Pingyao City God Temple

Pingyao City God Temple

Pingyao City God Temple is a national AAAA-level tourist attraction and a key cultural relic protection unit of China.

The City God Temple is situated in the middle section of Chenghuangmiao Street within Pingyao’s old city. The entire temple complex faces south and covers a total area of 7,302 square meters, consisting of four courtyards. It is a well-structured Taoist temple rich in religious, historical, and cultural significance. In addition to the main hall and the bedroom palace, it mainly comprises four major parts: the Six Ministries Hall, the Earth God Shrine, the Kitchen God Temple, and the God of Wealth Temple. The layout is neat, the levels are distinct, the momentum is grand, and the style is unique.

Outside the street-facing temple gate is the temple’s iconic structure—a tall wooden memorial archway with a hip-and-gable roof. It follows the design of four pillars, three gates, and eleven dougong brackets. The plaque above the gate reads "City God Temple," written by the renowned local calligrapher Mr. Zhao Wangjin. On the back, four bold golden characters read "Mighty Within a Hundred Miles," accompanied by bluestone lions and hitching posts. The posts are inscribed with the lines: “Those who visit here with good hearts need not feel ashamed; those who pass through with evil deeds will tremble with fear,” directly expressing the religious theme of the City God Temple.

On the main wall under the mountain gate corridor are four large regular-script characters: "Retribution for Good and Evil," adding to the solemn and awe-inspiring atmosphere. Under the mountain gate, two spirited stone horses stand facing each other, each led by a groom. Legend has it that these were the mounts of the City God during his tours of the city. On the east and west walls of the corridor are huge paintings of the gate-guarding deities Shentu and Yulei, clad in armor and wielding weapons, looking very imposing. In the second courtyard of the City God Temple stand two ancient locust trees over 300 years old, located in the center of the yard. They are rustic and towering, with lush foliage.

The front courtyard’s facade is actually the back of the theater stage. However, because the stage has a double-eave hip-and-gable roof with a surrounding corridor, there is a hexagonal window on each side of the back wall, with a hanging-roof-style street gate in the middle. Passing through the corridor under the stage leads to the main courtyard. Together with the two side gates under the bell and drum towers, it forms a ceremonial gate, corresponding to the ceremonial gate of a county yamen. Its architectural design is ingeniously unique, and its artistic style is simple and elegant, leaving visitors with endless afterthoughts.

Since there were no timekeeping devices like clocks in ancient times, the bell and drum towers on both sides of the stage reflect the Taoist tradition of morning bells and evening drums, which is also consistent with Buddhism. The morning bell is rung, and the evening drum is beaten, while also breaking the loneliness of monks, nuns, and Taoist priests. The plaque on the back of the bell tower reads "Joy Across All Surnames," which refers to the Kitchen God Temple. Every household worships the Kitchen God, and although surnames vary, the wish for the Kitchen God’s blessing is the same. Hence, "joy across all surnames." Some interpret these four characters as: China has hundreds of surnames, and no matter your name, sharing a meal and chatting together is equally joyful—isn’t that “joy across all surnames”?

The plaque on the back of the drum tower reads "Money Reflects Human Nature," referring to the God of Wealth Temple. Whether ancient copper coins or modern paper money, they have two sides, and money indeed has a dual nature. Some use money to build bridges and pave roads, leaving a good name for generations, while others misuse it for wrongdoing, leaving a bad legacy. Thus, the phrase "money reflects human nature" reveals the immense allure of money to humans.

On the back of the grand theater stage in the City God Temple are the two characters "Dare to Enter," handwritten by Fu Shan, a famous calligrapher of the Qing Dynasty. The character "enter" is written boldly, resembling the character for "knife"—as if there is a knife above the entrance. It poses a stern question to everyone: "Dare you enter?" As the saying goes, "If you do nothing wrong during the day, you won’t fear a knock at midnight." The virtuous will enter calmly, while the wicked may hesitate and wonder, "Do I dare enter?" We believe you are people of justice—come in together.

When you exit through the corridor of the theater stage, you will see the uniquely artistic City God Temple. Along the central axis are the Offering Hall for the City God, the Main Hall, and the Bedroom Palace of the City God in the rear courtyard. Parallel to the Offering Hall are the Kitchen God Temple to the east and the God of Wealth Temple to the west. The three temples are closely connected, forming a unified whole, complementing each other and none dispensable. This represents the highest realm of architectural art. A City God Temple with such a complete structure, grand scale, and multiple deities receiving incense offerings is rare nationwide, with only this one existing.

Is the unity of the three temples a coincidence or is there another explanation? According to experts, this structural arrangement fully aligns with the psychological and lifestyle patterns of people during the Ming and Qing dynasties. Although the economy was developed and the nation strong, frequent warfare made people yearn for social stability, family harmony, and peace. They could only entrust these hopes to the blessings of the gods, giving rise to many deities they relied upon.

The state depends on its people, and people depend on food as their heaven. The body is the capital of revolution. Therefore, first solve the basics of food and clothing, then seek stability, health, and safety, and finally pursue life goals and strive for a better life. Hence, we first visit the Kitchen God Temple, then pray to the City God for safety, and finally go to the God of Wealth Temple. Clearly, there is a logical sequence.

Located in the side room north of the bell tower is the highly renowned Ghost King Zhong Kui. Originally a scholar from Zhongnan Mountain, Zhong Kui traveled to the capital to take the imperial exams during the reign of Emperor Dezong of the Tang Dynasty. Unfortunately, on the way, a little demon disfigured him, leaving him with an extremely ugly appearance. However, Zhong Kui boldly completed his exam and ranked first. But Emperor Dezong rejected him based on his looks, and in despair, Zhong Kui died by ramming into a pillar. Later, Emperor Dezong dreamed of a hideously ugly man who looked like Zhong Kui, fighting demons with swords and knives. Upon waking, the emperor ordered the image from his dream to be painted and hung on the wall to ward off evil. In the underworld, Zhong Kui was appointed by the Jade Emperor as the "Demon-Quelling Emperor."

The story of "Zhong Kui’s Sisters" is widely circulated. After Zhong Kui’s death, his friend Du Ping gave him a proper burial and, in gratitude, arranged for Zhong Kui’s sister to marry him in a dream. In Shanxi, it is customary to post images of Zhong Kui slaying demons in the southeast corner of household gates during the Dragon Boat Festival on the fifth day of the fifth lunar month for good luck.

In government offices, from the central to the prefectural level, there are six ministries: Personnel, Revenue, Rites, War, Justice, and Works. Similarly, the City God Temple has a corresponding institution—the Six Ministries Hall. Upon entering the first hall, the first things you see are two statues of the "Impermanents," holding soul-chaining iron chains to capture souls, truly ferocious. The series of tortures on the brick platform are even more gruesome, sending chills down one’s spine.

The Kitchen God Temple primarily worships the Kitchen God, one of the most widely worshipped and revered deities in Chinese folklore. However, few people worship the Kitchen Goddess, with usually only the Kitchen God present. Originally, the Kitchen God was female. The Taoist philosopher Zhuangzi described the Kitchen God as "beautiful like a maiden, dressed in red, with hair tied up." It wasn’t until the Han Dynasty that the Kitchen God became male. Many legends about the Kitchen God are widespread across China. It is said that the Kitchen God was originally the Heavenly Kitchen chef of the Jade Emperor, named Song Wuji. The Kitchen Goddess was a fairy among the Hundred Flowers, named Guo Dingxiang. One day in heaven, they composed a pair of antithetical couplets. Guo Dingxiang came up with the first line: "Water, cold, wine—one, two, zero dots." Song Wuji pondered for three days and nights but couldn’t come up with the next line. Feeling ashamed of losing to a woman, he died by banging his head against a wall and was reincarnated as an outstanding chef. When the Jade Emperor learned that Guo Dingxiang had offended heaven, he banished her to the mortal world and cleverly arranged for her to reunite with Song Wuji.

Unexpectedly, Guo Dingxiang was an excellent cook, and their small restaurant business flourished, becoming very wealthy within a year. As the joke goes, "men change when they get rich," but this is a one-sided view. Song Wuji, after getting rich, took a concubine and separated cooking duties with Guo Dingxiang. The concubine, however, was only after his money. After swindling him, she ran away. Song Wuji then became a beggar. Filled with regret, he longed for his former wife. One day, while begging, he encountered her thriving restaurant. They said nothing but understood each other. Guo Dingxiang gave him a full bowl of rice. Overwhelmed with guilt, Song Wuji dived into the kitchen stove, blackening his face. You may notice the words "Kitchen God Temple" on the cast-iron incense burner in the yard. According to the legend, the Kitchen God indeed was once a dark-faced chef. Later, with the invention of the Chinese stove and Taoists refining elixirs for immortality, the character for "stove" evolved, reflecting societal progress and the advancement of human civilization.

It is said that on the 23rd day of the 12th lunar month, during the Little New Year, the Kitchen God ascends to heaven to report to the Jade Emperor. On this day, every household offers malt sugar to the Kitchen God. First, to stick his mouth shut so he can’t speak ill, and second, because malt sugar is sweet, ensuring he reports good things and brings blessings upon returning. On New Year’s Eve, households set off firecrackers to welcome the Kitchen God back down to celebrate the new year with them. These activities all express people’s longing for a better life.

The Offering Hall of the City God Temple, as the name suggests, is where worshippers offer incense, pray, make wishes, and present offerings. Architecturally, the hall uses the second-highest grade of traditional roof—the hip-and-gable roof—and also features a wraparound porch, creating visual beauty. From the column base stones, we can estimate the building’s age. Before the Song and Yuan dynasties, column bases were not allowed to be exposed above ground. By the late Yuan and early Ming, they began to rise slightly, and by the Qing Dynasty, column base stones were added on top of the bases. These not only served a structural purpose but also had significant decorative value, with increasingly elaborate carvings. (In southern regions with moist soil, to prevent column corrosion, the stones are raised high above the ground, whereas in northern areas, aesthetics are the main concern.) The carvings on the stones include grapes, symbolizing fertility, and deer, cranes, and pine trees, representing prosperity and peace. These auspicious decorations reflect the ancients’ aspirations for a better life.

Beyond structural stability, the bracket arms also play a role. Look up—the wooden carvings between the two columns are called bracket arms, and those at the ends of the columns are called sparrow braces. Both serve to stabilize the triangular framework. The theme of these bracket arms is "two dragons playing with a pearl." The pearl is seen as an auspicious symbol among the people and represents imperial power in the palace. The two dragons represent the Heavenly Emperor and the Emperor, signifying that the Emperor’s power is divinely granted. Thus, "two dragons playing with a pearl" symbolizes supreme imperial authority.

Standing on either side of the Offering Hall are ceremonial tools used during the City God’s procession, adding to the temple’s solemn and majestic atmosphere. The beams feature five pairs of wooden hooks, all used for hanging plaques. These once displayed plaques offered by worshippers fulfilling vows, but most were destroyed or stolen during the Cultural Revolution. The crossbeams depict the Twenty-Four Filial Exemplars, including stories like "Lying on Ice to Catch Carp," though not detailed here. The east and west side walls illustrate tales of benevolence, righteousness, propriety, trust, and stories from Strange Tales from a Chinese Studio, with poems by Du Mu, Lü Dongbin, Li Bai, and Su Shi.

Only with peace can one have everything. Peace is the most basic guarantee of life. Please offer incense for your family’s safety. With your sincere prayers, the City God will surely fulfill your wishes.

The City God sits upright with a solemn expression, flanked by a red-faced judge and soul-collecting imps, ready to carry out his orders. The Judge of Rewards and Punishments succinctly captures the temple’s core theme: "Good and evil will ultimately be repaid, and justice will prevail."

The City God is one of the most widely worshipped deities in ancient Han Chinese religious culture. There are various accounts of the City God’s origins. After the Song Dynasty, many places began worshipping deceased heroes or meritorious local officials as City Gods. For example, Beijing’s City God is Wen Tianxiang and Yang Jiaoshan; Shanghai’s has included the Han Dynasty general Huo Guang, the Hebei native Qin Yubo, the patriotic general Chen Huacheng, and Kuaiji’s City God Pang Yu; Nanning and Guilin’s City God is Su Chan.

The ancients believed: "A city surrounded by water is a city; one without water is a huang." "Water is the city, and huang is the moat." They thought everything related to daily life had a deity, and since cities were vital to people, they needed a city god for protection. This formed a dual defense system, with the earliest being the ditch god. The Book of Rites: Fengshan Records mentions the "Eight Sacrifices" of the Son of Heaven, established as a ritual in the Zhou Dynasty. The Eight Sacrifices were: the First Sower, the Second Sower, the Farmer, the Mail Marker, the Cat and Tiger, Fire, Water Huang, and Insects. Water Huang was the early form of the City God.

During the Five Dynasties and Ten Kingdoms period, the warlord chaos following the collapse of the Tang Dynasty elevated the worship of the City God. After the Ming Dynasty, Emperor Hongwu granted titles to City Gods: the Capital’s was "Heavenly Mirror, Nation-Inspecting, People-Unifying, Ascending Blessings, Enlightened Spirit King"; prefectures were "People-Inspecting, City God, Mighty Spirit Duke"; counties were "People-Inspecting, City God, Manifest Blessing Marquis," ranking fourth-tier officials, higher than seventh-tier county magistrates. If magistrates faced difficult cases, they would visit the temple to pray for guidance.

The murals on the east and west walls were first painted in the Ming Dynasty and repainted in the Qing Dynasty. During the Cultural Revolution, they were covered with thick white plaster. What you see now is the original artwork after the plaster was washed off, with no retouching. This reflects the high quality of Pingyao’s pigments from the Ming and Qing periods, made from natural mineral pigments, mixed with tung oil and fish glue, deeply penetrating the walls and resistant to fading. The paintings are fine brushwork with light colors, featuring grand scenes and majestic momentum. Imps carrying gongs and clearing-the-way flags lead the way, with four wronged souls kneeling behind rocks. Though ragged, a closer look reveals faint smiles on their faces, as if seeing the dawn of hope, yearning for the gods to vindicate them and allow rebirth.

In fact, the painters expressed their outrage at injustice, frustration with society, and satire through these murals—you can almost hear the voices of the people. And as the City God patrols day and night, he sends two imps to catch bats. The two imps banter, symbolizing the City God bringing blessings to the people.

The City God is dressed in a yellow robe, seated in a grand sedan chair carried by eight bearers, with his feet stepping on two lions as he majestically proceeds forward. He makes three annual inspection tours: during the Qingming Festival in spring, the Ghost Festival on the fifteenth day of the seventh lunar month in autumn, and the first day of the tenth lunar month in winter, which is also a seasonal ghost festival. The Qingming tour symbolizes releasing the spirits, the autumn visit is to check on them, and the winter tour gathers all the lonely and wandering spirits left in the human world back to the City God Temple. Judging by the grand sedan chair he sits in, it’s clear he holds a higher rank than the local county magistrate, with authority over even seventh-rank officials.

According to expert research, this painting employs the bamboo-leaf stroke technique of Wu Wei, a famous Ming Dynasty painter. The lines are smooth, blending hardness with softness, creating a visually pleasing effect without any stiffness or rigidity.

At that time, the north wall was also ingeniously used to depict eight stories from "The Romance of the States of the Eastern Zhou," including Wu Zixu disguising himself to cross Zhao Pass, King You of Zhou playing with signal fires to amuse the feudal lords, Jie Zitui clinging to his principles and burning on Mian Mountain, and Yan Ying using two peaches to kill three officials.

The mural on the back wall of the main hall depicts the "City God’s Secret Inspection," where all good and evil deeds are within his sight. This illustrates the common saying, "There are deities three feet above your head."

After a fire broke out during the temple fair in the ninth year of the Xianfeng era of the Qing Dynasty (1859), this learned scholar, Ji Xianpin, was appointed to oversee the reconstruction efforts. He worked diligently for five years, but unfortunately passed away due to overwork upon completion. The people built a statue and shrine for him, which is enshrined in the City God Temple.

Passing through the second gate, you enter the inner residence of the City God. The inner residence consists of two halls, the sleeping quarters, and east and west side rooms. You’ll notice that this gate is slightly offset by an inch from the door at the back wall of the main hall. According to local elders, having doors directly opposite each other can lead to arguments and is considered inauspicious, so they are intentionally misaligned. Additionally, this offset prevents the outflow of wealth and the intrusion of negative energy.

In ancient times, before a new official took office, they were required to enter the city through the eastern gate (commonly known as the “Joy Gate”) of Pingyao’s six city gates, then pay respects to Confucius at the Temple of Literature, and spend the night in the east side room of the City God’s inner residence. First, they would vow to the City God that they would govern with integrity and fairness; second, they would pray for divine blessings for peace and prosperity during their tenure; and third, they would borrow the authority of the deity to govern the people.

The west side room was originally for accompanying Taoist priests and now displays one of the three major specialties of the ancient city—polished lacquerware—as well as spiritually empowered protective amulets blessed in the temple. Those interested in learning more about Pingyao’s historical and cultural heritage might consider buying a book or bringing home a set of CDs.

The City God’s sleeping quarters feature an upper-floor and lower-cave structure. When combined with the two side rooms, they form two of the most representative architectural styles of Pingyao residences: the boudoirs for young ladies of noble or humble families, where only the eldest generation could reside in the caves; and the classic quadrangle courtyard style most emblematic of northern Han Chinese regions, with single-sloped roofs. Due to Shanxi’s location on the Loess Plateau, where rain is scarce, rainwater is considered a symbol of wealth—"how could fertile water flow to others’ fields?" This unique architectural design reflects local customs.

Caves come in three types: cliffside, sunken, and freestanding. Shanxi caves are all freestanding, built with bricks on flat ground. These caves are fireproof, moisture-resistant, windproof, and earthquake-resistant, with the added benefit of staying warm in winter and cool in summer. The bricks act as natural air conditioners, making living conditions very comfortable. Cave dwellings are especially common in Shanxi, becoming a symbol of wealth—only the affluent could afford brick caves. Shanxi people who ventured west or north to seek their fortunes often adhered to the traditional belief of buying property and building homes to bring honor to their ancestors. The City God residing in a cave is clearly a mark of high prestige, as he handles receptions and investigates confidential cases, inevitably dealing with those seeking favors or bribes. Thus, the judges beside the City God assist him, also serving a supervisory role.

The east and west gable walls still feature Ming Dynasty murals. The inscriptions beside the paintings indicate their creation time and content: "Reconstructed in the forty-third year of the Qianlong era of the Great Qing, recording the ledgers of good and evil, life and death for men and women of the forty wards." The forty-third year of Qianlong corresponds to 1778 AD, and the "wards" refer to the ancient regional division system originating in the Western Zhou Dynasty—wards for towns and inner areas, and li for rural areas outside the city walls. Pingyao in the Qing Dynasty had ten towns and thirty villages. The entire mural documents the lifelong good and evil deeds of Pingyao residents, with a strong sense of three-dimensionality, making it a national masterpiece.

Upon ascending the stairs, you’ll see the City God and his primary consort seated in the center. He has a slight smile, holding a folding fan, exuding a leisurely and approachable demeanor. As for the City God taking a concubine, it happened quite by chance: legend says he went to Jiezhou to play chess with the City God of Jiezhou. Both were highly skilled, and when the game was evenly matched, they agreed to wager their personal maidservants. The City God of Pingyao won, but he repeatedly declined the concubine. Only when the City God of Jiezhou’s expression turned gloomy did he reluctantly bring her back to Pingyao. Out of respect for the City God of Jiezhou, he enshrined her in the east side room. During the temple fair on the twenty-seventh day of the fifth lunar month, her relatives from Jiezhou would dress her up—a custom that continued until the Cultural Revolution. Nowadays, during the temple fair, people from Jiezhou still offer incense and bow to her.

From the upstairs of the sleeping quarters, you can admire the glazed ornaments on the roof of the main hall. Glazed art began in the Western Han Dynasty and became a luxurious burial item during the Sui and Tang Dynasties. It is one of the outstanding artistic achievements in China’s ceramic history and a unique highlight of ancient firing techniques. Although Luoyang is famous for its Tang tri-color pottery in yellow, green, and blue, the glazed art of Pingyao during the Ming and Qing Dynasties is no less impressive. Apart from yellow and green tiles, the entire roof is covered in peacock blue—a glazing technique that has since been lost. The preservation of such a large area of peacock blue glazed tiles in this temple is truly rare.

The central component on the ridge of the roof is called the ridge ornament in architecture. The gourd at the top of the ridge ornament is a Taoist symbol capable of bearing all disasters and hardships, carried by two lions. There are also ridge ornaments in the temple complex featuring elephants carrying gourds. Lions and elephants are the mounts of Manjushri and Samantabhadra in Buddhism, while Taoism regards them as symbols of the wife and peace. Typically, the lion is placed to the east and the elephant to the west, reflecting the feudal hierarchy of east being superior to west. This also demonstrates how authority in feudal dynasties far outweighed peace. Legend says the Dragon had nine sons, none of whom resembled it—the dragon-headed ornaments at the ends of the ridge are its eldest son, Chiwen, who spits water and thus serves a fire-extinguishing function. Craftsmen also cast an iron wire through its mouth, connecting it to the ground, serving as a lightning rod in ancient times. The most interesting and valuable are the "immortals and mythical beasts" between the ridge ornament and the dragon heads. They first ward off misfortune; second, to prevent high-up tiles from slipping due to weathering, iron nails are used for fixation, but these nails rust when wet—thus, the immortals and beasts also prevent leaks and rust. Most importantly, they symbolize the building’s rank—the higher the rank, the more beasts, but never exceeding eleven, and only odd numbers are used. This main hall roof is of the "five-star" rank, with the City God, a fourth-rank deity, entitled to five beasts. Third-rank deities have seven, second-rank nine, first-rank eleven, and the imperial palace thirteen. Beasts are reduced from the back but not the front, and odd numbers are used on rooftops or ridges across China. Among the vast and ancient land of China, Pingyao is the only City God Temple adorned with such luxurious and intricate glazed ornaments. These decorations shine brilliantly under sunlight, becoming treasured gems of Chinese glazed art.

The God of Wealth Hall enshrines the three most worshipped deities of wealth in cities large and small. In the center is Bi Gan, the loyal minister from "The Investiture of the Gods" who was dug out his heart by Daji. Bi Gan was posthumously titled the Star of Literature by Jiang Ziya, governing wisdom. Since humans must use wisdom to unlock the door to financial prosperity, the folk regard Bi Gan as the God of Literary Wealth. To his east is Zhao Gongming from "The Investiture of the Gods," riding a black tiger and appointed by the Primordial Celestial Worthy as the "True Lord of the Golden Dragon, Jade Tiger, and Mysterious Altar," governing the wealth of all people. As the God of Wealth, he is slightly offset to the side, but the artisans cleverly sculpted him with long waist and short legs—a folk saying goes, "long waist and short legs signify nobility." Worshippers believe they will encounter nobility and good fortune everywhere after praying to him.

Speaking of Guan Yu, his fame is known to all, young and old. Guan Yu, named Yu and styled Yunchang, was a renowned general from the Three Kingdoms period, hailing from Xiaozhou, Yuncheng, Shanxi. Loyal to Liu Bei and righteous toward Cao Cao, he has been revered by merchants throughout history for his loyalty and integrity. Businesspeople adopt his spirit, prioritizing honesty and trustworthiness to attract customers and strictly adhering to the principles of "loyalty" and "righteousness" in their dealings.

The carving on the shrine above the statue is exquisite, rich in symbolism, and brimming with joy and auspiciousness. Inside the shrine, made of yellow rosewood, is a central character for longevity, flanked by bats—symbolizing "blessings" due to the homophone with "fortune," representing "a hundred blessings surrounding longevity." The first layer features peach, pomegranate, and Buddha’s hand, symbolizing many children, blessings, and longevity—the so-called "three abundances bestowed by heaven." The next layer depicts musical instruments, chess, books, and paintings, representing refined intellectual pursuits. The final layer shows grass-dragon patterns and sunflowers, signifying our identity as descendants of the dragon, endowed with dragon-like wisdom and an upward-looking confidence.

The four lotus-shaped hanging pillars at the base of the shrine are also quite charming. The lotus symbolizes "bearing noble children in succession," and their layered carving conveys the message that as long as everyone works hard and earns wealth diligently, prosperity will flow endlessly.

The east and west gable walls behind the hall door depict the "Eight Barbarians Bringing Tribute," created in the seventh year of the Tongzhi era (1868). The figures are vividly portrayed, dressed in ancient costumes of southwestern ethnic minorities, riding lions and elephants, carrying treasures southward—clearly symbolizing tribute to the emperor. This reflects the era’s theme of "the Great Qing’s unified rule" and creates a festive atmosphere.

The True Martial Tower is located above the God of Wealth Hall, enshrining Xuanwu, one of the Four Divine Beasts of Taoism. Originally named Xuanwu, it was renamed True Martial to avoid the taboo of Emperor Taizu of the Song Dynasty, Zhao Xuanlang. Xuanwu is one of Taoism’s "Four Symbols," alongside the Azure Dragon of the East, the White Tiger of the West, the Vermilion Bird of the South, and the Black Tortoise (Xuanwu) of the North, ranking below the "Three Pure Ones" and "Four Sovereigns." Each of the Four Symbols is composed of seven star constellations, collectively known as the "Twenty-Eight Mansions." Xuanwu consists of the constellations Dou, Zhong, Nü, Xu, Wei, Shi, and Bi, derived from ancient star worship, often depicted as a turtle or snake coiled around a turtle. In ancient mythology, Xuanwu is the deity of the northern yin, governing the north and controlling wind and rain.

In Taoist worship of Xuanwu, he is personified as an incarnation of the Primordial Celestial Worthy, born from the womb of Queen Shansheng of the Kingdom of Jingle. Legend says he was born from her left armpit, renounced his claim to the throne at fifteen, and devoted himself to Taoism. After attaining enlightenment on Mount Wudang, he was appointed by the Jade Emperor as Xuanwu, guardian of the north. Worship of Xuanwu reached unprecedented heights during the Ming and Qing Dynasties. In the early Ming Dynasty, Xuanwu was included in state rituals and has been revered ever since. The murals on the wall depict scenes of Xuanwu’s birth and cultivation.

Beside Xuanwu are his attendants, Zhou Gong and Taohua Nu, flanked by the Water and Fire Generals, and surrounded by his four marshals. The first is San Yan Ling Yao Ma Huaguang, commonly known as Marshal Ma, revered as the god of fire, believed to be the spirit of fire. The second is Zhao Gongming, Marshal of the Mysterious Mansion. The third is Yue Fei, the Song Dynasty hero who resisted the Jin. The fourth is Wen Qiong, with a green face and red hair, wielding a jade ring, said to specialize in subduing demons and protecting the people.

The theater stage of the God of Wealth Temple features exquisite carvings and meticulous construction. Though not as grand or dazzling as other stages, it is dignified, simple, and exquisitely crafted. The stage is preceded by a hip-and-gable pavilion, adorned with five-tiered "rice-character" bracket arms, with dragons, phoenixes, and elephant heads carved along the edges, seemingly ready to leap. Symmetrically carved under the horizontal beams are two dragons playing with a pearl, each biting a pearl and glaring fiercely as if in combat. The ceiling at the center of the roof uses the highest-grade "caisson" decoration. Since the caisson resembles aquatic life, it was believed to help prevent fires. The Pingyao God of Wealth Temple stage uniquely features an octagonal caisson, commonly called the "Eight-Trigram Rotating Roof." The caisson has a stepped, hole-like structure that effectively gathers sound. Beneath the stage are five large jars that create resonance, amplifying the actors’ voices for a rich, resonant effect. The Eight Trigrams are a Taoist symbol—the outer circle of the caisson features the "King Wen Eight Trigrams" created by King Wen of Zhou, Ji Chang; the inner circle shows the "Xihe Eight Trigrams" from Fuxi; and the center pattern is not the usual "Taiji and Two Modes" but the ancient "River Chart and Luo Book." This unique decoration reflects the depth and antiquity of Pingyao’s historical and cultural heritage.

On either side are five-row viewing stands for officials, wealthy merchants, and dignitaries to watch performances. The reason the west stand is wider than the east is that audiences prefer to watch the entrance of performers—who enter from the east—so more people crowd the west side, making it much more crowded.

The Earth God Shrine enshrines forty Earth Gods of Pingyao’s wards, each protecting a section of the countryside as local deities. Their attire varies, and their postures are diverse. The Earth God is a popular folk deity across China, also worshipped by many ethnic minorities. As an agricultural nation for millennia, the Han Chinese have always relied on the land as their primary means of survival. As the saying goes, "All things grow from the earth," and the land is regarded as the "provider of food and clothing." Even before formal religious organizations emerged, people included the Earth God in their worship of heaven, earth, mountains, and rivers. Originally the god of mountains and fields, the Earth God was honored in soil rituals. In Pingyao, where earth burials have been customary for centuries, the deceased’s family would "report to the temple" by pasting red paper over the Earth God shrine in the courtyard, removing it after the burial, and praying to the Earth God before tomb-sweeping on the seventh day and during grave visits—known as "worshipping the Earth God." During the temple fair on the twenty-seventh day of the fifth lunar month, villagers from all over Pingyao offer incense and kowtow to their ward’s Earth God, expressing gratitude to the mother of the earth.

Adjacent to the Earth God Shrine is a small hall enshrining the Rebirth Grandma, also known as the Birth Goddess. Taoist legend says that virtuous people are reborn as humans in their next life but first take the form of infants, sent to families by the Rebirth Grandma and her assistants, the Birth Brother and Birth Sister. However, the infant may be reluctant to leave, so she reveals a fearsome face to scare the baby into the human world—hence every baby is born crying.

Address: No. 51, Chenghuangmiao Street, East Side, Pingyao County, Jinzhong City

Type: Historical Site

Rating: AAAA

Recommended Visiting Time: 1-2 hours

Phone: 0354-5685214

Opening Hours:

Peak Season: 8:00–18:30; Off-peak Season: 8:00–17:30

Ticket Information:

No separate ticket required. Included in the Pingyao Ancient City admission ticket.

Gutao Town: Gutao Town is the seat of the Pingyao County Government. Located at the southern end of the Taiyuan Basin, it borders Qi County to the east, Wenshui to the north, Fenyang to the west, and Jiexiu to the southwest. Pingyao Ancient City lies to its south, adjacent to Qinyuan, and is close to Qin County and Wuxiang to the southeast. It serves as the political, economic, and cultural center of the county. The World Cultural Heritage site — Pingyao Ancient City — is situated in the central part of the town. It is one of the most dynamic and economically robust towns in Pingyao County. The town shares boundaries with Yebi Township and Diancun Town to the south, Zhongdu Township to the west, Nanzheng Township to the north, and Yebi Township and Hongshan Town to the east. The Gutao Town government is located in Xicheng Village and administers Dongcheng, Xicheng, Nancheng, ... More detailed information about Gutao Town++

Further Reading:

· Sixth Batch of Major National Historical and Cultural Sites