Tianjin Ancient Culture Street

　　The Ancient Culture Street, centered around the Tianhou Palace, features a plaque on the archway at its southern entrance inscribed with the words "Jinmen Guli" (Old Hometown of Tianjin), marking this area as a residential settlement 800 years ago. During the Jin Dynasty, the earliest political establishment in Tianjin—Zhigu Fort—was built here, and today’s urban area gradually expanded from this original central zone. As visitors stroll along this ancient street, they can’t help but search for traces of history and immerse themselves in its old-world charm, traditional Chinese flavor, Tianjin character, and cultural richness. It’s an experience that brings out the true charm. Hence the name “Tracing the Old Hometown.”

　　“Tianhou Palace”

　　There is an ancient temple on this street, originally named “Tianfei Palace,” later renamed “Tianhou Palace.” Thus, the section of the street north of the temple gate is called Gongbei Dajie (North Palace Street), and the section south of the gate is called Gongnan Dajie (South Palace Street). To understand the history of this area, we must start with this ancient temple.

　　This ancient temple is a sea god temple, dedicated to the Goddess of the Sea, who is a real historical and legendary figure. Historical records state that she was surnamed Lin, born in Meizhou Island, Putian, Fujian during the Northern Song Dynasty. She was born in the first year of the Jianlong era (960 AD) and died in the fourth year of the Yongxi era (987 AD). Because she didn’t cry for a period after birth, she was named Lin Mo. Growing up on the island, she was skilled in swimming, which led to a beautiful legend: “She could ride a mat across the sea and travel among the islands, and people called her a goddess or even a dragon maiden.” In the Song Dynasty, although China's maritime industry developed significantly, shipbuilding and navigation technology were limited, making sea travel perilous. Many in the industry fantasized about a supernatural power to protect them while sailing, and the legends of Lin Mo naturally became the idol of such divine protection, revered as their guardian deity.

　　It is said that during the Xuanhe era of the Northern Song Dynasty, the envoy Lu Yun Di’s fleet encountered a storm at sea. Six out of seven ships sank, but inspired by his crew, Lu sincerely prayed to Lin Mo for protection, and his ship miraculously survived. Later, thanks to Lu Yun Di’s report, the worship of Lin Mo gradually gained official recognition. In the 26th year of the Shaoxing era of the Southern Song Dynasty (1156 AD), Lin Mo was honored as “Linghui Furen” (Spiritual Beneficent Lady). In the first year of the Shaodi era (1190 AD), she was further elevated to “Linghui Fei” (Spiritual Beneficent Consort). By the 15th year of the Zhiyuan era of Kublai Khan (1278 AD), she was titled “Huguo Mingzhuo Linghui Xiezhen Shanqing Xiantianfei” (Protectress of the Nation, Illustrious and Bright, Linghui, Harmonizing Justice, Bestowing Good Fortune, Radiant Heavenly Consort). Over time, her titles rose progressively—from consort to consortess, and from consortess to heavenly consort. In the 23rd year of the Kangxi era of the Qing Dynasty (1684 AD), she received her final imperial title, “Huguo Bimin Zhao Ling Xianying Ren Ci Tianhou” (Protectress of the Nation and People, Manifesting Spirit, Responding to Goodness, Compassionate Heavenly Consort), reaching the highest level of imperial recognition. From “Tianfei” (Heavenly Consort), she became “Tianhou” (Heavenly Empress), commonly known among the people as “Nianniang” (Goddess).

　　Since the Yuan Dynasty, sea god temples in northern coastal areas have mostly been called “Tianfei Palace.” After the Qing Dynasty titled her “Tianhou,” it was renamed “Tianhou Palace.”

　　After the Jin Dynasty established “Zhigu Fort” in the Ancient Culture Street area, during the third year of the Yuanyou era of the Yuan Dynasty (1316 AD), “Haixin Town” was also set up here. With Beijing as the Yuan capital, to sustain the court’s military and political expenses, large amounts of grain were collected from the south and transported north via inland rivers and sea routes—a practice historically called the “Canal Transport” or “Cao Yun.” At that time, fleets carrying grain would depart from Liujia River (now Liutang Town, Taicang, Jiangsu), exit the Yangtze estuary, head north along the coast, enter the Haihe River, and reach the nearby Sancha Kou (Three Forks) near the Ancient Culture Street before unloading the grain. It was then transferred onto smaller boats for the journey along the North Canal to Beijing. Additionally, this location became a busy hub for “Canal Transport.” Therefore, in the third year of the Taiding era of the Yuan Dynasty (1326 AD), the “Tianfei Palace” was built here. Later, during the Kangxi era of the Qing Dynasty, it was renamed “Tianhou Palace.”

　　The incense offerings at this ancient temple have always been abundant. A poem by Zhang Zhu of the Yuan Dynasty vividly depicts the grandeur of worship at the time: “At dawn by Sancha Kou, thousands of sails gather. Heaven shares its grace, the seas are calm. Entering the temple, sacred winds blow solemnly, incense smoke rises auspiciously high. After the envoy completes the three libations, the temple halls are filled with joy.”

　　A Long History

　　In front of the “Tianhou Palace” lies an open space. With the arrival of large crowds and southern goods, the “Gongqian Ji” (Market in Front of the Palace) emerged, leading to a bustling new scene with dense settlements and thriving markets. Throughout the Ming and Qing dynasties, continuous “Canal Transport” and undiminished reverence for the sea goddess meant that the “Gongqian Ji” remained for a long time a lively hub of diverse goods. At some point, a street gradually formed in front of the temple, and various shops of different sizes were built. The open-air markets that once operated from sunrise to sunset were replaced by commercial activities. Thus, Gongnan Dajie and Gongbei Dajie came into being.

　　In the late Qianlong era of the Qing Dynasty, a painting by Jiang Xuan titled “Luhe Duyun Tujuan” (Illustrated Scroll of Canal Transport Supervision) depicts segments of the scenery of Gongnan Dajie and Gongbei Dajie: rows of shops, elegant corridors, and some courtyards adorned with flowers and trees. Shop fronts are mostly open-fronted, featuring businesses like distilleries, banks, butcher shops, seafood stores, pharmacies, fabric shops, grain shops, sauce workshops, tobacco shops, restaurants, and inns. In slightly more spacious corners, vendors set up stalls. The streets are bustling with pedestrians, carts, and bridges. The green-tiled, red-walled “Tianhou Palace” and the exquisitely painted, spacious-stage palace theater in front are particularly eye-catching. Through this, one can glimpse the prosperity of over 200 years ago.

　　However, after the Second Opium War, Tianjin was opened as a trading port, Western capitalist economy entered city life, and the economic center gradually shifted southeastward. This area began to decline, with fewer large shops and only small storefronts and workshops remaining. The incense offerings at the “Tianhou Palace” also dwindled, and the Taoist priests had to rent out shrine spaces to make a living. The once sacred site of “solemn sacred winds and high auspicious air” transformed into a vendor market, selling unique goods rarely seen elsewhere in the city—such as goldfish, glass fish tanks, clay theatrical masks, potted plants, rocks, and bamboo/wood products—to attract customers.

　　After liberation, some of the small shops along the street either merged and relocated, converted into factory workshops, or became residences. The main hall of the “Tianhou Palace” also briefly served as a factory and a residence.

　　A Place You Won’t Want to Leave

　　In 1985, the Tianjin municipal government decided to renovate Gongnan Dajie and Gongbei Dajie into the Ancient Culture Street and restore the “Tianhou Palace.” The restored Ancient Culture Street spans 580 meters, with nearly a hundred shops featuring elegant and varied architectural styles that create ever-changing scenery, making it a place visitors love to linger.

　　At both the southern and northern entrances of the Ancient Culture Street stand grand archways. The southern archway bears the plaque “Jinmen Guli” (Old Hometown of Tianjin), symbolizing that today’s Tianjin urban area gradually developed from this original central zone, which has been a bustling commercial district for six or seven hundred years—often evoking a sense of nostalgia. The northern archway features the plaque “Gu Shang Yi Yuan” (Art Garden on the Ancient Port), suggesting that the streetscape, shops, and goods here are rich in artistic flair, especially antiques, calligraphy and paintings, steles, the Four Treasures of the Study, and Tianjin folk crafts, all dazzling and culturally enlightening. These two magnificent archways at the street entrances, with their exquisite designs, vibrant colors, and simple yet profound plaque inscriptions, touch the hearts of visitors, sparking emotions that blend historical reflection with aspirations for a bright future.

　　Nearly a hundred shops along the street are all designed in the Qing Dynasty style, built with blue bricks and finely joined mortar. There are buildings with sloped roofs, flying eaves, and columned corridors, as well as flat-roofed pavilions adorned with ice-plate eaves, hanging lattices, and vertical railings. Looking around, the varying heights and undulating forms showcase distinctive features. At the heart of the Ancient Culture Street stands the “Tianhou Palace,” with an imposing over-street theater tower, mast flags soaring into the sky, a broad and bright square in front of the palace, and surrounding buildings suddenly appearing taller, creating a visual climax amid constant change. Standing before the “Tianhou Palace” and gazing north and south down the street, one sees winding alleys that evoke a deep sense of ancient alleyways.

　　The “city and market intertwined” Ancient Culture Street offers a dazzling array of handicrafts and cultural items from all over China and Tianjin. Among them, the most famous are the locally distinctive and internationally renowned Yangliuqing New Year Paintings, “Clay Figurine Zhang” sculptures, and “Kite Wei” kites.

　　Yangliuqing New Year Paintings are one of China’s most famous folk woodblock prints, originating in the Chongzhen era of the Ming Dynasty and flourishing in the Yongzheng era of the Qing Dynasty. Although produced mainly in Yangliuqing Town west of Tianjin, nearby villages within a dozen miles almost universally practiced the craft—“every household painted, every home excelled in art.” Yangliuqing New Year Paintings evolved from Song and Yuan Dynasty paintings and Ming Dynasty woodblock prints, combining woodblock printing with hand-painted colors. Using symbolism, realism, and other techniques, they express people’s beautiful sentiments and wishes, especially excelling in depicting real-life scenes, folk customs, and historical stories. After liberation, under the care of the Party and government, the Yangliuqing New Year Painting Cooperative and Yangliuqing Painting Store were established. In 1960, Premier Zhou Enlai visited the Yangliuqing Painting Store and greatly encouraged its innovative spirit. Today, this splendid folk art continues to bloom.

　　“Clay Figurine Zhang” sculptures gained renown during the Qianlong and Jiaqing eras of the Qing Dynasty. “Clay Figurine Zhang”—Zhang Changlin, courtesy name Mingshan, born in 1826 and died in 1906—elevated traditional clay figurine modeling to a high art form, adding color and props to create a unique style. His works range from over a foot to just inches in size, with exquisite shapes and lifelike expressions, almost indistinguishable from real people, making them a marvel of folk art. Zhang Mingshan passed down his skills to his son, who taught his grandson and great-grandson, with the Zhang family maintaining the craft for generations. In 1959, Tianjin established the “Clay Figurine Zhang” Sculpture Studio, led by the fourth-generation Zhang Ming, training a new generation of artists and driving continuous innovation. Guo Moruo once praised it in verse: “Goddess Nüwa first made humans from clay, Mingshan’s figures add splendor. Once only one family crafted them, now disciples spread far and wide.”

　　“Kite Wei” kites are renowned internationally. While Tianjin kite-making has a long history, “Kite Wei”—Wei Yuantai—made significant contributions. Born in 1872 and died in 1961, he practiced kite-making for over 70 years, known for his fine craftsmanship, lifelike shapes, stable flight, and kites rich in ethnic colors. In the 1914 Panama International Exposition, his kites won international medals. Today, his descendants continue and develop his craft, making this folk art even more vibrant.

　　The Renowned “Huanghui” (Imperial Festival)

　　The “Huanghui” at the Ancient Culture Street is another well-known traditional event. Originally called the “Niangniang Hui” (Goddess Festival), it is said that the 23rd day of the third lunar month is the birthday of the sea goddess at the Tianhou Palace. During the Kangxi era of the Qing Dynasty, it was proposed to hold a four-day festival before the goddess’s birthday: the 16th (sending off the divine image), when the statues of the sea goddess and four other goddesses (Eye Goddess, Children Goddess, Rash Goddess, and Birth Goddess) were sent to the Fujian-Guangdong Guild Hall’s Tianhou Hall for worship; the 18th (welcoming back the divine image); and the 20th and 22nd (taking the divine images out to bless the public), when the statues were paraded through the streets to receive incense offerings. This was the original “Niangniang Hui.” During these times, folk drum troupes, large music ensembles, crane dance groups, layered pavilion performers, flagpole dancers, and stilt walkers performed along the streets, creating a spectacular scene.

　　By the Qianlong era, Emperor Qianlong, while traveling south by boat, stopped in Tianjin and expressed a desire to see the “Niangniang Hui.” His boat anchored at Sancha Kou. As the various performance groups passed before his boat, they competed in showcasing their talents, impressing the emperor. The village drum troupe performed exceptionally well, earning each of its four drummers a yellow mandarin jacket. The crane dance group sang beautifully, and each of its four performers received a golden collar. The emperor also highly praised the organization of the “Niangniang Hui” and awarded two dragon flags. From then on, the “Niangniang Hui” gained prestige and was renamed the “Huanghui.”

　　From the Qianlong and Jiaqing eras onward, the “Huanghui” grew increasingly grand and lively, with various groups parading in sequence: the Street Cleaning Group ensured clean roads; the Banner Group displayed the goddess’s historical titles on large banners as part of the procession; the Lion Group carried wooden lions modeled after those in front of the Tianhou Palace; the Drum Group featured 13- or 14-year-old drummers performing songs and dances, alongside flower drum, stilt, song, lion dance, layered pavilion, flagpole, and music performances. Finally came the palanquin bearing the five goddess statues, each preceded by a drum group and followed by eight riders on horses waving eight large yellow flags. During the “Huanghui,” streets were packed with people, noise, and excitement, creating an unprecedented spectacle.

　　In later years, the “Huanghui” was no longer held annually. The last few editions took place in the 30th year of the Guangxu era of the Qing Dynasty (1904 AD), the 4th year of the Republic of China (1915 AD), the 13th year of the Republic of China (1924 AD), and the 25th year of the Republic of China (1936 AD)—approximately once every 10 years.

　　After the restoration of the Ancient Culture Street, the “Huanghui” was revived on the 23rd day of the third lunar month each year. The event now features performances such as dragon lanterns, stilt walking, dry-land boats, yangko dance, drumming, flagpole dances, lion dances, and martial arts. The streets become lively and bustling, serving as a vibrant celebration of local culture. This distinctive Tianjin folk entertainment activity has regained its vitality.

　　Time Needed

　　1–2 hours

　　Transportation

　　Take buses such as Routes 1, 1 Interval, 605, 610, 611, 619, 632, 633, 641, Air-conditioned 671, 804, 904, 908, 954, and Sightseeing Route 2, and get off at Dongbeijiao Station.

　　Admission

　　Free

　　Opening Hours

　　All day

　　Location

　　Gongnan & Gongbei Streets, Nankai District, Tianjin (near the intersection of Tongbei Road and Dongma Road)

　　Address: Ancient Culture Street, Nankai District

　　Phone: 27359628

Tianjin Ancient Culture Street is aAAAAA-rated attraction

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street

Tianjin Ancient Culture Street