Jiangxin Islet

Jiangxin Islet

Jiangxin Islet is a national AAAA-level tourist attraction.

Located in the Ou River to the north of downtown Wenzhou, covering a total area of about 70,000 square meters, Jiangxin Islet is long from east to west and narrow from north to south. It is one of China’s Four Famous Solitary Islets. With its beautiful scenery, abundant historical relics, and rich cultural landscapes, the islet is a shining pearl on the Ou River and has long been hailed as the “Penglai of the Ou River.” Throughout history, renowned poets such as Li Bai, Du Fu, Meng Haoran, Han Yu, Xie Lingyun, Lu You, and Wen Tianxiang have all left their traces on Jiangxin Islet. Over the centuries, countless literati and scholars have composed nearly 800 famous poems praising the islet.

In ancient times, it consisted of two small islets. In the early years of the Liu Song Dynasty during the Southern Dynasties, Prefect Xie Lingyun once climbed the solitary islet and wrote the famous lines: “Amid the swirling currents I steer straight ahead, / The lonely islet graces the river’s midst. / Clouds and sunlight blend in radiant glow, / Sky and water merge in crystal flow.” From the Tang Dynasty onward, Buddhist temples and pagodas were gradually built on the islet. In the seventh year of the Xiantong era (866), the Jingxin Chan Temple was constructed at the western foot of West Mountain. In the second year of the Kaibao era of the Song Dynasty (969), the Pujì Chan Monastery was built at the western foot of East Mountain, and the West Pagoda and East Pagoda were subsequently erected. In the fourth year of the Jianyan era of the Southern Song Dynasty (1130), Emperor Gaozong of Song, Zhao Gou, stayed at the Pujì Chan Monastery to avoid the advancing Jin troops. Along with Gulangyu, Dongmenyu, and Lanyu, it is known as one of “China’s Four Famous Islets.”

In the seventh year of the Shaoxing era (1137), Monk Qingliao was ordered to come to Jiangxin Islet to preach. He led efforts to fill in the channel between the two islets, thus connecting them into one. A temple was built on the filled land and named Zhongchuan Temple, commonly known as Jiangxin Temple. Before long, Emperor Gaozong bestowed upon it the name Longxiang Xingqing Chan Temple and designated it as a “royal monastic site.” Later, foreign monks also came to practice Zen and worship here, and this continued unabated through the Ming and Qing dynasties. Jiangxin Islet is covered with halls, pavilions, and historic sites, and boasts lush ancient trees and serene, picturesque scenery. It has long been known as the “Penglai of the Ou River.” Poets of various dynasties have composed over 500 poems here; for example, renowned Tang poets such as Li Bai, Du Fu, Meng Haoran, Zhang Zirong, Han Yu, and Zhang Youxin all left famous works praising the solitary islet.

Jiangxin Temple was rebuilt in the 54th year of the Qianlong era of the Qing Dynasty (1789), covering an area of about 2,870 square meters, and consists of a front hall, middle hall, and rear hall. The front hall is the Heavenly King Hall, with corridors on the east and west sides and bell and drum towers at both ends. The ancient Song Dynasty bell is still preserved today. The middle hall is the Yuantong Hall, the most magnificent of all, enshrining the Goddess of Mercy. Jiangxin Temple is one of the 32 Guanyin sacred sites in China. The hall is adorned with a rich array of plaques and couplets. The central pillar couplet was written and inscribed by Wang Anshi of the Song Dynasty. The rear hall is the Three Saints Hall, with its plaque and couplets both inscribed by Master Hongyi. The temple is surrounded by towering ancient trees and offers a tranquil and serene view. In 1983, it was listed as one of the 142 key temples opened to the public nationwide.

Originally named Jingxin Temple, also called West Pagoda Temple. When Emperor Gaozong of the Song Dynasty stayed on the islet, it was renamed Xingqing. It was rebuilt during the Jiaqing era of the Qing Dynasty. On both sides of the temple are the Colored Glaze Springs, whose waters are cool and clear, making them one of the three famous springs of Wenzhou. Inside the temple wall once grew an olive tree, said to have been planted in the 15th year of the Wanli era of the Ming Dynasty (1587) by Prefect Wei Chengfang. It was destroyed in 2003. After the founding of the People’s Republic of China, the Wenzhou Museum was established here, exhibiting historical relics year-round. It has now been converted into the Wenzhou Revolutionary History Memorial.

Located to the east of Jiangxin Temple. In the second year of the Deyou era of the Southern Song Dynasty (1276), Wen Tianxiang escaped from captivity by the Yuan troops and came to Wenzhou. He stayed at Zhongchuan Temple and wrote the poem “Returning North and Lodging at Zhongchuan Temple.” In the 18th year of the Chenghua era of the Ming Dynasty (1482), locals built this memorial shrine to commemorate the 200th anniversary of the national hero’s martyrdom. The shrine originally housed a stone statue of Wen Tianxiang and inscribed tablets with poems by notable figures, but these were later destroyed. Only the stele by Qing poet Qin Ying titled “Inscription on the Statue of Song Dynasty’s Wen Tianxiang” remains. In 1981, the site was renovated, and the corridor was inlaid with the “Song of Righteousness” and 20 stone tablets inscribed with later memorial poems. There is also a couplet that reads: “The solitary islet lies beyond the midstream; the flowing waters can never wash away its sorrow. / The lofty shrine stands for a thousand autumns; the heroic spirit still roars with the angry tides.”

The East Pagoda was first built in the 10th year of the Xiantong era of the Tang Dynasty (869), though some say it was built in the 2nd year of the Kaibao era of the Northern Song Dynasty (969). It was destroyed in war and rebuilt in the 10th year of the Shaoxing era of the Southern Song Dynasty (1141). It underwent multiple renovations during the Yuan, Ming, and Qing dynasties. The pagoda is 28 meters tall, with a base diameter of over 8 meters, six sides, seven stories, and walls made of blue bricks. In the past, each level had balconies, railings, and eaves, and an internal staircase led to the top, offering a panoramic view of the surging Ou River and the charming scenery of Lucheng. In the second year of the Guangxu era of the Qing Dynasty (1876), the “Sino-British Yantai Treaty” was signed, opening Wenzhou as a trading port. In 1894, construction began on the British Consulate in Wenzhou at the foot of East Pagoda Hill, and it was completed the following year. Citing security needs, the British forced the local authorities to remove the eaves and corridors on the inside and outside of the East Pagoda, leaving behind this hollow, roofless pagoda body. A century-old banyan tree, growing without soil, extends its roots into the pagoda and remains green year-round—a remarkable sight. Today, the pagoda still stands tall and majestic, like a historical monument that has weathered the storms of time, perched atop East Peak.

The West Pagoda was first built in the 2nd year of the Kaibao era of the Northern Song Dynasty (969), though some say it was built in the 10th year of the Xiantong era of the Tang Dynasty (869). It was renovated multiple times during the Ming and Qing dynasties. The pagoda is 32 meters tall, with a base diameter of 7 meters, six sides, seven stories, and a hollow interior. It is a pavilion-style brick structure imitating wooden architecture. From a distance, the green waters and blue sky frame the emerald West Peak Mountain holding up the brick-red pagoda, with its spire piercing the clouds—an impressive sight. Up close, the wind rustles through the 42 copper wind bells on the eaves, harmonizing with birdsong from the surrounding branches in delightful counterpoint. Each side of every story of the pagoda contains small niches housing exquisitely carved stone Buddha statues with lifelike expressions and high artistic value. Stone benches are arranged around the pagoda amidst lush trees, creating a serene atmosphere that inspires deep thought. Due to the pagoda's tilt, major repairs were carried out in 1982. The pagoda still retains its Song Dynasty architectural style.