Between the late 19th and early 20th century, it was common practice for organisations to invite famous calligraphers or Qing Dynasty officials to share their brushstrokes through couplets. Stone couplets found in the building were made of granite, with the calligraphy inscribed by artisan.

Among the many Po Leung Kuk’s couplets, Cen Guang-yue contributed the most in terms of quantity. Similar to the circumstance of Zhu Ru-zhen, Cen received the highest degree from the last imperial examination and was awarded junior compiler in the Hanlin Academy. His personal seal “jiachen hanlin”(meaning Hanlin status received in 1904) was inscribed on each couplet to demonstrate his former status in the Qing court.

Beginning from 1950, after each term of the Board is completed, a commemorative plaque is unveiled with the porcelain photos of each director and an inscription of major events of the respective year. Some of the plaques between 1960s and 1970s featured inscriptions written by famous calligrapher Au Kin-kung. Au had been providing his calligraphy to Po Leung Kuk’s plaques and couplets since the 1930s.

After the opening of the new headquarters in Causeway Bay, the current location of the museum served as the meeting room for the board of directors. The entrance portion of the museum once served as a waiting room for interviewing women and children pending for admission to the Kuk’s homes.

Prior to 1950, no emblem or imagery was dedicated to Po Leung Kuk. To promote public perception of the Kuk, then director Mr. Sheh Kung-ching’s son Mr. Sheh Tai-chuen designed the emblem of Po Leung Kuk to bolster the spirit of the organisation.