Huangyuan Chenghuang Temple

Huangyuan Chenghuang Temple

Huangyuan Chenghuang Temple is a National Key Cultural Relics Protection Unit.

Huangyuan Chenghuang Temple is situated to the north of the central crossroads in the county town. Constructed in 1776 (the 41st year of the Qianlong reign in the Qing Dynasty), it boasts a history of more than 200 years. It is the most intact Qing Dynasty-era ancient building in Huangyuan County and also one of the best-preserved Chenghuang Temples in the northwest. The temple complex faces south and features a traditional three-courtyard, two-section brick-and-wood structure, covering an area of 6,000 square meters. The temple buildings are rustic yet elegant, majestic, and resplendent in their glory—renowned far and wide. During major festival days such as the 1st and 15th of each lunar month, visitors flock here and incense burning is especially vibrant.

Having undergone numerous trials and periods of prosperity and decline, Huangyuan Chenghuang Temple was repaired multiple times during the Jiaqing and Xuantong eras, and underwent large-scale restoration after the reform and opening-up period, gradually taking on its current form. The grand and ornate mountain gate stands atop six levels of steps, with one vertical pole erected on each side—each featuring a small and a large carved capital that complements the gate and adds to its imposing appearance. Opposite the gate is a blue-brick screen wall, standing 6.6 meters high and 10 meters wide, adorned with floral cloud patterns—a fine example of Qing Dynasty brick carving art. Upon entering the gate, you’ll find the opera stage, flanked by bell and drum towers on both sides. As the saying goes, “morning bells and evening drums”—the bell would ring in the morning and the drum in the evening. Traditionally used by monks to mark the time, these instruments are now displayed but no longer sounded. Legend says that should they be rung, the sound would reach the heavens.

To enter the first courtyard, you must pass under the opera stage. Above the stage is a triangular (pin-shaped) performance platform, symbolizing “a first-rank official serving the imperial court.” On either side of the stage are carvings that, together with the central platform, resemble a phoenix spreading its wings in flight. The center of the courtyard houses the Jianxin Hall (Hall of Mirror Heart), flanked by side rooms and corridors. There are seven rooms on each of the east and west sides: the first room on either side houses a white and a black horse, each fully saddled with saddle, bridle, and reins, along with two stable boys—strong and capable, clad in tight short garments and attire of the underworld. They usually feed the horses or lead them by the bridle when needed. In the middle stand five bailiffs, each holding items such as fire, torture tools, clubs, shackles, etc., with distinct and vivid facial expressions. The last room on the east side enshrines the statue of the Local Ghost Grandmother. She wears a white robe with a green skirt, has a fierce expression with disheveled hair, glares angrily, raises a small sign reading “Inspect Good and Evil” in her right hand, and holds a red lantern in her left. Behind her is painted an image of the Laughing Monk, with a couplet on either side: “Monk, don’t boast of your big belly, even old women have the justice of heaven.” The west room houses the statue of the Local Ghost Grandfather. Dressed in a blue robe with white pants, wearing a tall hat and with a kind and amiable face, he smiles warmly—one hand holds an umbrella, the other a red lantern, and behind him is painted a picture of Liu Hai playing with a fairy maiden. Two matching couplets read: “You are the master of good and evil in the underworld, I represent the people’s care for money.” It is said that the Local Ghost Grandmother and Grandfather are dutiful, patrolling at night regardless of wind or rain, with eyes watching all directions and ears hearing every sound. They investigate good and evil among the people to punish vice and promote virtue. Adjacent to the Local Ghost Mansion, there are nine rooms on each side—corridors elaborately decorated with latticed doors and windows, featuring exquisite carvings and paintings depicting folk legends. These are not only pleasing to the eye but also vivid and moving. The interior walls showcase large murals known as the Eighteen Underworld Sections, commonly referred to as the Eighteen Levels of Hell. These eighteen murals depict various legendary tales from the underworld. The upper parts illustrate scenes of the Eighteen Judges presiding over cases of good and evil, while the lower parts portray the punishment of evil spirits through various brutal tortures. Among them are stories such as Yue Fei and his son receiving respectful treatment in the underworld, Qin Hui and his wife being punished, Emperor Taizong of Tang touring hell, Liu Quan offering melons, and Sun Wukong causing havoc in the underworld. The gable walls on both sides feature standing figures of eight clerical officials and ghostly bailiffs from the underworld.

At the center of the courtyard’s northern side lies the Jianxin Hall. The pillars along the front eaves bear a couplet: “The temple rests upon crimson cliffs, receiving thousands of prayers for the prosperity of all households; the sacred hall connects to the Huangshui River, ensuring peace for all directions through eternal ages.” The gable walls on either side of the temple platform feature six brick carvings—including depictions of plum, orchid, bamboo, chrysanthemum, deer, and cranes sharing spring—all refined Qing Dynasty artworks, exquisitely crafted and considered true artistic treasures.

The Jianxin Hall consists of three rooms, topped with a wudian-style roof. At the center of the main hall’s three-level dais sits the statue of the Chenghuang God, clad in a red ceremonial robe and a black minister’s hat, with a kind and solemnly serene expression. He sits upright with both hands resting on his knees, flanked by two attendants—graceful and amiable—who hold tea sets. Below the platform stand two judges on either side: the one on the left wears a red-tasseled black official hat and a green robe adorned with crane-and-sun patches on the chest and back, with a fierce face, his left armpit holding the Book of Life and Death, and his right hand gripping a vermilion brush ready to write swift judgments. The judge on the right is a demonic-looking bailiff with bare upper body, a cloth around his neck, a tiger-skin waist skirt, shorts exposing his knees, and feet wrapped in cloth instead of shoes, though the big toes are visible. His right hand holds a fiery placard inscribed “Reward Good, Punish Evil,” while the left grasps a chain. With bristling hair, earrings, and bangles, he looks ready to act at any command. Each of these statues is incredibly lifelike and vividly expressive, radiating divine authority that commands both reverence and fear.

The back wall depicts seated portraits of the Mountain God and the Local Earth Deity. These are local deities—the Mountain God governs mountains, while the Local Earth Deity is what we commonly refer to as the God of Earth, also known as Tudi Gong. The Mountain God is dressed in full military regalia, partially clad in armor, with a red face and full beard. His right hand rests on his belt while his left strokes his beard, exuding a leisurely yet commanding presence that highlights the Mountain God’s majestic aura. Beside him, a young attendant holds a crescent-shaped battle axe with both hands, while a white-striped tiger crouches before him to enhance the god’s might. The Local Earth Deity has snow-white hair and a childlike face, smiling warmly. Clad in a blue crane-patterned robe and wearing a Dongbo hat, with “Fu” (blessing) character shoes on his feet and silver beard flowing, he places his left hand on his knee while his right palm cradles a grayish-white mouse, showing only its head and front paws. Beside him, a simple-looking attendant supports a dragon-headed cane, while a wolf lies at his feet.

The gable walls on the eastern and western sides of the main hall each feature murals. Due to age and human damage, only parts remain. The front sections of the east and west walls depict the Twelve Official Figures, with six on each side. The rear section of the east wall shows the Chenghuang Going to Battle scene, featuring deities such as the Horse God, Ox King, Mountain God, Local Earth Deity, Medicine King, Zhang Xian, and the Goddess of Hundred Children. Each holds their own magical weapons and tools, accompanied by the Wind God and Rain God, Thunder God and Lightning Goddess, the Four Value Officials, Cloud-Sprinkling Boys, Flower-Scattering Fairies, and others. Led by the Chenghuang, these various deities appear larger-than-life to signify his supreme status. Two attendants also ride horses behind him, carrying seals and imperial decrees bestowed by the Jade Emperor. The underworld judges and ghost bailiffs are equipped with torture tools, chains, ropes, and more. With flags, gongs, drums, and horns leading the way, and guards surrounding them, the procession is majestic and imposing, with horses galloping forward in an unstoppable surge. The west wall shows the Triumphant Return scene—flags lowered, drums silenced, everyone walking slowly and chatting cheerfully in diverse relaxed poses. One judge busily checks and records the ledger, while nearby ghost bailiffs glare and shout angrily. The defeated ghosts they’ve captured wear shackles and are bound together with ropes, struggling to walk, with signs of their crimes stuck to their backs—clearly a victorious return.

The rear courtyard is the Houshen Palace (Rear Bedroom Palace), where the Chenghuang and his wife rest. The courtyard contains two rectangular gardens with an artificial hill in the center. The gardens are planted with cypress trees, winter jasmine, winter sweet, peonies, lilacs, and more. In spring and summer, flowers bloom in profusion, filling the air with fragrance and creating a heavenly, idyllic atmosphere—making it an ideal retreat for the Chenghuang and his wife to live and rest.

On either side of the courtyard are three side rooms each. The Houshen Palace is situated on a central platform, with a six-step staircase left in the middle.

In the center of the Houshen Palace are wooden statues of the Chenghuang and his wife in casual dress, with kind and leisurely expressions. The west side is the bedroom, complete with bedding, mandarin duck pillows, grooming items, tableware, and daily utensils—everything neat and comfortable. The east side enshrines the statue of the Chenghuang used during his inspection tours, along with the palanquin he rides in.

Huangyuan Chenghuang Temple not only leads the northwest in architectural craftsmanship but also surpasses others in painting achievements.

Further Reading:

· Seventh Batch of National Key Cultural Relics Protection Units