Wanzai Chenghuang Temple

Wanzai Chenghuang Temple

Wanzai Chenghuang Temple is a cultural heritage site protected at the provincial level in Jiangxi Province.

Chenghuang Temple: Originally built in the third year of the Hongwu era of the Ming Dynasty (1370) by County Magistrate Feng Houli, who repurposed the former residence of the Red Turban rebel Liu Ren. It was located on the east bank of Longhe River at Jixian Fang in Kangle Subdistrict (now the Antique Street). The temple was destroyed during the Yongle era. In the tenth year of the Zhengtong era (1445), County Magistrate Zhou Ji rebuilt it. In the third year of the Jingtai era (1452), Clerk Zhu Xuan renovated it. During the Hongzhi era (1488–1505), it fell into disrepair and was restored by County Magistrate Zhang Wenmou. In the ninth year of the Zhengde era (1514), local resident Xin Run funded its reconstruction, which included a front hall, rear sleeping quarters, corridors on both east and west sides, and two gates inside and out—its layout roughly modeled after a county yamen. Instructor Zhu Xian once composed a text to praise the restoration. In the tenth year of the Chongzhen era (1637), and again in the 27th year of the Kangxi era (1688) and the 38th year of the Qianlong era (1773), local residents donated funds for three more rounds of repairs. In the 18th year of the Daoguang era (1838), the foundation was expanded and the temple was rebuilt, with two corridors and a station pavilion added outside the front gate. In the fifth year of the Xianfeng era (1855), the Taiping Army attacked the county seat and fought against government troops, resulting in the destruction of the temple. It was subsequently repaired multiple times by local gentry and residents in the eighth year of Xianfeng (1858), the tenth year of Xianfeng (1860), and the ninth year of the Tongzhi era (1870). During the “campaign” period after the founding of the People’s Republic of China, superstitious elements were abolished and all statues were destroyed. In 1997, it was rebuilt with donations and is now called the Ten Thousand Buddhas Temple. The temple faces south and covers an area of 5,000 square meters. Its architecture is simple and elegant, featuring five main halls, grey-tiled walls, carved beams and painted rafters. There are 17 pairs of square stone pillars and 20 pairs of wooden pillars in the temple, all resting on drum-shaped bases. The front faces of the pillars feature over ten relief couplets. The overall layout embodies the architectural style of the Ming Dynasty, with symmetrical design. The first hall upon entering is the Heavenly King Hall (rebuilt in 1997), where the smiling Maitreya Buddha sits, flanked by the handsome guardian deity Skanda and the towering Four Heavenly Kings. Descending the steps, there is a 200-square-meter open space with covered walkways on both sides. The main gate features an ornately carved and painted archway, with bell and drum towers on either side. Passing through the foyer, you’ll find a caisson ceiling (zaojing) with carved patterns and bats in various forms, seemingly flying or dancing, symbolizing boundless blessings. The second hall is the Mahavira Hall (rebuilt in 1997), where the Sakyamuni Buddha sits prominently in the center, flanked by statues of Ānanda, Kāśyapa, Samantabhadra, and Mañjuśrī, as well as the Eighteen Arhats in various seated or standing poses. The third hall is the Guanyin Hall (rebuilt in 1997), surrounded by carved stone railings. The Guanyin Bodhisattva, donated by Taiwanese compatriots from Wanzai County—Mr. and Mrs. Liu Xinli—sits on a lotus throne. The ceiling is carved with 200 dragon heads arranged in a ring, known as the “Dragon Nest,” accompanied by floral and mythical fish designs in gold and bright colors—this is a centuries-old craftsmanship masterpiece that survived numerous disasters. The fourth hall is the Chenghuang God Hall, whose roof rises 15 meters high, with grand beams painted in color, making it tall and majestic. The statue of the Chenghuang God, restored through public donations, wears an official hat and court attire, with a solemn expression. On both sides are four attendants each. On the wall facing the Chenghuang God hangs a giant abacus with the four large characters “不由人算” (Not for Humans to Calculate), carrying deep meaning and inviting reflection. The Chenghuang God of Wanzai is unnamed. Old records state, “In the sixth year of the Xianfeng era, when Cantonese bandits occupied the city and battled government troops, the Chenghuang God repeatedly manifested miraculous responses. The current Emperor bestowed the plaque ‘Xuanwei E Kou’ (Suppressing Bandits and Intimidating Foes).” The final hall is the Chenghuang’s Wife Hall. Legend says the wife of Wanzai’s Chenghuang was a virtuous local woman named Yulian who attained enlightenment through spiritual practice. A folk rhyme goes: “Spending money to weave affection as a matchmaker, Yulian’s virtue married her to the Chenghuang. Alilian did good deeds and cultivated herself well, choosing the Chenghuang as her matchmaker.” Another tale says the woman was so beautiful while visiting a temple fair that she was sketched and later immortalized as the Chenghuang’s wife. Each major hall is connected with side corridors, and other structures such as the Kṣitigarbha Hall and the Pu’an Patriarch Hall are also located in the wings. During Buddhist events, bells and drums sound together, and the Guanyin Hall is a sacred site frequented by devout worshippers.

Further Reading:

· Sixth Batch of Jiangxi Provincial Cultural Heritage Protection Units