Within the ancient village of Zhifeng stands Chengyi Hall, a Ming or Qing dynasty clan temple built with hundreds of square meters of quiet ambition. It is a concentrated masterpiece of Huizhou architecture, where stone and wood speak a complex language of family identity.

This was a hall for the Pan family. Their name is still carried by most villagers today. In 2006, its significance was formally recognized when the State Council designated it a National Key Cultural Relics Protection Unit, one of seven such honored halls across Wuyuan.

The true voice of Chengyi Hall is heard not in its scale, but in its silent, carved chorus. Here, wood was transformed by generations of artisans. They employed high-relief and openwork carving, techniques that demanded both brute strength and surgical precision. Their chisels chewed deep into the timber, creating scenes that seem to breathe, figures almost ready to step from their wooden frames. The hall’s reputation rests on this: carvings so fine and so complete they have survived the centuries intact.

These walls have witnessed the shift of borders, as Wuyuan moved from Anhui's Huizhou Prefecture to Jiangxi Province. They hold the ambiguity of its birth, debated between the Ming dynasty and the Qing Tongzhi reign period. Yet through all this, the hall has persisted—a dense, wooden heart for the Pan clan, its exquisite surfaces a quiet argument for permanence.