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Temple of the Exorcism God Xuanwang

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Shidongkou in Fengquan Village, Chishan Town historically belongs to the land of Nuo culture and is known as a treasure trove of Nuo culture, making it an excellent project for developing distinctive tourism. According to the local Du family genealogy, which records that “Nuo culture began in the Zhou Dynasty,” the Nuo culture of Shidongkou has continued for over two thousand years through the long course of history. The Nuo culture of Shidongkou...

Temple of the Exorcism God Xuanwang

The Temple of the Exorcism God Xuanwang is a cultural tourism attraction.

Shidongkou in Fengquan Village, Chishan Town historically belongs to the land of Nuo culture and is known as a treasure trove of Nuo culture, making it an excellent project for developing distinctive tourism.

The origin of the Nuo culture in Shidongkou, according to the local Du family genealogy which states that “Nuo culture began in the Zhou Dynasty,” suggests that the Nuo culture here has continued for over two thousand years through the long course of history.

The existing Nuo temples in Shidongkou, as described in the Du family genealogy, were first built in the 11th year of the Hongwu reign of the Ming Dynasty (1378 AD, note: corrected from erroneous 1329) under the initiative and fundraising led by Du Chuanfang, son of Du Guzhen, who was then the magistrate of Pingxiang County. They have a history of 622 years and have undergone several renovations over time.

Nuo masks are the most iconic symbols of Nuo culture. Over the course of history, their meanings have become increasingly rich and their scope broader, evolving from originally driving away plague demons to encompassing warding off evil, expelling plagues, dispelling disasters, avoiding misfortune, suppressing evil spirits, divination, healing, seeking offspring, pursuing wealth, praying for official rank, and attracting good fortune, among others. With the emergence of Taoism, the introduction of Buddhism, and the gradual development of human cognitive abilities, the imagery of Nuo masks also gradually became richer. Characters from Taoist and Buddhist mythology, deities, historical heroes, figures from folk stories and legends all enriched the pantheon of Nuo mask images. The art form gradually developed in the directions of religiosity, secularity, humanization, and realism. According to Taoist texts left behind by elderly Taoist priests who once conducted Nuo rituals in Shidongkou, there were more than 600 types of Nuo deity masks during the Ming and Qing dynasties, including heavenly deities, earthly deities, underworld deities, historical figures, and warrior heroes. These Nuo deities not only crowded the temple shrines but also every household in Shidongkou set up altars at home, enshrining one, two, three, or even four Nuo deity masks. Truly, every home had an altar and every household worshipped Nuo deities.

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