Tianhou Palace in Zhijiang

Tianhou Palace in Zhijiang

Tianhou Palace in Zhijiang is a National Key Cultural Relics Protection Unit.

Tianhou Palace in Zhijiang, originally a guild hall for Fujian migrants, was built in the 13th year of the Qianlong reign (1748) by Fujian immigrants. It has been over 250 years since its construction, covering an area of 3,700 square meters, with the current preserved building area at 1,970 square meters, making it the largest Mazu temple inland. The palace faces east and is situated west, with side rooms to the north and south, and consists of three main sections in the middle: the stage, the main hall, and the Guanyin Hall. To the left is the God of Wealth Hall, and to the right are the Martial Saint Hall and the Five Spirits Hall. The overall architectural structure remains largely intact. In 1986, it was listed as a Provincial Cultural Relics Protection Unit.

The Tianhou Palace covers an area of more than 3,700 square meters, with the current preserved building area at 1,970 square meters. It faces east and is situated west, with side rooms to the north and south, and three main sections in the middle: the stage, the main hall, and the Guanyin Hall. To the left is the God of Wealth Hall, and to the right are the Martial Saint Hall and the Five Spirits Hall. The dressing tower has been demolished and replaced with a fire pool. The entire architectural structure remains intact. After liberation, it was occupied by a power plant, township government, and a finance and trade school. The upper parts of the buildings retained their original appearance, while the lower parts were modified into dormitories, classrooms, and dining halls as needed. The stage, main hall, and Guanyin Hall of the Tianhou Palace each have their own distinctive features. The stage is a traditional wooden structure, with various carved figure scenes on the pillars on both sides, fully reflecting the face of national cultural art. Beside the stage are two rows of side rooms, including the Guanyin Hall and the Arhat Hall. The Guanyin Hall enshrines various statues of the Goddess of Mercy, who, together with Mazu, pray for the blessings and wishes of the people of Zhijiang.

Tianhou Palace in Zhijiang is located on the west bank of the Wushui River, facing the county town across the river. The 1869 edition of the Zhijiang County Annals from the Qing Dynasty records: “In the 13th year of the Qianlong reign (1748), Fujian migrants built it. Mazu is a deity of the Fujian people.” The Qing Dynastic Gazetteer introduces: “The Song Dynasty’s Mazu was the sixth daughter of Lin Yuan from Putian. At birth, she emitted auspicious light and a fragrant scent; as she grew, she could ride a mat across the sea and travel among islands on clouds. After ascending to immortality, she was often seen wearing red garments flying over the sea. During the Song, Yuan, and Ming dynasties, she repeatedly performed miraculous deeds. She was titled Heavenly Consort during the Kangxi reign, and later further honored as Tianhou (Heavenly Empress).” The people of Fujian and Taiwan affectionately call her “Mazu,” believing her to be a deity that protects them. When fleets sailed the seas, the lead ship would definitely enshrine a statue of Mazu; when living in foreign lands, migrants would definitely pool funds to build a Tianhou Palace (also called Tianfei Palace, Pujisi, or Pu’an Temple), which also served as guild halls for fellow migrants. In the first year of the Qianlong reign (1736), Yuanzhou was elevated from a prefecture to a fu (regional administrative unit), with the fu seat also establishing Zhijiang County, under the jurisdiction of Yuanzhou Fu along with Qianyang and Mayang. It became the political, economic, and cultural center for counties and subprefectures such as Zhijiang, Mayang, Fenghuang, Qianyang, Huaihua, and Xinhuang. With frequent civilian travel and growing commerce and industry, business-savvy Fujian migrants gathered in Zhijiang, leading to the reconstruction of the original guild hall Pujisi into Tianhou Palace. In the early years of the Xianfeng reign, a great fire left only the stone memorial archway gate intact. During the Tongzhi reign, led by Ruan Maozhou, Tang Shuanghe, Ruan Jishun, Shu Guangshun, Chen Hengyu, Nie Songseng, and Dong Wanshun, the stage, Tianhou shrine, God of Wealth Hall, Five Spirits Hall, Martial Saint Hall, and Guanyin Hall were restored, and golden statues of the deities were installed. In 1942, the statues were destroyed during the anti-superstition campaign.

The most representative cultural relic of Tianhou Palace in Zhijiang, and the one most praised, is the blue stone relief sculpture on the memorial archway. The archway is 10.6 meters high and 6.3 meters wide, shaped like a double-eaved hip-and-gable roof gatehouse. Stone lions crouch on both sides, and stone drums stand opposite each other. The roof is adorned with upturned eaves and bracket sets, with twelve golden carp biting the ridges, a gourd-shaped spire, and stone railings on both sides paved with blue stones and decorated with carvings of dragons, elephants, and golden melons. Seventeen steps of blue stone lead directly to the riverside stone street, with clear blue waves rippling below, making the archway appear even more majestic and steep.

The reliefs on the archway total 95 pieces, varying in size and interlocking with each other. The largest exceeds 2 square meters, while the smallest is only 0.09 square meters. Whether depicting dragons, phoenixes, lions, fish, bamboo, trees, flowers, grass, humans, immortals, deities, or ghosts, all are exquisitely crafted, almost lifelike. The carved “Fisherman and Woodcutter Singing Together” and “Farming and Reading as the Foundation” beam decorations complement each other, alongside other scenes such as “The Eight Immortals Crossing the Sea,” “The Red Phoenix Facing the Sun,” “Two Dragons Fighting for a Pearl,” “A Lion Rolling a Silk Ball,” “The Eight Kings Patrolling the Heavens,” “The Star of Literature Pointing to the Dipper,” “Promotion in Three Levels,” and many unnamed ones. The central characters on the archway read “Tianhou Palace” in bold, round strokes. Though carved, they fully exhibit the charm of calligraphy. Below, beneath the “Luoyang Bridge,” waves crash endlessly, and a small straw-hat boat weaves through the surging waters, its bow cresting the waves. Passengers either cling to the awning or strain at the helm, facing danger without fear. On the bridge, dozens of people react in varied expressions—some anxiously calling out, others praising with nods. The city gate by the bridge stands with flags hoisted, inscribed with “Quanzhou Prefecture.” On one bridgehead, jagged rocks are engraved with the words “Luoyang Tower.” This entire relief blends reality with legend, sparking imagination and offering a vivid sense of immersion.

Another relief, spanning just 0.216 square meters, captures the bustling scenes of the three towns of Hanyang, Hankou, and Wuchang. The mighty Yangtze and Han rivers surge with energy, with 102 boats of all sizes crisscrossing, showcasing a thriving scene of commerce. Boatmen are seen chatting, playing chess, rowing, drinking, or singing, in vivid and lifelike poses. Along the riverbanks of the three towns, flagpoles display the names of local government offices, their fine strokes as thin as fly legs yet each character clearly legible. The buildings and towers of the three towns are densely packed, all rendered with clarity. Within this tiny space, a grand scene unfolds, with meticulous attention to even the tiniest details—the craftsmanship is truly exquisite. The “Luoyang Bridge” and “Three Towns of Wuhan” reliefs are hailed as the “sapphires on a piece of jade” of the archway. These reliefs combine openwork carving and flat engraving techniques, with ingenious and refined designs.

Tianhou Palace in Zhijiang is the largest Mazu temple in China’s inland regions and is a Provincial Cultural Relics Protection Unit in Hunan Province. The entire Mazu temple integrates ancient architecture and relief art, boasting high artistic and cultural heritage value. Its front stone archway and rear palace feature fifty exquisitely carved reliefs, earning it the title “Number One Archway in the South.”

Lin Mo, also known as Momo Niang, is affectionately called “Auntie,” “Goddess Mother,” or “Mazu” by the people. She was from Putian.

Born on the 23rd day of the third month in the first year of the Jianlong reign of the Song Dynasty (960) into an official family on Meizhou Isle in Putian County, she never cried from birth until her full moon, hence named “Mo” (Silent), also called “Momo Niang.” Her great-grandfather Baoji served as a military commander in the Zhou Dynasty but resigned and lived in seclusion on Meizhou. Her grandfather Fu inherited his family’s honors and served as the Fujian Regional Commander. Her father Yuan was a coastal patrol inspector in Fujian during the early Song Dynasty. Lin Mo was exceptionally intelligent; at age eight, she could grasp the gist of texts while studying with a tutor. As she grew older, she enjoyed chanting scriptures and worshipping Buddha. … More details on Lin Mo ++

Further reading:

· Seventh Batch of National Key Cultural Relics Protection Units