Temple of Emperor Yan in Beihé

　　Temple of Emperor Yan (Third Batch Provincial-level Protected Site)

　　Era: Yuan Dynasty

　　Address: Beihé Village, Beicheng Township, Changzhi County

　　Originally named Beihe Village, legend says it is the place where Emperor Yan tasted white grains and obtained fine crops. As Beihé Village is located in the area of Yangtou Mountain, where Emperor Yan built the Shennong City, the name originated from there. The temple's founding date is unknown. According to inscriptions preserved within the temple, it underwent multiple renovations during the Ming and Qing dynasties. The structure faces south with a courtyard layout, and 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 Five Grains God Hall, has three bays in both width and depth, a six-rafter wooden frame, and a flush-gable roof. The hall body is relatively short, and the bracket sets are densely arranged. The front eave columns are inclined at about 15 degrees with slanting ang elements. The ang elements have a lute-face shape, and the bracket arms are short, with distinct characteristics. Brackets use bracket arms prominently, and the building materials used are relatively primitive, giving a notably distinctive style.

　　A plaque inscribed with “True Deity of Emperor Yan,” in black background with golden characters, hangs under the eaves. It was erected during the Shunzhi era of the Qing Dynasty.

　　Beihé Village, originally named Beihe Village, is said to have been named because it lies to the north of Yangtou Mountain—the place where Emperor Yan tasted various grains and obtained fine crops. The Temple of Emperor Yan is surrounded by vast fields and neighboring farmhouses. The founding date of the temple is unknown. Legend says it was first built during the Tang Dynasty and rebuilt in the Yuan Dynasty. According to inscriptions within the temple, it was renovated multiple times during the Ming and Qing dynasties. In the 15th year (1835) and 26th year (1846) of the Daoguang reign in the Qing Dynasty, additional fundraising repairs were carried out. The temple faces south with a courtyard layout. Originally, there was a three-bay stage with a single-eave hip-and-gable roof. Bell and drum towers stood on either side 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 access. To the north was an offering pavilion, with four pillars and three bays, square stone columns, and a rolled shed roof. It collapsed in a strong wind in 1936. Currently, apart from the intact main hall and west side hall, all other structures are no longer extant. The east and west side halls each had three bays and were rebuilt in the 26th year of the Daoguang reign (1846). The main hall, also known as the Five Grains God Hall, had three bays in both directions, originally with a hanging gable roof, which was changed to a flush-gable roof during the Daoguang-era renovation. The hall body is relatively short, and the bracket sets are densely spaced. The front eave columns feature slanting ang elements at about 15 degrees, lute-face-shaped ang elements, and the projecting ends shaped like grasshoppers. The eave column bracket sets have tightly arranged elements and thick columns, with pronounced features. The late-Ming-style construction is evident. The upper part of the front eave is suspended before the column footings. The eave columns are relatively short but sturdy. The materials used are quite primitive, roughly processed natural curved timbers, appearing solemn and robust. The breast beams use through-tenons, and the principal rafters are connected with dovetail joints, using thick and chunky wood, forming a well-structured composition. The rafter ends are treated with protruding brackets, adding to the architectural dynamism. The caisson ceiling in the interior features delicate craftsmanship, with visible early construction techniques, making the space feel dignified and ancient. The beam ends protrude about 10 cm, using raw materials with minimal processing, preserving their natural curves, resulting in a rustic yet majestic appearance. The secondary beams are supported with wooden blocks, and the main rafters are connected with tenon-and-mortise joints, lifting the overall structure higher, with soft coloring, and employing unique bracket decorations, adding much character. The plaque bestowed by the imperial court during the late-Xia era, inscribed “Baozhu Nübi Baoxian Yihuang,” is embedded in the wall, remaining clear and legible. The ceiling of the hall is adorned with floral paintings and murals, though some are damaged. The murals in the front eave section have mostly peeled off. The wood carvings on the second floor of the side halls are relatively intact, featuring skillful workmanship. The brackets on the second floor of the east side hall show traces of later repairs. The side halls on both sides are positioned along the temple’s axis, with particularly robust structures.　　Xie Chun (?～1129)　　Xie Chun (?～1129), styled Jingxiang, was a native of Liuyang in the Song Dynasty. Known for his talent and bravery, he was highly regarded by the public. 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 prefectural judge, to pacify the rebels. Soon after, mutinous troops led by Du Yan invaded Liuyang, where Meng was defeated and killed. Xiang then ordered Zhao Minyan, also a prefectural judge, to lead troops against the rebels, but they were unsuccessful. At that time, Xie Chun led local militia to fight as the vanguard in support of Zhao, personally killing dozens of enemies. Overpowered, he was captured and killed by the rebels. Upon hearing of this, the imperial court posthumously awarded him the title of Chengzhong Lang and granted an official position to his son, Xigu... Details +