Huangyuan Chenghuang Temple

　　Huangyuan Chenghuang Temple is located to the north of the central crossroads in the county town. It was built in 1776 (the 41st year of the Qianlong reign in the Qing Dynasty), and has a history of over 200 years. It is the best-preserved Qing Dynasty ancient building in Huangyuan County and one of the most intact Chenghuang Temples in northwest China. The temple complex faces south and features a three-courtyard, two-section layout. Constructed with brick and wood, it covers an area of 6,000 square meters. The temple buildings are quaint, elegant, majestic, and splendid, enjoying widespread fame. During major festivals such as the first and fifteenth days of the lunar month, visitors flock here, and incense burning is especially popular.

　　Having undergone many changes and periods of rise and decline, Huangyuan Chenghuang Temple underwent several renovations during the Jiaqing and Xuantong eras, and was extensively restored after the reform and opening-up period, gradually taking on its current form. The grand and magnificent mountain gate stands atop six steps, with a vertical pole on each side—each featuring a large and a small carved dougong, adding character and enhancing the gate’s imposing presence. Opposite the gate is a blue-brick screen wall, 6.6 meters high and 10 meters wide, adorned with floral cloud patterns—a fine example of Qing Dynasty brick carving art. Passing through the gate, you’ll find the opera stage, flanked by bell and drum towers on both sides. The “morning bell and evening drum” tradition, where bells were rung in the morning and drums beaten at night, served as timekeeping tools for monks. Though the bells and drums are no longer used, legend says that if they are struck, the sound can reach the heavens.

　　To enter the first courtyard, you must pass under the opera stage. Above it is a three-tiered stage shaped like the Chinese character for “品” (pin), symbolizing high-ranking officials serving the imperial court. On either side of the stage are structures resembling the outstretched wings of a flying phoenix. In the center of the courtyard is the Jianxin Hall, flanked by side rooms and corridors. There are seven rooms on each east and west side: the first room on each side houses a stable with a white and a black horse, complete with saddles, bridles, and reins. Two stable hands, both young and sturdy, dressed in tight short garments resembling attire for the afterlife, are tasked with feeding the horses and leading them when needed. The middle room features five yamen runners, each holding objects such as fire, torture instruments, sticks, shackles, etc., with vivid and distinct facial expressions. The last room on the east side enshrines the statue of the local Ghost Grandma, dressed in white with a green skirt, her fierce face covered in disheveled hair and eyes wide open. She holds a small sign reading “Monitor Good and Evil” in her right hand and a red lantern in her left. Behind her is a painting of the Laughing Monk, with couplets on either side: “Monk, don’t boast about your big belly; even the old lady has divine justice.” The west room houses the statue of the local Ghost Grandpa, wearing a blue robe and white trousers, a short figure with a tall hat, a kind and amiable face with a beaming smile. He holds an umbrella in one hand and a red round lantern in the other. Behind him is a painting of Liu Hai playing with a fairy, and the couplets read: “You are the master of good and evil in the underworld; I represent human love for money.” It is said that Ghost Grandma and Ghost Grandpa are diligent in their duties, patrolling day and night regardless of weather, observing all directions and listening intently to investigate good and evil among people, so as to punish evil and promote good. Adjacent to the ghost residence, there are nine rooms of corridors on each east and west side, with exquisitely decorated latticed doors, windows, and lintels, painted with folk legends that are both beautiful and moving. The interior walls feature large murals depicting the Eighteen Halls of the Underworld, commonly known as the Eighteen Levels of Hell. Through eighteen murals, various historical and legendary stories from the underworld are portrayed. The upper parts of the murals show scenes of the Eighteen Halls judging cases of good and evil, while the lower parts depict sinners being punished with various tortures. The stories include 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 of the corridors are painted with images of clerks and ghostly officers from the underworld.

　　At the center of the courtyard’s north side is the Jianxin Hall. A couplet on the front pillars of the hall reads: “The temple rests upon crimson hills, prayers answered, bringing prosperity to countless homes; the sacred space connects to the Huangshui River, ensuring peace for generations to come.” The gable walls on either side of the temple platform feature six brick carvings, including plum, orchid, bamboo, chrysanthemum, deer, and crane, all symbols of spring, all Qing Dynasty works, finely crafted and considered artistic treasures.

　　The Jianxin Hall consists of three rooms with a wudian-style roof. On the central three-tiered platform sits the statue of the Chenghuang God, clad in a red dragon robe and a black minister’s hat, with a kind and solemn expression. He sits upright with both hands resting on his knees, flanked by two attendants—handsome and gentle, holding tea sets. Below the platform stand judges on either side, wearing red-tasseled black official hats and green robes with crane-and-sun insignias on the chest and back. With fierce expressions, the judge on the left holds the Book of Life and Death under his left arm and a vermilion brush in his right hand, ready to write swiftly at command. The judge on the right is a demonic-looking officer, bare-chested with a cloth around his neck, a tiger-skin waist skirt, shorts exposing his knees, and feet wrapped in cloth instead of shoes, with thumbs exposed. He raises a fiery sign reading “Reward Good, Punish Evil” in his right hand, holds chains in his left, with hair standing on end, earrings, and bangles, appearing ready to act at any moment. These statues are incredibly lifelike, with vivid postures that convey their divine authority, inspiring both reverence and awe.

　　The back wall depicts seated portraits of the Mountain God and the Earth Deity. The Mountain God and Earth Deity are local deities—the Mountain God governs the mountains, while the Earth Deity is what we commonly refer to as the God of Earth, also called Tudiye. The Mountain God is dressed in full military regalia, with half his body covered in armor, a red face with a full beard, his right hand resting on his belt, and his left stroking his beard, exuding a leisurely yet commanding presence. Beside him, a young attendant holds a crescent-shaped battle axe with both hands, while a white-striped tiger crouches at his feet to enhance his divine might. The Earth Deity has white hair and a youthful face, a beaming smile, dressed in a blue crane robe, wearing a Dongbo hat, and shoes with the character for “blessing,” his silver beard flowing gracefully. His left hand rests on his knee, while his right palm cradles a gray-white mouse, showing only its head and front paws. Beside him, a simple-looking attendant holds a dragon-headed cane, with a wolf lying at his feet.

　　The gable walls on both the east and west sides of the hall feature murals. Due to age and human damage, only parts remain. The front sections of the east and west walls depict the Twelve Officials of the Underworld, six on each side. The rear section of the east wall shows the Chenghuang God leading his troops—featuring deities such as the Horse God, Ox King, Mountain God, Earth Deity, Medicine King, Zhang Xian, and the Goddess of Hundred Children, each wielding their magical tools and weapons. There are also the Wind God and Rain God, Thunder God and Lightning Goddess, the Four Value Officials, Cloud-Sprinkling Boys, and Flower-Scattering Fairies. Led by the Chenghuang God—who appears tall and majestic, symbolizing his supreme status—two attendants also ride horses behind him, carrying seals and decrees bestowed by the Jade Emperor. The judges and ghost officers of the underworld are equipped with torture tools, chains, ropes, and more. Banners, gongs, drums, and horns lead the procession, with an imposing and majestic atmosphere. Horses gallop forward with unstoppable momentum. The west wall shows the triumphant return scene—flags lowered, drums silenced, everyone walking leisurely and chatting cheerfully in diverse poses. One judge busily checks and records the list, while a ghost officer glares and shouts angrily. The defeated ghosts, bound in shackles and ropes, struggle to walk, with signs of their crimes stuck to their backs, clearly returning in victory.

　　The rear courtyard is the sleeping quarters, where the Chenghuang God and his wife rest. The courtyard contains two rectangular gardens with an artificial hill in the center. The gardens have cypress trees, winter jasmine, winter sweet, peonies, and lilacs. In spring and summer, flowers bloom in profusion, filling the air with fragrance, creating a heavenly atmosphere that serves as an ideal retreat for the Chenghuang couple.

　　On either side of the courtyard are three side rooms. The sleeping quarters are situated on a central platform, with a six-step staircase in the middle.

　　In the center of the sleeping quarters are wooden statues of the Chenghuang God and his wife in casual dress, with kind and relaxed expressions. The west side is the bedroom, with a bed complete with quilts, mandarin duck pillows, grooming items, tableware, and daily necessities, giving a neat and comfortable impression. The east side enshrines the statue of the Chenghuang God used during his processions, along with his palanquin.

　　Huangyuan Chenghuang Temple excels not only in architectural craftsmanship, ranking first in the northwest region, but also in its paintings, which surpass all others.