. "Kui" is the name of a star, one of the Twenty-Eight Mansions, located at the head of the White Tiger constellation in the west, comprising 16 stars that "twist and hook together like strokes of writing." Therefore, the Classic of Filial Piety states that "Kui governs literature," and later generations further evolved the Kui (or Kuí) star into the symbol of the chief civil official. Later feudal emperors, in praise of Confucius, named the Temple of Confucius' book depository the Kuiwen Pavilion.

Temple of Confucius

The Kuiwen Pavilion is 23.35 meters high, 30.1 meters wide, and 17.62 meters deep, with a yellow-tiled hip-and-gable roof, triple flying eaves, and four tiers of bracket sets. It has two floors internally, with a hidden middle layer, featuring a stacked-frame structure. The lower-level wooden columns support bracket sets, upon which the upper-level wooden columns stand. The Kuiwen Pavilion has a rational structure and exceptional sturdiness. Since its renovation in the 17th year of the Hongzhi era of the Ming Dynasty (1504), it has withstood centuries of weathering and multiple earthquakes. Although the major earthquake during the Kangxi era caused "nine out of ten houses in Qufu to collapse, with only one remaining standing," the Kuiwen Pavilion remained unscathed as solid proof of its durability, standing firmly to this day. It is truly one of China’s renowned ancient wooden structures. A stone stele in the pavilion’s western stele pavilion, documenting the earthquake during the Kangxi era, serves as evidence of its sturdiness. In front of the pavilion, there are two stone steles under the corridor: the eastern one is the "Ode to the Kuiwen Pavilion," written by the famous Ming poet Li Dongyang and calligraphed by the renowned calligrapher Qiao Zong; the western one is the "Record of Replacing Books in the Kuiwen Pavilion," documenting the Ming Zhengde Emperor’s decree for the Ministry of Rites to renovate and store books.

Temple of Confucius

In front of the Kuiwen Pavilion are two imperial stele pavilions, housing a total of four Ming Dynasty imperial steles inside and outside the pavilions. Each stele is over 6 meters tall and more than 2 meters wide, with the tortoise-shaped pedestal beneath each being over 1 meter high. The tops of the steles are exquisitely carved with coiling dragons encircling the sun, vividly lifelike. The content of the steles mostly extols Confucius. The "Steles for the Renovation of the Confucius Temple" in the southeast, exposed to the open air, was erected by the Ming Xianzong Emperor Zhu Jianshen. The text highly praises Confucian thought: "I believe the teachings of Confucius are indispensable for any ruler of the world even for a single day." The characters are in regular script, with a dignified style and rigorous structure, celebrated worldwide for their exquisite calligraphy. The stele was erected in the fourth year of the Chenghua era (1468) and is commonly known as the "Chenghua Stele."

Temple of Confucius

On the east and west sides of this courtyard are separate courtyards called "Zhaisu" (Fasting Lodgings), where ritual participants would fast and bathe before worshipping Confucius. The eastern courtyard served as the fasting lodging for the "Yansheng Duke." During the Qing Dynasty, Emperors Kangxi and Qianlong bathed here during their worship of Confucius, hence it was also called the "Imperial Lodging." Today, the area hosts an exhibition on the life of Confucius. The western courtyard was the fasting lodging for accompanying officials, but it had been abandoned by the mid-Qing Dynasty, leaving only the courtyard itself. During the Daoguang era of the Qing Dynasty, Kong Zhaoxun, the 71st-generation descendant of Confucius, gathered over 130 stone tablets inscribed with visits to the temple by literati from the Song, Jin, Yuan, Ming, and Qing dynasties, embedding them into the courtyard walls and renaming the area the "Stele Courtyard." The tablets feature diverse styles—some bold and unrestrained, free and graceful; some rich and elegant, vibrant with spirit; others dignified and classic, simple and rustic—forming a magnificent collection of many fine works.

Temple of Confucius

Thirteen Stele Pavilions

Temple of Confucius

Thirteen Stele Pavilions

Temple of Confucius

Beyond the Kuiwen Pavilion lies the sixth courtyard of the Temple of Confucius. The long and narrow courtyard houses 13 stele pavilions—eight in the south and five in the north—arranged in two rows. With upturned bracket sets and soaring eaves, golden yellow tiles gleaming, they stand in close succession. The Thirteen Stele Pavilions were built specifically to preserve imperial stone steles commissioned by feudal emperors, commonly known as "Imperial Stele Pavilions." The pavilions house 55 steles carved during seven dynasties: Tang, Song, Jin, Yuan, Ming, Qing, and the Republic of China. The inscriptions mostly record emperors’ posthumous titles and enfeoffments for Confucius, their personal worship visits, dispatching officials for sacrifices, and renovations of the temple, inscribed in Chinese, Phags-pa script (Mongolian script of the Yuan Dynasty), Manchu, and other languages.

Temple of Confucius

The five pavilions north of the path were built during the reigns of Emperors Kangxi, Yongzheng, and Qianlong. Of the eight pavilions south of the path, four are from the Jin and Yuan dynasties: the third and sixth from the east were built in the sixth year of the Mingchang era of the Jin Dynasty (1195), the fourth in the fifth year of the Yuanshi era of the Yuan Dynasty (1268), the fifth in the sixth year of the Dade era of the Yuan Dynasty (1302), while the remaining four were built during the Qing Dynasty. The two square Jin Dynasty pavilions, with bold bracket sets and spacious arrangements, are the oldest surviving structures in the Temple of Confucius.

Temple of Confucius

Most of the steles in the pavilions rest on pedestals shaped like turtles but not turtles, called bixi (pronounced “bì xì”), said to be the sons of dragons. Legend says the dragon had nine sons, each with different abilities, and the bixi excelled at carrying heavy loads, thus used to transport steles. The earliest steles in the pavilions are two Tang Dynasty ones: one erected in the first year of the Zongzhang era of Emperor Gaozong of Tang (668), the "Great Tang Stele in Honor of the Sage Lu, the Late Saint Confucius Kong Qiu"; the other from the seventh year of the Kaiyuan era of Emperor Xuanzong of Tang (719), the "Lu Confucius Temple Stele," both located in the sixth Jin Dynasty pavilion from the east at the south end. The largest stele was erected in the 25th year of the Kangxi era of the Qing Dynasty (1686), located in the third pavilion from the east in the north row. This stele weighs about 35 tons, and with the bixi and water basin beneath it, the total weight is approximately 65 tons. The stone was quarried from Beijing’s Western Hills. Transporting such a massive stele safely over a thousand miles to Qufu under the technological conditions of the time is nothing short of astounding.

Temple of Confucius

In the southeast and southwest corners of this courtyard are clusters of steles resembling dense groves. Within the red railings of the northern wall are also inlaid numerous stone engravings, all created after emperors and ministers repaired, visited, or worshipped at the temple throughout history. From the perspective of calligraphy art, styles including regular, cursive, clerical, and seal scripts each have their unique merits. Additionally, several steles provide side records of peasant uprisings such as the Red Turban Rebellion at the end of the Yuan Dynasty, the Liu Liu and Liu Qi uprisings in the mid-Ming Dynasty, and the Xu Hongru rebellion at the end of the Ming Dynasty, serving as rare and valuable historical materials for studying peasant revolutionary history.

Temple of Confucius

On both sides of the Thirteen Stele Pavilion courtyard, the eastern side has the Yucui Gate and the western side the Guande Gate, serving as entrances and exits. Following the naming convention of imperial palace gates, they are called the East and West Flower Gates. These are the third side gates of the Temple of Confucius. Dacheng Gate

Temple of Confucius

Dacheng Gate

Temple of Confucius

North of the Thirteen Stele Pavilions, there are five gates aligned side by side, with the central one called the Dacheng Gate, the seventh main gate of the Temple of Confucius.

Temple of Confucius

"Dacheng" is Mencius’ evaluation of Confucius. He said, "Confucius is called the one who achieved greatness," praising Confucius for attaining the supreme realm of embodying the virtues of all ancient sages. Here, the five gates stand wide open, dividing the Temple of Confucius into three routes: the east is the Chengsheng Gate, enshrining the five generations of Confucius’ ancestors; the west is the Qisheng Gate, enshrining Confucius’ parents; and the central Dacheng Gate is dedicated primarily to worshipping Confucius and his wife, along with accompanying ancient sages and scholars. The three gates stand together, flanked on the left by the Jinsheng Gate and on the right by the Yuzhen Gate. "Jinsheng" is the sound of striking a bell, signifying the beginning of music; "Yuzhen" is the sound of striking a chime stone, signifying the end of music, symbolizing that Confucius’ thoughts embody the greatness of all ancient sages.

Temple of Confucius

The Thirteen Stele Pavilions to the south of the Dacheng Gate were incrementally built from the Jin Dynasty onward. Master craftsmen made full use of the traditional architectural technique of interlocking brackets, ingeniously solving the challenges of structural space.

Temple of Confucius

Apricot Altar

Temple of Confucius

Apricot Altar

Temple of Confucius

The two characters “杏坛” (Apricot Altar) mark the legendary site where Confucius taught. The earliest record of Confucius teaching at the Apricot Altar appears in Zhuangzi·The Fisherman: “Confucius wandered through the forest of dark curtains, resting and sitting upon the Apricot Altar. His disciples read aloud while Confucius played music and sang to the strumming of his lute.” However, the original location is not documented. In the second year of the Tianxi era of the Song Dynasty (1018), Kong Daofu, the 45th-generation descendant of Confucius, supervised renovations of the Temple of Confucius. He moved the main hall back and expanded it, leveling the original site of the main hall “to create an altar, surrounded by apricot trees, and named it the Apricot Altar.” It was during the Jin Dynasty that a pavilion was first built on the altar, with the two characters “杏坛” inscribed in seal script by the renowned scholar Dang Huaiying.

Temple of Confucius

The Apricot Altar features a cross-hipped roof, open gables on all four sides, yellow tiles, red railings, exquisitely carved beams and painted rafters, with splendid and ornate decorations. In front of the altar stands a finely carved stone incense burner, and nearby grow several apricot trees. Every early spring, their crimson blossoms sway gently. Emperor Qianlong once composed a poem about it: “Returning again as the blossoms blaze, / A cluster of crimson boughs in the east wind sways. / Surely no mortal flower could compare, / As eternal culture thrives in spring’s own care.”

Temple of Confucius

Side Halls

Temple of Confucius

The rooms on the eastern and western sides of the Dacheng Hall are called “两庑 (Side Halls),” which were later used to enshrine ancient sages and Confucian scholars. Most of these revered figures were prominent personalities from later Confucian schools, such as Dong Zhongshu, Han Yu, and Wang Yangming. In the Tang Dynasty, there were only about 20, but over successive dynasties, this number grew through additions and replacements, reaching 156 by the Republican era. Originally depicted as portraits, these figures were sculpted in the Jin Dynasty, and during the Ming Chenghua period, they were replaced with wooden name plaques housed in individual shrines. Today, the Side Halls display stone carvings from various dynasties.

Temple of Confucius

“The ancient cypress once drank the rain of Zhou, / The broken stele still bears the prose of Han.” The Eastern Side Hall preserves more than 40 stone tablets from the Han, Wei, Sui, Tang, Song, and Yuan dynasties, among which the most precious are the 22 pieces known as the “Han and Northern Dynasties Stone Carvings.” Among Western Han stone carvings, the “Five Phoenixes” stand out; for the Eastern Han, the “Ritual Vessel,” “Yiying,” “Kong Zhou,” and “Shichen” tablets are treasured examples of clerical script. From the Northern Dynasties, the “Zhang Menglong” tablet is the model of Wei-style regular script. The Western Side Hall houses over 100 “Han Dynasty Relief Stone Carvings,” also highly acclaimed works of art. These carvings are rich in content, featuring mythological creatures such as the Azure Dragon, White Tiger, Vermilion Bird, and Black Tortoise, as well as scenes reflecting daily life at the time—fishing, dancing, acrobatics, medicine, and hunting—serving as valuable resources for studying Han society. The carving techniques vary from delicate and refined to bold and unrestrained, each with its own distinctive style. The 584 “Jade Rainbow Tower Stone Carvings” displayed in the northern part of the Side Halls were meticulously copied and engraved by Kong Jilu, a descendant of Confucius during the Qing Qianlong era, based on the handwriting of famous calligraphers throughout history. Originally discarded under the Jade Rainbow Tower in Qufu’s “Twelve Mansions,” they were moved into the Temple of Confucius in 1951, installed and exhibited in 1964 for calligraphy enthusiasts to admire.

Dacheng Hall

Looking north from the Apricot Altar, atop a two-tiered stone platform rises a grand golden hall, seemingly suspended in midair. On its double-eaved roof, a sea-blue vertical plaque bears three gilded Chinese characters—“大成殿” (Dacheng Hall)—carved in relief and covered in gold leaf, tightly encircled by dragons. Each character is one meter in diameter, handwritten by Emperor Yongzheng of the Qing Dynasty. Dacheng Hall

The Dacheng Hall is the main structure of the Temple of Confucius. Standing 24.8 meters tall, 45.78 meters wide, and 24.89 meters deep, it features a double-eaved, nine-ridged roof with yellow tiles and flying eaves, surrounded by corridors. Along with the Hall of Supreme Harmony in the Forbidden City and the Song Dynasty Tiankuang Hall in the Dai Temple, it is known as one of the Three Great Halls of the East. The hall has a simple yet majestic structure, with upturned eaves, interlocking brackets, carved beams, painted rafters, and resplendent gold and color. Its caisson ceiling and beams are adorned with cloud-and-dragon motifs, gilded in gold leaf, enveloped in auspicious clouds, with dragons soaring in every direction. Twenty-eight intricately carved dragon pillars stand around the perimeter corridor, each hewn from a single block of stone. Each pillar is 5.98 meters high and 0.81 meters in diameter, resting on a double-layered lotus-petal base. Originally commissioned in the 13th year of the Hongzhi era of the Ming Dynasty (1500) and carved by artisans from Huizhou, they were recarved after a fire in the 2nd year of the Yongzheng era of the Qing Dynasty. The 18 octagonal shallow-carved stone pillars along the side and rear eaves are decorated with cloud-and-dragon designs, each face featuring nine coiled dragons, totaling 72 dragons per pillar. Careful artisans even recorded the total number of dragons carved—1,296. The 10 pillars along the front eaves are carved in high relief, each featuring two dragons facing each other, spiraling upward with a precious pearl at the center, surrounded by flaming clouds, and rooted at the base with rocks and waves. The 10 dragon pillars are arranged in pairs, each uniquely designed without any repetition. Their forms are graceful and vivid, the carvings exquisitely detailed, the knife work vigorous and forceful, and the dragons lifelike. This is a unique artistic treasure of stone carving in Qufu. Legend says that when Emperor Qianlong of the Qing Dynasty visited Qufu to offer sacrifices to Confucius, the pillars were wrapped in red silk to prevent the emperor from seeing them, lest he be displeased that they surpassed those in the imperial palace. The architectural artistry of the Dacheng Hall fully showcases the talent and wisdom of China’s working people. Inside the Dacheng Hall

At the center of the Dacheng Hall stands a statue of Confucius, seated 3.35 meters tall, wearing a twelve-tasseled crown and a robe of twelve symbolic patterns, holding a ceremonial jade tablet, just as an ancient emperor would. On either side are the Four Accompanying Sages: to the east, facing west, are Yan Hui (Restored Sage) and Kong Ji (Narrator Sage); to the west, facing east, are Zeng Shen (Ancestral Sage) and Meng Ke (Second Sage). Further out are the Twelve Philosophers: to the east, facing west, are Min Sun, Ran Yong, Duanmu Ci, Zhong You, Bu Shang, and You Ruo; to the west, facing east, are Ran Geng, Zai Yu, Ran Qiu, Yan Yan, Zhongsun Shi, and Zhu Xi. The statues of the Four Accompanying Sages are 2.6 meters tall, and the Twelve Philosophers are 2 meters tall, all wearing nine-tasseled crowns and robes of nine symbolic patterns, holding ceremonial jade tablets, in the manner of ancient dukes. All statues are placed within wooden, gold-lacquered shrines. The statue of Confucius has its own shrine with thirteen-tiered brackets, and in front of the shrine, each of the two pillars is carved with a descending dragon, coiling around the column with vivid, exquisite detail. The Four Accompanying Sages and the Twelve Philosophers share shrines in pairs, each with nine-tiered brackets. In front of each shrine are offering tables and incense burners, arranged with ritual vessels such as bian and dou used during ceremonies. The hall also displays musical instruments and dance props used in ceremonies honoring Confucius. Outside the hall hang ten plaques and three pairs of couplets. The central plaque outside the door, inscribed by Emperor Yongzheng of the Qing Dynasty, reads “None Greater Among Men.” Inside the hall, the central plaque, written by Emperor Kangxi, reads “Model Teacher for Ten Thousand Generations,” and the one by Emperor Guangxu reads “Herein Lies Civilization.” On the south side hang plaques inscribed by Emperor Qianlong, such as “Upholding the Mean and Establishing the Ultimate.” Each plaque is over six meters long and approximately 2.6 meters high, covered in carved dragons and gold leaf, exquisitely ornate.

The hall is built on a two-tiered platform, connected in front to a terrace over two meters high, approximately 4.5 meters wide from east to west and about 35 meters deep from north to south. It features carved floral Sumeru pedestals, double-layered stone railings, with stone carved chi heads beneath the lotus-patterned railing pillars on the lower level, and two carved dragon steps in the center of the southern facade. The terrace served as the venue for singing and dancing during ceremonies. Nowadays, on Confucius’s birthday (the 28th day of the ninth lunar month), performances of the Eight-Row Dance—a classical dance with equal numbers of performers in rows and columns—are held. According to Western Zhou slave-era hierarchical rules, the emperor was entitled to eight rows (64 performers), while feudal lords had six rows (36 performers).

Sleeping Hall

Walking along the corridor behind the Dacheng Hall and turning around, surrounded by layered railings, stands another double-eaved hall. This is the “Sleeping Hall” (one of the three main structures of the Temple of Confucius, alongside the Kuiwen Pavilion and the Dacheng Hall), dedicated to enshrining Lady Qiguan, the wife of Confucius.

The Sleeping Hall is seven bays wide and four bays deep, with golden decorations. The beams and caisson ceiling are covered in gold leaf, and the 22 corridor pillars are shallowly carved with phoenixes and peonies, following the design of an empress’s palace. Inside the hall, the wooden shrine is exquisitely carved with dragons and phoenixes, exceptionally beautiful, and holds a wooden plaque inscribed “Spirit Tablet of the Sage’s Wife.”

Qiguan, recorded as Bingguan on the Ritual Vessel Stele, was from the State of Song. She married Confucius at the age of 19 and passed away seven years before him. Ancient texts offer little information about her. Not until the first year of the Dazhong Xiangfu era (1008) was she posthumously honored by Emperor Zhenzong of the Song Dynasty (Zhao Heng) as “Lady of Yanzhou.” In the third year of the Yuanshun era (1332) during the Yuan Dynasty, she was further honored as “Wife of the Great Sage and Literary King.” When Confucius was renamed “Great Sage and First Teacher” in the eighth year of the Jiajing era (1592) of the Ming Dynasty, she became known as “Wife of the Great Sage and First Teacher.” After Confucius’s death, “his residence was turned into a temple,” and Qiguan was worshipped alongside him. The Sleeping Hall was first established in the Tang Dynasty. Early on, there were statues, but after the fire during the Yongzheng era of the Qing Dynasty, they were replaced with spirit tablets housed within carved wooden shrines, with offering tables placed in front.

Hall of Sacred Traces

The Hall of Sacred Traces is named for housing the Sacred Traces paintings—a series of stone carvings depicting the life of Confucius in comic-strip format. This hall is located behind the Sleeping Hall, forming its own courtyard, and is the ninth and final courtyard of the Temple of Confucius. The hall was constructed in the 20th year of the Wanli era of the Ming Dynasty (1529) under the supervision of imperial inspector He Chuguang. Originally, the Temple of Confucius had wooden illustrations depicting Confucius’s deeds. He suggested replacing them with stone carvings, which were painted by Yang Zhi and carved by Zhang, then inlaid on the walls of the hall—resulting in the 120-piece “Sacred Traces Series.”

Each Sacred Trace painting is approximately 38 cm wide and 60 cm long. They depict events from the prayer of Yan’s mother at Mount Ni for the birth of Confucius to the mourning of his disciples by his tomb after his death, including two additional scenes of Emperor Gaozu of Han and Emperor Zhenzong of Song conducting grand sacrifices to Confucius. Among the familiar scenes are “The People of Song Cut Down Trees” and “Tyranny Is Fiercer Than a Tiger,” representing major events and sayings in Confucius’s life. It is China’s first complete narrative comic strip, possessing high historical and artistic value.

At the entrance of the Hall of Sacred Traces stands a stone engraving of the characters “万世师表” (Model Teacher for Ten Thousand Generations) handwritten by Emperor Kangxi of the Qing Dynasty. Below it is a central depiction by Wu Daozi, the great Tang Dynasty painter, of “Confucius as Minister of Lu.” To the left is “Portrait of the First Sage” by Gu Kaizhi, a famed Jin Dynasty artist, commonly called “The Sage’s Small Portrait,” said to be the most authentic and lifelike image of Confucius. In the second year of the Shaosheng era (1095) of the Song Dynasty, the 48th-generation descendant of Confucius, Kong Duanyou, traced and engraved these three images onto stone. To the right is Wu Daozi’s “Confucius Leaning on a Armrest,” showing Confucius seated with disciples attending on both sides. In the second year of the Shaosheng era (1095), the 46th-generation descendant of Confucius, Kong Zongsou, re-carved this image onto stone. These portraits bear imperial praise from emperors such as Emperor Taizu and Emperor Zhenzong of the Song Dynasty, along with inscriptions bearing reign titles such as Shaosheng and Zhenghe. The hall also displays the calligraphy of Song Dynasty artist Mi Fu, who inscribed “Great Indeed Is Confucius” in seal script, as well as imperial stelae from Emperors Kangxi and Qianlong of the Qing Dynasty.

Tips:

At 8:00 AM, there is an opening ceremony outside the southern gate of the Temple of Confucius, featuring performances by actors in ancient costume. At 5:00 PM (or 5:30 PM during peak season), there is a closing ceremony, though performances are generally suspended during the Spring Festival.

Time Needed for Visit

2-3 hours

Transportation

Bus: Take bus No. 2, 3, or 5 and get off at the South Gate of Confucius Mansion; you’ll arrive right at the site.

By car:

(1) G3 (Beijing-Fuzhou) Expressway — exit at Qufu — follow National Highway 327 westward to downtown Qufu — follow the scenic area signs — arrive at the “Three Confucian Sites”; approximately 10 minutes’ drive after exiting the expressway.

(2) G1511 (Rizhao-Dongying) Expressway — exit at Qufu South — follow National Highway 104 southward to downtown Qufu — follow the scenic area signs — arrive at the “Three Confucian Sites”; approximately 10 minutes’ drive after exiting the expressway.

Intra-scenic transportation: Tourist shuttle electric buses; fare: 15 RMB per person (10 RMB per person for groups). After purchasing tickets at the tourist distribution center, you can take the shuttle electric buses to visit the “Three Confucian Sites.”

Tickets

Peak season (February 16 – November 14): 90 RMB

Off-season (November 15 – February 15 of the following year): 80 RMB

The combined “Three Confucian Sites” ticket is 150 RMB in both peak and off seasons.

Seniors aged 70 and above, children aged 6 and under or shorter than 1.4 meters are admitted free of charge.

Seniors aged 60–69, minors aged 6–18, and full-time students can purchase half-price tickets upon presenting valid ID.

Opening Hours

April – June: 08:00–17:30; July – October: 08:00–18:00; November – March of the following year: 08:00–17:00.

Location

Banbi Street, Qufu City, Jining, Shandong Province (near Shenlu Road)

Confucius (551–479 BC), also known as Qiu and styled Zhongni, was a native of Zouyi (present-day southeastern Qufu, Shandong), Changping, the State of Lu. He was a philosopher, educator, and statesman in the late Spring and Autumn Period, the founder of Confucianism, and one of the most influential figures in Chinese history and culture. His impact extends globally, particularly across Southeast Asia, making him one of the world’s cultural icons.

Confucius’s ancestors were of the Wei clan; his earliest known forebear was Weizi Qi, the half-brother of King Zhou of Shang, who presided over Shang ancestral rites and was enfeoffed in the State of Song. His sixth-generation ancestor, Kong Fu Jia, was the first to adopt the surname Kong. His fifth-generation ancestor, Mu Jin Fu, fled to the State of Lu to escape turmoil and eventually settled in Zouyi, Lu...  More detailed information about Confucius++

Further Reading:

·Top 50 Ancient Architectural Structures Still Standing in China

Confucius Temple, Confucius Forest, and Confucius Mansion

Confucius Forest

Confucius Mansion