Weisuchang Draft Bank (Weisuchang Treasure Collection Museum)

Weisuchang Draft Bank (Weisuchang Treasure Collection Museum)

Before entering the museum, let me briefly introduce two major features of Weisuchang: First, it is the former site of Weisuchang Draft Bank, the second-largest of the "Wei" Five-Union Banks in China, which holds an extremely important position in the history of China’s draft bank development. Second, the museum houses nearly a thousand precious cultural relics, such as the Hundred Gourd Treasure Bed, Ming and Qing porcelain, antiques, calligraphy and paintings, bills, account books, letters, mahogany furniture, and more.

Weisuchang Treasure Collection Museum

Weisuchang Draft Bank was established in 1826 (the sixth year of the Daoguang reign) as the second-largest "Wei" Five-Union Bank, which once dominated China’s financial sector. It operated for 90 years until it closed in 1916, making it a century-old brand. Before becoming a draft bank during the Kangxi era, it had been a silk and satin shop for over 200 years, predating Rishengchang by 90 years. The bank’s first manager was Mao Hongshuaiyu, one of China’s Top Ten Famous Managers, and its owner was Hou Yinchang from Jiexiu, known as "Hou Millionaire," one of China’s Top Ten Wealthiest Merchants. Their success over nearly a century stemmed primarily from the Shanxi merchants’ spirit—dedication, teamwork, and entrepreneurship. Initially capitalized at 120,000 taels of silver, the bank grew to 160,000 taels mid-term and reached 240,000 taels by closure, with dividends peaking at 13 taels per share. Branches were established in Shanghai, Tianjin, Suzhou, Nanjing, Changsha, Xiangtan, and Changzhou. Weisuchang primarily served local businesses and also handled government funds through remittances, deposits, and loans, with limited issuance of silver notes. The Wei Five-Union Banks played a significant role in shaping the culture of China’s draft banks. Their historical value contributes to world cultural heritage, embodying the essence and immense treasure of Shanxi merchant culture. To preserve its original appearance, great effort and funding were invested in collecting and preserving letters, bills, antiques, calligraphy and paintings, mahogany furniture, Ming and Qing porcelain, the Hundred Gourd Treasure Bed, imperial edict boxes, and more. These are exhibited to educate future generations, uncover historical depth, and inspire through reflection.

Weisuchang Treasure Collection Museum

The south wing room served as the accounting office of the draft bank. Here, you’ll find collections of annual ledgers, letters, and remittance bills from that time. Under the communication conditions of the era, these letters were essential for making requests, reports, and updates to the head office’s manager. Typically, one clerk managed correspondence, supported by two to three recorders. The clerk was the most educated person in the county, having passed the imperial examinations, with exemplary demeanor and temperament. Clerks earned relatively high salaries—150 to 450 taels of silver annually—while a seventh-rank county magistrate made only 45 taels per year. Hence, a local saying goes: “Better to work at a draft bank than own vast wealth.”

The painting on the wall depicts the “Twenty-Four Filial Exemplars in Poetry and Art,” telling the stories of twenty-four ancient paragons of filial piety. Its essence teaches us that no matter one’s status or wealth, we should all honor our parents and respect elders—a virtue of the Chinese nation. It encourages people to be upright and good, reflecting the moral integrity expected of draft bank managers.

Next, we’ll visit the north wing room. Look up at the four-panel screen featuring Fu Shan’s finger-painted “Four Gentlemen”—plum, orchid, bamboo, and chrysanthemum. Fu Shan was a late Ming and early Qing scholar known for his patriotism, simple materialist and early democratic ideals, and talents in poetry, calligraphy, painting, and medicine. He stood alongside Gu Yanwu, Wang Fuzhi, and Huang Zongxi in historical renown. Observe this bold plum branch and stone. The inscription reads: “No plum in the north, only snow; sunlight stretches pure and bright. In a burst of inspiration, I paint a spring branch—human effort can mend nature’s gaps.” “The north” refers to Fu Shan’s hometown, Taiyuan, where plum trees don’t grow, only snow blankets the land like a sleeping giant. At dawn, sunlight paints the snow a pristine white, inspiring Fu Shan to paint a plum branch symbolizing spring’s arrival—his brush filling nature’s voids. The next panel, the bamboo, bears the inscription: “Wind stirs, dewdrops gather; sunlight casts dappled shadows. I take root as a gentleman, unwilling to mingle in flower beds.” This reflects Fu Shan’s refusal to serve the feudal rulers, declining the imperial “Broad Learning and Eminent Words” examination, emphasizing “character precedes calligraphy” and “extraordinary words stem from extraordinary people.” The chrysanthemum-and-stone panel’s inscription reads: “Noble blooms shun vain rivalry, their humble hearts remain true; towering in quiet grace, they welcome stormy years.” This illustrates chrysanthemums’ refusal to compete with peonies or lotuses for splendor, embracing humility to transcend worldly chaos. Fu Shan’s artistry blends character into his subjects, creating layers of meaning beyond the visible.

This calligraphy piece is a business maxim inscribed by Grand Secretary Li Hongzhang for the shop’s owner. It states: “In business, the key lies in selecting people. Avoid demanding perfection, blaming others, favoritism, restricting by seniority, promoting or demoting based on mood, or choosing based on likes or morals. Guide wisely, reward and punish fairly—then morale will soar.” It continues with ten business essentials: “Work diligently, judge matters cautiously, plan strategies discreetly, consider issues thoroughly, handle affairs impartially, decide resolutely, choose companions wisely, treat people harmoniously, observe keenly, and keep perspectives broad.” These reveal the secrets behind Weisuchang’s success and Manager Mao Hongshuaiyu’s leadership, illustrating the bank’s management philosophy. The artistic value of these six calligraphy pieces surpasses even Li Hongzhang’s own legacy.

Fu Shan’s “Four Gentlemen” and Li Hongzhang’s business maxims are undoubtedly the most valuable treasures in the museum’s collection.

This “Hundred Gourd Treasure Bed” is one of the museum’s prized exhibits. Crafted with relief carving and openwork techniques, it features 100 gourds symbolizing “prosperity through many children.” The bed’s sides display two “longevity” characters, representing “many children, much fortune, and long life.” The bedboard is carved with nine lions playing with a brocade ball—a folk saying goes: “Lions roll the ball, good days lie ahead.” Flanking the bed are two bronze candlesticks: “A crane atop a turtle, symbolizing longevity.” Speaking of turtles, our ancient city of Pingyao is built in a turtle shape, signifying eternal stability. The street where this museum stands lies along the turtle’s spine. “Walk the turtle’s back, live a blessed life.” Visitors here surely carry away ample fortune and luck.

Now, let’s head to the main hall. Notice how the courtyard’s steps rise higher with each level—the “step-by-step ascent” symbolizes that one’s status matches the elevation. The main hall was where the manager resided. Look up at the blue plaque inscribed with four characters: “Qian Jian Shen Zhen” (Heaven’s Strength and Earth’s Integrity). Presented to the manager on his sixtieth birthday by a friend, “Qian” and “Jian” refer to heaven and earth, or traditionally, “man and woman.” The plaque conveys a wish for the manager’s household: a healthy, accomplished man, a virtuous, loyal woman, and a happy family.

Upon entering the main hall, the first sight is the “Hundred Gourd Treasure Bed,” another museum treasure. Combining relief and openwork, it features 100 gourds symbolizing “many children, much blessing.” Two “longevity” characters flank the bed, adding “many children, much fortune, and long life.” The bedboard is carved with nine lions playing with a brocade ball—folk wisdom says, “Lions roll the ball, good days lie ahead.” Beside the bed stand two bronze candlesticks: “A crane perched on a turtle, symbolizing longevity.” By the way, our ancient city of Pingyao is built in a turtle shape, signifying eternal stability. The street where this museum stands lies along the turtle’s spine. “Walk the turtle’s back, live a blessed life.” Visitors here surely carry away ample fortune and luck.

Now, observe the Eight Immortals table in the central hall. This foldable table has four corners that flip down to form eight—symbolizing a lesson from the manager to his staff: “Be adaptable and tactful in business, but remain upright and principled in life.”

Next, visit the Hundred Blessings Pavilion, the manager’s resting area. The heated kang bed represents a northern specialty—warm in winter, cool in summer, especially beneficial for the elderly. Its primary fuel was coal, fitting for Shanxi, the “coal capital.” In ancient times, merchants were devout Buddhists. See this statue of Guanyin, the Goddess of Mercy, standing on a lotus, one foot raised in serene repose.

Next, let’s go upstairs. In ancient times, girls turned thirteen to enter the embroidery room, fourteen to study music, chess, calligraphy, and painting, and fifteen to marry.

Here stands a statue of the Buddha “Sakyamuni.” As mentioned, merchants revered Buddhism, and successive managers of this draft bank were no exception, praying for prosperity. But peace precedes all else—“Peace is blessings.” Feel free to offer incense for your own and your family’s safety and happiness.

From the staircase, look up at the row of small animal heads on the eaves—called “water cats” or “water monsters,” they’re decorative ornaments and auspicious symbols—“cathead drip tiles.” Above them sits a dragon-like head called the “Roaring Sky Beast,” a son of the dragon. Fond of gazing upward, it was placed on the eaves. Its mouth reveals much: if open, the household is either official or merchant-class; if closed, it signifies a commoner’s home—“less talk, more action.”

This architecture showcases another hallmark of Shanxi design: tilted eaves covering only half the wall. “A Shanxi-Shaanxi oddity—eaves slope to one side.” Why? “No wealth flows outside”—northern regions lack water, so rainwater is directed into the courtyard, “gathering wealth within.”

A vault is essential in any draft bank, used to store fixed assets. This museum has restored the underground vault of the original draft bank.

After viewing the vault, head to the rear courtyard. This typical Qing-era, two-courtyard, two-story, quadrangle courtyard is one of only 400 well-preserved structures in Pingyao. Most ancient buildings here are long, narrow rectangles—designed to reduce sandstorm exposure.

Notice this large vat—it served as ancient firefighting equipment. Water symbolized wealth, as the saying goes: “A ‘sea’ before your door brings endless riches.”

Address: No. 13, South Street, Pingyao County, Jinzhong City

Type: Museum

Recommended Visit Duration: 1 hour

Opening Hours:

Peak Season (March 1–November 30): 8:00–18:30; Off-Peak Season (December 1–end of February): 8:00–17:30.

Ticket Information:

No admission fee. It is included in the Pingyao Ancient City Pass. Ancient City Pass: 120 RMB in peak season, 90 RMB in off-season, valid for three days.