Gufeng Village

　　A pagoda tree stream about three to four hundred meters long runs through the village, a radiant pearl in the conceptualization of Gufeng’s scenery. Like a pure white jade belt encircling the village, it is pristine and graceful from head to toe, crossed by more than ten granite arch bridges. Each bridge is equipped with stone benches and chairs, and some even have exquisitely crafted “beauty rests.”

　　On both sides of the Pagoda Tree Stream are wide flagstone roads and uniformly styled Huizhou-style buildings—white walls, black tiles, and horse-head walls. Especially notable are the many official residences, which highlight the village’s prosperity and elegance. It is an uncommon sight in Jixi: “small bridges, flowing water, and rustic homes,” a classic Huizhou-style “garden” village, a marvelous natural landscape painting, and the first aspect of Gufeng Village’s celebrated “one beauty, two abundances, and three wonders.”

　　The “two abundances” refer to “abundant official residences and abundant ancient architecture.” The abundance of official residences will be detailed in a dedicated section. Here, we discuss the “abundant ancient architecture.” While historical changes have altered the landscape, the remnants of past prosperity remain strongly evident, reflecting the uniqueness and large scale of the structures. In November 1993, renowned Chinese architect Zheng Xiaoxie praised after visiting: “Gufeng Village has a beautiful environment, with many typical Huizhou-style buildings—rare and in great need of protection.” Two documented examples are cited here: A copied version of the Gufeng Genealogy stored in the county archives contains a record of the “Linqing Hall Inscription”: “To the lord of the house, speak to his heart: the flow of this stream, with its myriad threads, is all crystal clear. Is this not because its source is pure? The lord’s lineage, from the founding ancestor to yourself, has for generations passed on integrity…” Although this speaks of cultivating one’s mind, it reflects that the hall’s owner was a family of distinction, certainly with extraordinary architecture, emanating a strong scholarly aura. Local resident Wang Pu wrote, “Light competes with curtains and screens,” depicting the building’s splendor—with bright red lanterns hung high, curtains draped, poetry, music, calligraphy, and books highlighting the beauty of the grand hall (Linqing Hall). Another account, compiled in 1985 by four villagers including Feng Huaqing (then 75 years old) and preserved by his son Feng Zhijian, describes a wealthy family who built the “Meiyuan Studio,” cultivating over a hundred plum tree stumps as a private garden. This gives a glimpse into the family’s extraordinary architecture.

　　The “three wonders” are the three marvels: the ornamental columns (huabiao), the pagoda trees, and the arched bridges. There are nine huabiao, cylindrical stone pillars made of granite with round, cap-like tops, erected on both banks of the Pagoda Tree Stream. Over two meters tall, villagers call them “horse-tying pillars.” Legend also says they were used to hang “sky lanterns” for illumination. In the Ming Dynasty, these were called “sky-supporting pillars.” Anciently known as “defamation wood,” they symbolized calling on the public to “offer advice.” This shows the refined cultural essence of Gufeng’s ancestors. There are nine pagoda trees, planted during the Ming Jiajing era. Elderly villagers say they remain lush and robust, with diameters of around 60 centimeters each. They embody the principle of “befriending others for their virtue.”

　　The arched bridges are famous as part of Gufeng’s “nine pagoda trees and thirteen bridges,” known within Jixi and beyond in Huizhou. A village with 13 bridges is unique in Jixi, and in the old Huizhou prefecture (encompassing six counties), it ranks second only to the “Three Wonders of Kengkou Pan Village” in Wuyuan, which has 100 bridges. Bridges are considered iconic scenic landmarks connecting cities and countryside. The famous Song Dynasty painting “Along the River During the Qingming Festival” prominently features a bridge as a striking focal point. The 13 bridges of Gufeng are: Longmen, Yunzhuang, Anren, Chongli, Dashu, Chongyi, Shangde, Lotus, Green Lotus, Red Bridge, Beishan, and Dushan. Among them, according to a copied genealogy entry, the “Record of the Reconstruction of Longmen Bridge in the Jiajing Xin Hai Year” states: “The beams lie across two temples, facing each other above the stream. The White Tiger flanks it, the Turtle Tomb runs, the Dragon embraces it with its nose holding up a pier. Below the pier, at the gorge’s mouth… the Cloud Bridge is erected, named Longmen Bridge. The bridge is adorned with a pavilion, inscribed pillars, and screens.” Beside Longmen Bridge are the Wenchang Pavilion and Guanyin Pavilion, where the annual Guanyin Festival is held. Built between rock formations, beneath the bridge lies a huge horizontally lying rock with a hole over a foot in diameter, through which stream water flows, creating silver, swirling waves. A corridor is built atop the bridge, featuring “beauty rests,” facing the screen on one side and the stream on the other. Visitors can sit leisurely, listening to the murmuring stream, moonlight through cave windows, laughter all around, forming a delightful harmony. The landscape and literary charm are picturesque, intoxicating.

　　Little known is that the bottom of the Pagoda Tree Stream is entirely paved with granite, reflecting the ancients’ advanced environmental awareness and foresight in flood prevention. This not only demonstrates the economic prosperity of the village clan but also stands as material evidence of the villagers’ noble spirit in supporting public welfare and sanitation. Official residences, arched bridges, memorial archways, corridor pavilions, huabiao, pagoda trees, flowing springs—all harmonize in soft whispers and gentle songs, like a symphony of classical architecture. Visitors who come here find it a feast for the eyes, lingering on, unable to tear themselves away.