Qianhetou Xu family is in Huilong village. Grey tile hard top floor, five rooms and seven frames. The house faces the river, which leads to Yaojiang. There is a monument on the west side of the building, which was set up by the Municipal People's Government and the Cultural Protection Management Office. It was a cultural protection point in the Qing Dynasty. The inscription reads as follows: Qianhetou JOE is a residential building in the Qing Dynasty, facing south from north, and a masonry hall from south to north along the central axis. There is a wing on both sides of the main building of the stone wall door, with five bays in the lobby and three bays in the main building, each with two wings. The carved doors, windows and stone windows of the house are exquisitely carved, with vivid patterns, full of life interest and distinctive Yao Xi local style. The layout is compact and does not feel cramped, and the decoration is beautiful and not cumbersome, maintaining the basic characteristics of residential buildings. JOE, Qianhetou, is one of the best preserved residential buildings in our city's current water environment.
Preservation scope: east to the east wall, south to the forward dripping water, west to the west wall, and north to the north wall of the main building.
There are four carved windows on the left and right of Xujiamen in Qianhetou. Now there are only two in the west and modern windows in the east. Among the remaining carved windows on the west side, the central part of the stone window facing west has been incomplete. The composition of the window is grass dragon pattern and moire. The stone window in the east is relatively complete, carved with a sword and a long flute, but there are also several fine cracks that run through the whole stone vertically and horizontally. Each carved leaf is invaginated and has the texture of a petal. The windows are large and square, exquisitely carved, and the stone is also top grade, which is a typical example of leaking windows in old buildings in the south.
There is a relatively strict lodger in Qianhetou, JOE. The stone steps are still intact, and the paint color of the house columns has been refuted. The roofs are all neat stones with uniform colors, which shows that the buildings at that time were very particular about the materials used, especially the colors of symmetrical decorative pieces. A stone carving is chiseled into a sumeru pattern, which is a peach-shaped grass pattern sandwiched between two continuous grass patterns. The wall base is also carved in this way, which is relatively rare in ordinary houses. If it weren't for being an official, the business methods at that time were not allowed.
The gate has a long forehead, dark red paint and dust, but this can't hide its exquisite carving. There are not many wooden components left in the old building, and most of them are demolished due to internal reconstruction. The original building had five entrances, but now there is only one entrance left. The building behind the main building has been demolished and converted into a new building in the same place. However, the remaining one-fifth is enough to show the brilliance of the original owner. Both the bookshelf system and Joinery Work, who carved arches, sparrows and complicated wooden windows, showed a bureaucratic temperament. In the patio, there are many bricks that were demolished after reconstruction. Bricks are fan-shaped with dripping eaves and bridges with roof tiles. The eaves of Erjin have all fallen down, leaving only a stone forehead. There is a pot of onion on the stone gate, which is inch by inch high in the rain. A house on the west side of Yantou was later rebuilt, which destroyed the pattern of the gate of the whole binary courtyard. There is a brick carving at the eaves of gables, about 20 cm long, decorated with grass. Most of them have been broken halfway, and the original exquisiteness can only be understood through the outline and residual parts. Under the eaves, there is a flower cover across the whole building for ventilation and lighting. Usually this is part of the upper decoration of doors and windows. The horizontal square on the upper part of the overlapping square is painted dark red and carved all over. There is also a typical lattice window, although the composition is simple, but the details are very good. Lower part of wooden window, hook-shaped frame, indoor moire, double dragon playing beads. Originally, the colors of the paints should be red, but the running water of time has washed them white. There is a window shaft member at the lower end of the wooden window, which is carved from solid wood blocks. There are hook-shaped chain lines at the upper end, gluttonous lines at the lower end and faucets at both ends. Although it is slightly damaged, it is still intact. Wooden components are fixed on the stone wall, and over time, the colors of wood and stone are similar.
It is said that the founder of this family was surnamed Jiang. During the Qianlong period, he was the magistrate of Shaoxing, and later generations transferred this business to Xu, so it is now called Xu. The existing buildings were built in the middle of Qing Dynasty. The Xu family still has descendants in Shanghai. The property here was confiscated by the government when it was liberated. The existing residents moved from other places 30 or 40 years ago and have no property rights here. Looking for Shaoxing government records in past dynasties, there is no Shaoxing magistrate named Jiang, and there is no record in the county records. Out of the gate, along the western wall to NATO 100 meters, there is an east-west stone road. Probably the northernmost part of the original house. On the clearing in the northwest corner, a remnant tablet was found with the word "Yan Yi" written on it in regular script. After investigation, it is the title of the etiquette chapter of thirteen classics, Yan, also known as Yan. This word is very old. This monument is 20 centimeters wide and more than a foot long. The word is only about five or six centimeters, so it is by no means a tombstone. It may be the Yan Yi Monument in the ancestral hall or the remains of the Monument Square, but the latter possibility is very small due to the rough carving.