North He Temple of Emperor Yan

North He Temple of Emperor Yan

North He Temple of Emperor Yan is a National Key Cultural Relics Protection Unit.

Temple of Emperor Yan

Temple of Emperor Yan (Third Batch of Provincial Protected Sites)

Era: Yuan Dynasty

Address: Beihé Village, Beicheng Township, Changzhi County

Originally named Beihé Village (also historically known as Beihe Village), the legend says it was where Emperor Yan tasted white grain and obtained auspicious ears of grain. The village got its name because it is located in the area of Yangtou Mountain, where Emperor Yan built the Shen Nong City. The temple’s founding date is unknown. According to inscriptions preserved in the temple, it underwent multiple renovations during the Ming and Qing dynasties. The temple faces south and has a courtyard layout. Currently, only the main hall and the west side hall remain. It covers an area of 700 square meters.

The main hall, also called the Hall of the Five Grains God, is three bays wide and deep, with a six-rafter structure and a flush gable roof. The hall is relatively short, with bracket sets (dougong) using five tiers. The bracket arms (ang) feature a qin surface design, with deeply cut bracket arms and large, protruding block supports (dou). The columns are relatively thick, showcasing distinct characteristics.

Under the eaves hangs a plaque inscribed with “True Lord of Emperor Yan,” erected during the Shunzhi era of the Qing Dynasty, featuring a black background with gold characters.

Beihé Village, originally named Beihé Village, is said to have been named because it lies to the north of Yangtou Mountain—the place where Emperor Yan tasted hundreds of grains and found auspicious ears. The Temple of Emperor Yan is surrounded by vast farmland and neighboring farmhouses. The founding date of the temple is unknown. Legend says it was first built in the Tang Dynasty and rebuilt in the Yuan Dynasty. According to inscriptions in the temple, it underwent multiple renovations during the Ming and Qing dynasties. In the 15th year (1835) and 26th year (1846) of the Daoguang reign of the Qing Dynasty, further fundraising and repairs were carried out. The temple faces south and has a courtyard layout. Originally, there was a three-bay theater stage with a single-eave hip-and-gable roof. Bell and drum towers stood on both sides of the stage, each one bay wide and two stories high, with a single-eave cross-hipped roof. Between the stage and the bell-drum towers were two mountain gates for entry and exit. To the north was the Offering Pavilion, with four pillars and three bays, square stone columns, and a rolled shed roof. It was blown down by strong winds in 1936. Currently, apart from the main hall and the west side hall which remain intact, the other structures no longer exist. The east and west side halls each have three bays and were renovated in the 26th year of the Daoguang reign (1846). The main hall, also called the Hall of the Five Grains God, is three bays wide and deep. It was originally built with a hanging gable roof but was changed to a flush gable roof during renovations in the Daoguang period. The hall is relatively short, with bracket sets using five tiers. The bracket arms feature a 15-degree slanted ang with a qin surface design, and the projecting block (yao tou) is shaped like a grasshopper. The eave columns use closely spaced bracket sets, with thick, protruding blocks, deep cuts, and large projections. The hall is built in the style of the Ming Dynasty. The lower eave section is supported by closely spaced brackets, using thick materials, with deeply carved details, creating a majestic feel. The purlins are over 30 cm in diameter, made from roughly processed natural curved wood, giving a solid and solemn impression. The beam supports use brackets, while the upper beams are connected with tenons, forming interlocking structures. The craftsmanship is distinctive. The roof beams are supported by thick brackets, with complex joints and visible mortise-and-tenon techniques, showcasing refined workmanship. On the central beam is a plaque inscribed with “Blessing from the Imperial Ancestors,” believed to have been bestowed by the imperial court and installed during the temple’s establishment. The beams and purlins are adorned with colorful paintings, although now faded. The wooden components are mostly original, minimally processed, naturally curved, thick, and dignified. The rafter supports use brackets, while the upper rafters are connected with tenons, forming a stable structure. The roof is covered with traditional tiles. The interior painting is partially preserved, with floral and landscape motifs, though now somewhat blurred. The wooden plaque on the central beam was inscribed during the Ming Dynasty and remains well-preserved. The beams also feature traditional decorations and carvings. The western side hall is particularly notable for its structural stability and craftsmanship. The eastern side hall was renovated in the 26th year of the Daoguang reign (1846).

In May 2013, the North He Temple of Emperor Yan was announced as part of the Seventh Batch of National Key Cultural Relics Protection Units.

Xie Chun (?–1129), styled Jingxiang, was a native of Liuyang in the Song Dynasty. Renowned for his talent and bravery, he was highly regarded by the people. In the third year of the Jianyan era of the Southern Song Dynasty (1129), a mutiny broke out in Tanzhou (present-day Changsha), marked by arson and looting. The regional commander Xiang Ziyin ordered Meng Yanqing, the acting prefect, to pacify the rebels. Soon after, the mutineer Du Yanshen attacked Liuyang, where Meng was defeated and killed. Xiang then ordered Zhao Minyan, also the acting prefect, to lead troops against the rebels, but they were unsuccessful. At that time, Xie Chun led local militia to fight at the front in support of Zhao, personally killing dozens of rebels. Overwhelmed, he was captured and killed by the rebels. Upon hearing of his death, the imperial court posthumously awarded him the title of Chengzhong Lang (a government post) and granted an official position to his son, Xigu. … More details about Xie Chun ++

Further Reading:

· Third Batch of Shanxi Provincial Cultural Relics Protection Units

· Seventh Batch of National Key Cultural Relics Protection Units