Hundred Rivers Pass Ticket Museum

Hundred Rivers Pass Ticket Museum

Hundred Rivers Pass was once one of China’s top ten ticket houses. Established in the tenth year of the Xianfeng reign during the Qing Dynasty (1860), it ceased operations in the seventh year of the Republic of China (1918). Its financial backer was Qu Yuanzhen, owner of the Qucun Estate in Qi County. The business primarily operated silk shops, money shops, and tea shops, accumulating substantial capital over half a century of commerce and earning a reputation as one of the Eight Great Wealthy Merchants of Shanxi. The name "Hundred Rivers Pass" conveys the aspirations of “a hundred rivers flowing to the sea, bringing endless wealth; water finding its way naturally, an unceasing flow.” At the time, Hundred Rivers Pass formed interconnected guarantees with officials and wealthy merchants, focusing on exchanging official silver for remittances. It had 23 branches, with this residential building on South Street being the best-preserved storefront. The original site has now been converted into the "Three Shan Grand Wealthy Merchant Household Museum." The museum faces east and consists of three courtyards, increasing in height from the outside in, symbolizing the auspicious meaning of “rising step by step.” The museum houses precious furniture from the Ming and Qing dynasties, showcasing the prosperity and wealth of Shanxi merchants during those periods through these high-end furnishings, while also providing insight into the history of Chinese furniture development. There are now over 70 display rooms for household treasures, with tens of thousands of items in the collection, covering a wide range of categories. All are rare and invaluable pieces, serving as precious materials for studying the lives, living conditions, and cultural significance of wealthy Shanxi merchants.

The Hundred Rivers Pass Shanxi Merchant Furniture Museum is established within the former site of Hundred Rivers Pass. It displays precious furniture from the Ming and Qing dynasties, allowing visitors to clearly understand how prosperous and wealthy Shanxi merchants were during those times, as well as gaining some insight into the history of Chinese furniture development. The development of Chinese furniture has a long historical lineage. As early as the slave society, when people were accustomed to a lifestyle of "sitting on the floor," furniture such as mats, screens, stools, and tables already existed. However, furniture from that period had crude designs, rough craftsmanship, inferior materials, and poor durability. Over the course of historical changes, Chinese furniture gradually developed a culture with national characteristics. The furniture from the Ming and Qing dynasties is truly the most valuable for collection and appreciation. The economic and artistic value of a piece of furniture first depends on the quality of its material. The long table you see here is made of rosewood and crafted in the Qing Dynasty using relief carving techniques. The carved patterns depict ruyi (a symbol of good fortune) and lingzhi mushrooms, symbolizing longevity and prosperity. The difference between Ming and Qing furniture lies in the simplicity of Ming furniture design, as represented by the cabinets on either side, called "Wanli Cabinets"—named after the Wanli era of the Ming Dynasty. Because the upper part is "open-style," it is also called a "bright lattice cabinet." The entire cabinet lacks carved decorations, emphasizing instead the lines of the furniture. By highlighting the structural edges of the wooden frame, it presents a simple and unadorned design, giving a fresh and clean artistic feel. Similarly, take a look at this Qing Dynasty cabinet, which uses gold tracing and painted techniques to vividly depict the popular Qing Qianlong-era opera "Da Jinzhi" (Beating the Golden Branch). It is also much wider than Ming Dynasty cabinets, giving a sense of luxury and stability. From these examples, you can see that each era’s furniture has its own distinctive characteristics. In daily use, the damage to furniture leads to its scarcity, which inadvertently increases its value.

The Opium Room was a space in ticket houses designated for entertaining clients who smoked opium. It displayed a full set of smoking facilities from the time, including opium beds, opium tables, opium pipes, opium lamps, and spittoons. Since clients would lie sideways on the opium table, these beds were slightly narrower than regular beds. Legend has it that opium was once referred to as a "longevity aid," and this opium bed was "proudly called the longevity bed." Moreover, a detail reflecting status is the uniquely shaped bed legs, resembling tiger claws. In the past, the hierarchical system was very strict—only officials of the fourth rank or higher were permitted to use tiger-claw furniture. This also indicates that only major clients who could bring substantial profits to the ticket house or high-ranking officials could receive such privileged treatment.

Accounting Office:

Speaking of Hundred Rivers Pass, it was once one of China’s top ten ticket houses, established in the tenth year of the Xianfeng reign during the Qing Dynasty (1860) and ceasing operations in the seventh year of the Republic of China (1918). Its financial backer was Qu Yuanzhen, owner of the Qucun Estate in Qi County. The Qu family accumulated wealth through the business ventures of the fourteenth-generation successor, Qu Tonghai, who traded grain, oil, tea, and private salt in Baotou and Inner Mongolia. Later, the business expanded to include silk shops, money shops, and tea shops, amassing substantial commercial capital over nearly a century and earning the reputation of being one of the "Eight Great Wealthy Merchants of Shanxi." To commemorate this predecessor, the ticket house was named "Hundred Rivers Pass" after his courtesy name "Bai Chuan," symbolizing the hope that "a hundred rivers flow to the sea, bringing endless wealth; water finds its way naturally, an unceasing flow." At the time, Hundred Rivers Pass had 23 branches and formed interconnected guarantees with officials and wealthy merchants, focusing on exchanging official silver for remittances. During its 59 years of operation, it achieved considerable dividend profits and was considered a rising star in China’s ticket house industry. However, at the peak of its success, Qu Yuanzhen believed that extremes lead to reversal, and prosperity leads to decline—where there is profit, there is also loss. He felt the ticket house might decline in the future, so after the 1902 accounting period dividend, he decisively withdrew all his shares from the ticket house, retreating at the height of success. This move led to a liquidity crisis for the ticket house and became a significant factor in its decline.

In the crafting of classical furniture, precious woods include huanghuali, rosewood, and rosewood. As the saying goes, "rarity makes value." These types of wood are inherently scarce, grow slowly, and have limited availability. Moreover, rosewood and huanghuali had become extinct by the late Qing Dynasty, giving them irreplaceable natural value. The tall-legged side table against the wall is made of ironwood, which is hard and grows into tall trunks, making it suitable for large furniture pieces. The accounting desk is made of huanghuali from the Ming Dynasty. Furniture from this period is simple and elegant, highlighting the natural grain beauty of the wood, making huanghuali the preferred choice. In the antique woodwork industry, there is a term called "skin shell," referring to the patina on the surface of furniture. This patina usually forms a glassy, soft layer that allows the wood grain to show through from within, giving an aged color with a gem-like luster that becomes even more glossy when polished. Fake patinas made with lacquer or wax lack this surface layer. This accounting desk, after nearly half a century of use and handling, still retains its bright luster—this is where its value lies.

Silver Vault:

This was the secure area for storing silver in the ticket house. Although the furnishings here may appear ordinary in material and simple in design, resembling the living quarters of junior staff, each piece was meticulously designed. Let’s first look at the old silver chests, which were used to store liquid capital in the ticket house—essentially the equivalent of today’s safes. Their design emphasizes the concept of "cleverness." At first glance, the interior doesn’t seem very spacious, but there are small drawers on the sides, and the wooden layer is not at the very bottom. When you open this cover, you’ll find a large space underneath. This layered compartment design not only enhances the chest’s practicality but also highlights its security. In the history of Chinese furniture, different regions developed their own unique styles based on their backgrounds and lifestyles. Notable examples include Suzhou-style, Guangzhou-style, and Beijing-style furniture. In the late Qing Dynasty, the wealth of Shanxi merchants and the construction of their grand mansions gave rise to Shanxi-style furniture. A characteristic of Shanxi-style furniture is its use of locally sourced materials, such as walnut wood. Though not as prestigious as rosewood or huanghuali, walnut is native to Shanxi and carries local character. This arhat bed is a typical example—it can be described as a combination of a bed and a chest, with the upper part as the bed and the lower part as a storage chest. The chest was also used to store silver in the ticket house and featured a hidden lock. Covering it with a mattress created a deceptive appearance, making it virtually foolproof. Now, look at the inner room’s floor cabinet. If you remove the top drawer, the lower wooden panel can also be taken out—imagine how much silver could be stored here.

In the history of Chinese furniture, Ming Dynasty furniture represents the most glorious period. By this time, manufacturing tools had become highly advanced and mature, so joinery techniques using mortise and tenon joints were widely employed, creating very tight constructions without the need for animal glue or nails. In terms of material selection, with improved tools, craftsmen could use hardwoods such as rosewood, huanghuali, ironwood, and chicken wing wood. These woods are hard, strong, and feature clear, elegant grains, fully showcasing the natural beauty of the wood. After shaping, no paint or color was applied, allowing natural oxidation to occur, resulting in a style that is structurally rigorous, unadorned, and pursues natural beauty.

The central hall and VIP hall were used to receive clients and discuss important business opportunities. To reflect their status and prestige, and to glorify their household, the financial backers spared no expense in creating an impressive atmosphere in these halls. Beyond the architecture itself, furniture served as the primary decorative and display element. The small side tables against the walls and the official seal boxes on the Eight Immortals tables are in the Ming Dynasty style. Furniture production during the Ming and early Qing dynasties was mainly concentrated in Suzhou and Yangzhou, historically known as "Suzhou-style furniture." In the Ming and early Qing dynasties, Suzhou-style furniture was the preferred choice for the imperial court and high-ranking officials, hence its use of very precious materials. The two pieces you see here are both made of rosewood. Starting from the Yongzheng and Qianlong eras, the upper class increasingly pursued luxury and grandeur. The redwood dressing mirror in the center and the antique shelves on either side are works from this period, historically referred to as "Beijing-style furniture." These pieces are larger in size compared to Ming Dynasty Suzhou-style furniture, and their decorative motifs often feature antique patterns. Look at the patterns on the antique shelf—there are "peonies, lotuses, and vases," symbolizing prosperity and peace, as well as "peonies and butterflies," representing the announcement of prosperity.

Among various types of furniture, chairs are the most varied in design. Take a look at the two chairs in the center—they are called "Taishi Chairs." With high backs and armrests, and backs designed according to the curve of the human spine, they are very comfortable to sit on. This type of chair originated in the Song Dynasty and is associated with Qin Hui. It is the only chair in Chinese history named after an official title. During the Song Dynasty, an official named Wu Yuan flattered the Grand Tutor Qin Hui by adding a lotus-shaped support to the back of a folding chair, calling it a "Taishi Chair." As the name suggests, only those holding the rank of Grand Tutor were qualified to sit in it. These chairs are Ming Dynasty pieces. After the mid-Qing Dynasty, what was originally an official’s chair entered ordinary households, becoming accessible to any elder male.

VIP Hall:

In the history of furniture, rivaling Suzhou-style and Beijing-style furniture is Guangzhou-style furniture. It is more widespread than Beijing-style furniture and has achieved higher artistic accomplishments. Guangdong is a major source of precious wood in China and a key hub for importing and exporting timber, as well as a primary gateway for Western culture to enter China. Therefore, Guangzhou-style furniture often uses rosewood and is not sparing with materials, featuring robust and bold constructions. Influenced by Western culture, its decorations are also more ornate. Please look at this bed, called the "Heaven and Earth Longevity Carved Canopy, Kylin Leg Frame Bed." The bed’s face features hollow-carved intertwined grapevines, symbolizing eternal life. Peonies represent prosperity. The lower part of the bed has drawers for storing clothes. The side panels are carved with ruyi and intertwined orchids, symbolizing prosperity and endless life. This bed combines relief carving, openwork carving, hollow carving, and line engraving, making it a classic piece of Guangzhou-style furniture.

Buddhist Shrine:

Merchants traditionally worshipped Buddha before setting out on journeys. The shrine enshrines Guanyin Bodhisattva, widely regarded by the people as a savior of all beings. Legend has it that this statue has been enshrined here for over 140 years and was deeply revered by the Qu family’s financial backers. During the Cultural Revolution’s campaign to destroy the Four Olds, locals whitewashed and sealed the small niche in the wall, preserving the statue. According to experts, this statue was sculpted before the Ming Dynasty, retaining the earliest Buddhist sculptural style—a male form with a female face, dressed in Indian-style attire. The phrase "Seeing through worldly affairs, the eyes remain unopened; witnessing the darkness of humanity, the head nods subtly" is said to be a true reflection of the Bodhisattva’s spiritual practice and a reminder to people to avoid wrongdoing and engage in good deeds.

Family Guests’ Parlor:

The Family Guests’ Parlor was used to receive the families of employees visiting from out of town. Due to the different clientele, the furniture here is less luxurious than that in the central hall or VIP hall, and the decor follows the layout of a typical household. On either side are flat wardrobe cabinets from the late Qing Dynasty, made of walnut wood. The preserved copper fittings are the only elements that reflect the characteristics and historical traces of the furniture from that period. Calligraphy and paintings were essential decorations in ancient homes. The twelve hanging scrolls on the wall were bestowed by Emperor Tongzhi in the ninth year of his reign (1870) to celebrate the 60th birthday of the former Henan Provincial Governor Wu Shan Fangbo and his wife, Madam Xu. The content primarily praises the couple’s lifetime achievements and conveys birthday wishes.

The plaque inscribed with "Imperial Honors for Two Generations" was bestowed by Emperor Guangxu. In feudal society, the emperor granted two types of titles: "He Feng" and "Gao Feng." "He Feng" was awarded to officials below the fifth rank, while "Gao Feng" was for those above the fifth rank. Since Qu Yuanzhen’s son, Qu Bengqiao, held the third rank, the title "Gao Feng" was used here. Qu Bengqiao can be considered a social activist in modern Chinese history who embodied the roles of official, merchant, and gentry. He was also the Chinese consul in Yokohama, Japan. His life included three major achievements recorded in history. In 1905, Bengqiao raised funds from various sources to reclaim the mining rights of the Shanxi Baosheng Mining Company from British imperialists—now the Yangquan Mining Bureau. This was his first achievement. Second, he reorganized the Nufu Match Company, the predecessor of today’s Pingyao Match Factory. Third, he donated twenty thousand taels of silver to establish a girls' middle school—the predecessor of today’s Qi County No. 1 Middle School. All these patriotic acts to protect mining interests, invest in modern commerce, and establish new schools were made possible by the economic foundation laid by his father, Qu Yuanzhen. This plaque was awarded to two generations of the Qu family, recognizing their outstanding contributions to modern commerce and finance.

Young Lady’s Chamber:

Among various types of bedroom furniture, the most valuable is that of the young lady’s chamber. First, look at the dressing table in the inner room. In the mid-to-late Qing Dynasty, due to the depletion of precious woods like huanghuali and rosewood, craftsmen adopted an inlay technique—using common wood for the interior and covering the exterior with huanghuali veneer. This approach not only preserved the furniture’s aesthetic appeal but also saved precious wood, demonstrating the exceptional craftsmanship of the time. For inlays, materials such as marble, mother-of-pearl, cloisonné, and porcelain plates were used. On this dressing table, the white floral elements are ivory. In addition to symbolizing wealth and power, ivory was also believed to ward off evil and ensure safety.

The two chairs in the outer room have low seats, only backrests, and no armrests—these are called "young lady’s chairs." When sitting on these chairs, a young lady was expected to sit only on one-third of the seat, not the back half. She had to sit with her knees together and her hands resting on the armrests. As the saying goes, "There is a proper posture for standing and a proper way to sit." The painting on the wall is a Qing Dynasty oil painting titled "Mother and Child in Peace." In the past, the beauty of a woman was judged by having a large head and small feet. Can you see where the woman’s feet are in the painting? The so-called "three-inch golden lotus, four-inch silver lotus, five-inch copper lotus"—feet as large as those of women today would have made marriage impossible at the time. Hence the sayings: "A bride does not descend from a bridal sedan without bound feet; large feet and an ugly face invite ridicule." Moreover, women in those days had no status unless they bore a son after marriage, which could elevate their position. Hence, this painting is also called "Status Through Sons."

Among various types of wood, one particularly rare material is chicken wing wood. Take a look at this zither table—its grain resembles the feathers of a chicken’s wing, hence the name. The Tang Dynasty poet Wang Wei wrote, "Red beans grow in the southern land, how many sprout when spring arrives?" In fact, red beans are the fruit of chicken wing wood, which is also called "red bean wood" or "love wood." Red beans have long been a token of longing between lovers, so furniture made from chicken wing wood was often used in the chambers of young ladies.

A folk rhyme says, "Hundred Rivers Pass has silver, Zhang Zhidong has connections." During its operation, the Qu family had close ties with Shanxi Governor Zeng Guofan, Zeng Guoquan, and Governor-General Zhang Zhidong of Liangguang. The alliance between officials and merchants allowed Hundred Rivers Pass to thrive. This floor-standing vanity mirror was a wedding gift from Zhang Zhidong to the nephew of Qu Yuanzhen and the daughter of Ma Zhongxuan, the manager of the Weifeng Ticket House. Made of rosewood, the lower part of the mirror features five coiled dragons forming the characters "Fu" (fortune) and "Lu" (prosperity)—we call it "Dragon Celebrates Fortune and Prosperity." The carving craftsmanship is exceptionally exquisite, making it a masterpiece among vanity mirrors.

Rear Hall:

This was the living quarters of the financial backer. First, look at the small conical box beside the shrine niche. Can you guess what it is? (Official hat box.) Generally, only the official cap—not the peacock feather—was placed here. It was a symbolic official title purchased by merchants after becoming wealthy, holding no real power or government stipend. It was displayed alongside the shrine to honor ancestors. In the late Qing Dynasty, due to government corruption, the practice of selling official titles emerged. The ticket house also engaged in a second business: brokering the buying and selling of official titles for a fee. The eight-panel screen on the wall is a work from the Qianlong era of the Qing Dynasty, preserved for over two hundred years. Observe its prominent three-dimensional effect, known as "stacked rhombus embroidery." It was made by wrapping silk around silk floss to form cotton tufts, then embroidering along the edges with multicolored silk threads. The first pattern of the six central sections features a vase, symbolizing peace. Beside the right vase is a ruyi, representing "literature," and beside the left vase is a sword, representing "martial arts." The center is embroidered with musical instruments, chess, books, and paintings. The vase is adorned with peonies, symbolizing prosperity; lotuses, symbolizing purity; and orchids, symbolizing elegance. Below the vase are the Eight Immortals. Such intricate craftsmanship is unique to the ancient city of Pingyao.

The bed in the bedroom is a mandarin duck bed, also called a couples’ bed, made of walnut wood. However, this bed holds historical significance. In the 26th year of the Guangxu reign (1900), Empress Dowager Cixi fled westward to Xi’an and passed through Pingyao, staying overnight at the home of Zhao Hongtai in the city. This is the very bed she used. The bed’s face features hollow-carved intertwined gourds, symbolizing the flourishing of descendants and prosperity. Inside the bed is a small side table with drawers at either end for storing women’s hair ornaments. The side panels of the bed have double layers to secure curtains or drapes, showing great attention to detail. By the Qing Dynasty, China’s porcelain craftsmanship had reached perfection. The tea tables on either side of the bed are inlaid with blue-and-white porcelain plates from the Kangxi era of the Qing Dynasty. A typical sign of their age is the Buddhist Eight Treasures pattern on the porcelain—conch, umbrella, canopy, lotus vase, goldfish, endless knot, and the Eight Treasures ensemble, shining brilliantly together with high collectible value. Look at the small object on the wall—that was a coat hook in the past, formerly called a "Ten Talents Idle," meaning it was extremely versatile. Even when not hanging clothes, it served as a perfect artwork on the wall—both beautiful and practical, with a clever design.

Study Room:

Among all types of furniture, the one with the highest collectible value is hall furniture, followed by study room furniture. This is because the study is a space for literati activities, rich in cultural atmosphere, and demands meticulous craftsmanship in its construction. Typical study furniture includes desks, painting tables, antique racks, and zither tables. These pieces, with their classic, timeless charm and harmonious proportions, perfectly combine practicality with artistry. Qing Dynasty furniture emphasized techniques such as carving, inlaying, and painting, expressing meanings subtly—where every design element carries intention, and every intention symbolizes good fortune. The antique racks on both sides feature both openwork and relief carving, while the central drawer is adorned with a relief-carved "dragon pattern." Among various auspicious motifs, this design represents the highest level of good omen, symbolizing divine might and strength. In feudal society, it served as an emblem of "imperial virtue" and "heavenly authority," permitted only for nobles of prince rank or higher. Made of rosewood, it is a quintessential example of Beijing-style furniture.

The armchairs we saw earlier are from the Ming Dynasty, hence their relatively simple lines. In contrast, these two Qing Dynasty armchairs feature extremely luxurious carvings. Made of rosewood and extensively inlaid with marble, they sparkle with embedded seashells that shimmer in the sunlight, displaying a dazzling array of colors, with red being the most striking. Wealthy merchants believed the color red signified impending good fortune and was an auspicious omen. This set of furniture is remarkably well-preserved, accompanied by a small tea table in the center. In terms of material, age, craftsmanship, variety, and overall completeness, it holds extremely high collectible value.

Take a look at this chair—it’s quite unique as well. From the side, you can see that the chair can be folded crosswise. The seat is woven from horsehair strips. The so-called "foldable chair" or "jiao yi" is what the leader of a gang would sit on—the head seat. This is that very type of chair. It was designed to be carried during travels. Aside from the emperor’s throne, this was the most prestigious seat one could have. That’s why other chairs usually come in matching pairs, but this one is a single piece, symbolizing its uniqueness.

During its heyday, the Baichuantong Draft Bank reaped daily profits worth a thousand gold, flourishing brilliantly. Its owners dominated the business world for decades, reigning supreme and earning the admiration of later generations. The luxurious furnishings we admire today allow us to vividly experience the extraordinary business acumen and opulent lifestyle of these financiers, while also leaving us with considerable artistic and historical appreciation value.

Address: No. 109, South Street, Pingyao County, Jinzhong City

Type: Museum

Rating: AAA

Recommended visiting time: About 1 hour

Phone: 0354-5680414

Opening hours:

8:00-19:00