Xintian Li Clan Ancestral Hall

Xintian Li Clan Ancestral Hall

The Xintian Li Clan Ancestral Hall is a cultural relic protection unit of Hunan Province.

In Linqian’er Ancient Village, Jinpingwei Town, lies a place that represents the cultural essence and spiritual home of the Li clan—the Li Clan Ancestral Hall.

The founding ancestor of the Li clan, Li Baiyi, originally from Taihe County in Jiangxi Province, led his clansmen to relocate to Xintian, Hunan during the late Song Dynasty to escape war and turmoil. Due to Jinpingwei Town being situated in a basin with a pleasant climate and highly livable conditions, they decided to settle here, and in the second year of the Tianli era of the Yuan Dynasty (1329), organized their clansmen to begin constructing the Li Clan Ancestral Hall. Over time, the ancestral hall weathered many storms, but the clansmen remained committed to their ancestors' vision, sparing no effort to carry out multiple renovations. According to the clan genealogy, in the 15th year of the Yongle era of the Ming Dynasty (1418), Li Wensheng initiated a comprehensive reconstruction of the ancestral hall; in the 19th year of the Wanli era (1592), Li Yiben led efforts to repair the damaged sections; and in the first year of the Yongzheng era of the Qing Dynasty (1723), Li Kaizhai organized another large-scale renovation. The current scale and structure of the Li Clan Ancestral Hall are preserved as they were after this major renovation.

The ancient Chinese placed great emphasis on feng shui when selecting sites for ancestral halls, and the Li Clan Ancestral Hall is no exception. The hall faces south and backs north, with vast fields stretching out in front and a murmuring stream winding behind, embodying the ancestors’ wishes for abundant harvests and a flourishing lineage. The structure is grand in scale, built with a combination of brick, wood, and stone. It measures 20.8 meters in total width and 31.1 meters in depth, covering a construction area of approximately 647 square meters. The architectural complex is arranged along a central north-south axis with extensions on both sides, laid out in a plan of three courtyards and three bays. The overall layout consists of five parts: the front courtyard, theater stage, central courtyard, main hall, and ancestral shrine.

We are now standing on the central north-south axis of the Li Clan Ancestral Hall, facing the wall of the front courtyard. This six-sided wall is constructed of brick and stone, featuring three tiers of upturned eaves and fireproof horse-head walls covered with small green tiles. Not only do they serve functions of fire prevention, theft deterrence, and wind resistance, the undulating horse-head walls also create a dynamic contrast that makes the ancestral hall appear solemn yet majestic. The wall has symmetrical east and west gates, identical in size and design. Both gates are equipped with gatehouses, and the rice-pattern engravings on the stone thresholds suggest that these two entrances were renovated during the Qing Dynasty. Entering the front courtyard immediately immerses you in a dignified and solemn atmosphere. The courtyard spans 20 meters in width and 9 meters in depth, covering a total area of about 180 square meters, serving as a space for clan members to gather, relax, and celebrate during weddings, funerals, birthdays, and other rituals. Looking around, you’ll notice nine bluestone ancestral tablets inlaid into the inner wall—these stelae are like a museum of family history, meticulously recording the clan’s rich past. Let’s take a closer look at some of the most representative inscriptions: the “Record of the Reconstruction of the Ancestral Hall” details the reasons, process, and history of the hall’s establishment and subsequent renovations, as well as the key figures involved. The “Record of the Ancestral Hall and School” and the “Record of the Reconstruction of the Ancestral Hall School” (from the first year of the Republic of China) document the ancestors’ emphasis on educating future generations in virtues such as benevolence, respect for elders, helping those in need, and reverence for teachers. Meanwhile, the “Yunlong Mountain Incense Field Record” (from the 19th year of the Daoguang era) records the quantities and specific locations of incense fields donated by the clan on the birthdays of Buddhist deities and Bodhisattvas. The “Tea House Stele” mounted on the outer wall recounts how Li clan ancestors donated land and funds to build a tea house where travelers could be served free tea—an act of great generosity—along with the reason for its later demolition to make way for the ancestral hall. It is precisely because of such honest folkways and a strong culture of valuing education that the Linqian’er Li clan produced many notable figures over the centuries, including one third-rank official and several scholars.

After admiring the front courtyard and the stelae, we’ll move on to the first part of the main architectural complex along the central north-south axis—the theater stage. The stage is an essential component of the ancestral hall, and there’s even a saying: “No ancestral hall is complete without a stage.” It is the most exquisitely crafted part of the hall and serves the dual purposes of hosting sacrificial ceremonies and providing a venue for social entertainment. So, what makes the stage so beautiful and masterful? Let’s start with its back side. We’re now at the rear of the stage, which also forms the eaves of the three main entrances to the ancestral hall. These eaves are supported by two wooden pillars and feature a through-tenon wooden structure. The wooden components are exquisitely shaped, adorned with various vermilion-painted bas-relief patterns. The scrolling floral motifs on the beams express the clan’s wish for eternal prosperity; the phoenix-through-peony relief on the bracket arms symbolizes wealth and good fortune; while the unique dragon motifs on the connecting beams, with their double tails curling into scroll patterns, signify beauty, luck, and marital harmony. The ancients not only considered aesthetics in architecture but also practicality. Look up—the arched ceiling is called a “rolled awning,” which serves to amplify sound when speaking beneath it. The latticed windows not only improve ventilation but also provide lighting for the backstage area. There are three entrances to the ancestral hall: the central one is the main gate, while the ones on either side are side gates. Ordinary clan members use the side gates, while only honored guests and officials may enter through the main gate, reflecting the rigid hierarchical norms of the time.

Upon entering the main gate of the ancestral hall, you’ll see the foundation of the theater stage. The stage foundation is 2 meters high, built from blue bricks and slabs, with two wooden beams extending from one end of the foundation to the space between the two central pillars of the eaves, forming an elevated passageway using mortise-and-tenon joinery. This passage can be used for storage or passage. Now, let’s admire the full view of the stage from the front. The stage is 10 meters tall, a single-eave hip-and-gable roof structure made of brick, wood, and stone, with small green tiles covering the steeply overhanging roof whose corners curl upwards, resembling an eagle about to take flight. Its ornate yet dignified form is a hallmark of southern Hunan architecture. A keen observer will notice that among all structures in the Li Clan Ancestral Hall, only the stage faces north, opposite to the others, directly oriented toward the ancestral shrine. This is because, in the past, performances on the stage were primarily held to honor ancestors, so the stage faced the ancestral tablets. The stage is 6 meters wide and 5.08 meters deep, with four wooden pillars erected on the foundation, resting on hexagonal gourd-shaped stone bases. The three sides of the stage are enclosed by blue stone railings, and the front railing features nine intricately carved bas-reliefs, each with unique symbolism. Starting from the left: the first is a peony, symbolizing prosperity; the second shows two magpies playing on a plum branch, meaning “joy reaches the eyebrows” (good news); the third is a phoenix through peonies, signifying wealth and luck; the fourth depicts maternal love; the fifth is a red phoenix facing the sun, representing perfection, good fortune, and a bright future; the sixth is a galloping horse, symbolizing a flourishing lineage and great achievements; the seventh is a fish transforming into a dragon, representing success in the imperial examinations; the eighth is “prosperity all the way,” implying smooth academic and official careers. The middle section of the railing also features a pair of small round stone lions guarding the front edge of the stage, their mouths slightly open, exuding both cleverness and majesty, and looking adorable. The meander patterns on the side railings symbolize continuous good fortune, commonly referred to as “prosperity without end.” The stone carvings on the stage are exquisite, and the wood carvings and painted decorations are even more breathtaking. The rolled awning under the stage’s upturned eaves features paintings of 15 vividly rendered opera characters; the three double-layered openwork carvings beneath the awning depict scenes from classic plays—on the left, “prosperity all the way” and “red phoenix facing the sun”; on the right, “magpies on plum blossoms” and “unicorn spitting a jade book.” Particularly striking are the dragons playing with a pearl, carved using deep relief, round carving, and openwork techniques on the beams, their heads held high and expressions vivid. Their three-dimensional forms and lively appearances are truly rare throughout southern Hunan.

After admiring the stunning stone and wood carvings of the stage, you might want to climb up and experience the world of opera firsthand. Some may ask—where’s the staircase? There are no stairs around the stage itself; to access it, you must use the east and west wing rooms connected to the stage. Let me briefly introduce these wing rooms. Standing on either side of the stage, each wing room covers 87.8 square meters, built with wooden structures and hard roofs covered in small green tiles. Five wooden pillars rest on stone bases, and the rooms have two levels: the upper floor is reserved for dignitaries and officials to watch performances, while the lower level is an open space for pedestrians and also serves as an additional viewing area. The wooden components of the wing rooms are exquisitely carved, with latticed windows featuring various plants and flowers that exude a strong classical charm. The brackets between the beams and columns—called “dougu”—come in diverse designs. What does the deer-shaped bracket signify? In ancient mythology, the deer is a sacred animal guarding the lingzhi mushroom. Since “lu” (official rank) and “lu” (deer) sound alike, and the celestial “Lu Star” governs career success, the deer also symbolizes promotion and success. The dragon-turned-fish bracket signifies a turn of fortune and rapid advancement; the double-tailed dragon bracket represents holiness, joy, and celebration; and the elephant, known for its gentle nature and upright behavior, symbolizes virtue—this bracket reflects the ancestors’ hope that descendants would cultivate noble character. Look at the dragon head carved on the tenon between the beam and column—it’s called a “chiwen,” a creature under the rain god, believed to have the power to extinguish fires and ward off disasters.

The wing rooms are connected to the stage via two covered corridors. Now, follow me up the stairs, through the wing rooms, and let’s take a look at the stage itself. Inside the stage are three arched wooden screens, painted with colorful opera-themed figures, naturally shaped and vividly rendered. These screens divide the stage into a front performance area and a backstage. Performances take place in the front, while the backstage is used for actors to change costumes, apply makeup, and for crew to rest. On either side of the backstage are entrance and exit doors—on the right as you face the stage is called the “exit for generals” (“chujiang”), where actors emerge when the performance begins and the drums sound; the left door is called the “entry for attendants” (“ruxiang”), through which actors return after the show. These names also carry the deeper meaning that ancestors hoped their descendants would achieve greatness—becoming generals when venturing out and chancellors when returning. Look up—the ceiling above is concave, shaped like a deep well, commonly called a “caisson ceiling.” The origin of the term is rooted in history. Traditional buildings were mostly wooden structures, highly susceptible to fire. Ancient people often observed celestial bodies to predict fortune, and among the 28 lunar mansions, the “Well Mansion” governed water. Thus, a symbolic well was constructed at the highest point of halls and pavilions, adorned with aquatic plants like lotus, water chestnut, and lily pads, hence the name “caisson.” The caisson here is painted with the Taiji and Bagua diagram, which, like the aquatic plants, was believed to suppress fire demons and prevent disasters. Even without modern amplification, the caisson served to amplify sound in ancient times. Can you feel how the acoustics here might have carried the sounds of drums and crowds in the past?

Having visited the second part along the central axis—the stage—let’s now proceed to the third part—the central courtyard. In traditional architecture, the courtyard serves multiple functions such as drainage, lighting, and ventilation. Rainwater flows down from the roofs on all sides, embodying the idea of “all wealth stays within” (no resources flow outward). The Li Clan Ancestral Hall has three courtyards: the main one situated between the stage and the main hall, with two smaller courtyards on either side of the stage, all paved with bluestone and surrounded by stone gutters that drain rainwater through hidden channels. In the center of the main courtyard lies a square stone slab polished from a natural rock, engraved with a bas-relief dragon pattern. All structures of the ancestral hall are aligned with this stone as the central axis. This three-courtyard layout is unique to the Li Clan Ancestral Hall and, according to research, is the only one of its kind in southern Hunan, making it of significant academic value.

Next, we’ll visit the final two parts of the central axis—the main hall and the ancestral shrine. These spaces were used for clan sacrificial ceremonies, meetings, disciplinary actions, and the announcement of clan rules and regulations. This most important section of the Li Clan Ancestral Hall is a hard-roofed, post-and-lintel structure made of brick, wood, and stone, with a roof covered in small green tiles and a central ridge adorned with a glazed ceramic gourd. Under the blue sky, it stands particularly majestic. The main hall is 16.34 meters wide and 7.8 meters deep, with ample space to accommodate hundreds of people for worship. Inside, you’ll find exquisitely crafted wooden components and stone column bases. The column bases are hexagonal, carved with double-layered inverted lotus petals, hidden Eight Immortals, and floral patterns, supporting six round fir pillars that uphold the beams. The beams and bracket arms are carved with shallow reliefs of fish turning into dragons, symbolizing outstanding achievement and a glorious life. The ends of the beams feature uniquely shaped corbels, and the rafters are adorned with delicate carvings of flowers, clouds, and ribbons. The bracket arms are intricately decorated. The wooden components where beams intersect with pillars—known as dougong in Chinese—are the most distinctive elements in the main hall and ancestral shrine. Combining deep relief, round carving, line engraving, and openwork techniques, these components feature phoenixes on either side of the bracket arms, their heads raised as if ready to take flight; while those in the ancestral shrine depict a deer holding a sacred herb, symbolizing the transcendental grace of a recluse, as well as longevity and eternal youth.

The ancestral shrine is 5.4 meters wide and 2.8 meters deep, the sacred space where the Li clan enshrines the ancestral tablets. The surrounding wing rooms are fitted with elegant latticed windows, combining simplicity with refinement. The shrine bears the inscription “Jade-built Beams,” and houses the spirit tablets of “Heaven, Earth, Sovereign, Parents, and Teachers.” Hanging from the beam is an imperial plaque inscribed with the bold characters “Thousand-Year Noble Clan.” According to the clan genealogy, this plaque was bestowed upon Li Lian (1599–1652), who passed the military examination and rose to the rank of military governor. His great contributions earned him this imperial honor.

Author: Huang Yingdi

Further Reading:

· Ninth Batch of Hunan Provincial Cultural Relic Protection Units