Temple of Ji and Yi

　　The Temple of Ji and Yi, commonly known as Yangwang Temple, is located in Yangwang Village, approximately 20 kilometers southwest of Xinjiang County, Shanxi Province. It is a temple dedicated to Houji (the God of Agriculture) and Boyi. Boyi is also known as Boyi Yi, traditionally said to be an official under Yu the Great, who contributed significantly to flood control; Houji cultivated various grains and is regarded as the God of Crops. It is believed that Houji first taught people how to farm here, hence the temple was built in his honor.

　　The Temple of Ji and Yi is a National Key Cultural Relics Protection Unit. According to the "Stele for the Reconstruction of Dongyue Temple of Ji and Yi" from the second year of the Jiajing reign of the Ming Dynasty (1523 AD), it states: “The ruins of Yangwang are home to the Dongyue Temple of Ji and Yi. Its origins are unknown as to which dynasty it dates back to, but it was rebuilt during the Yuanduan era. The main hall originally had three bays; during the Hongzhi reign of the Ming Dynasty, it was expanded to five bays, with four additional bays added to each of the side chambers. In the Zhengde period, a front gate of three bays, an offering hall of five bays, and a dance hall of five bays were further added. The entire complex is enclosed by walls, features long corridors, and is shaded by fine trees. The craftsmanship is exquisite, and the structure is resplendent with gold and jade.” Based on the two Yuanduan reigns of the Yuan Dynasty, even if referring to the later one, the construction or reconstruction of the building could not have been later than the Southern Song Dynasty. The existing stage and main hall are Ming Dynasty structures. The stage has five bays, a single-eave hip-and-gable roof, large surrounding beams, and a stage opening of nearly 10 meters, with relatively spacious side bays. The main hall also has five bays and is topped with tri-colored glazed tiles. The interior walls on the southeast and west sides are covered with murals, covering an area of 130 square meters. These murals are largely well-preserved. The east and west walls feature murals arranged in a stepped layout, each 8.23 meters wide and reaching up to 6.18 meters in height—considered among the finest large-scale Ming Dynasty murals still in existence.

　　The murals depict civil and military officials, farmers paying homage, legends of Ji and Yi, slash-and-burn hunting, logging and harvesting, mountains and gardens, and other stories, making them unique among surviving murals in China. Unlike the Buddhist-themed murals of Dunhuang, the Taoist-themed murals of Yongle Palace, or the Confucian-Taoist-Buddhist integrated murals of Qinglong Temple, these murals center on ancient legendary tales, extolling the heroic deeds of Yu the Great, Houji, and Boyi in benefiting the people. They embody the fearless spirit of ancient Chinese laborers in conquering nature. The artwork is exquisitely crafted and rigorously composed, serving as a rare and significant cultural relic for the study of ancient Chinese agriculture.

　　The east wall depicts a pilgrimage scene, centered around the Hall of the Three Saints. The Hall of the Three Saints has three bays, a double-eave hip-and-gable roof, and side chambers. In front of the hall are planted trees and flowers such as phoenix trees, roses, pines, bamboos, and locust trees. The Three Sage Emperors (namely, Fuxi of Taihao, Shennong of the Yan Emperor, and Huangdi of Xuanyuan) are seated in the hall, surrounded by numerous attendants, including maidens holding wine ewers and fruit platters. On the steps stand civil and military officials and farmers, with those to the left grouped around farmers holding grain and agricultural tools, while those on the right include farmers carrying game, tying up locusts, or holding pests and weeds. One woman appears to be the Grain Goddess, wearing jeweled robes, holding a bowl in her left hand and a spoon in her right, seemingly distributing seeds to the farmers. In front of her stands what seems to be the Earth God, while at the bottom right are two strongmen and a warrior carrying a bag and reporting. Under a pine tree is a long table set with food boxes and wine pots.

　　The upper part of the east wall depicts the “Snake-Slaying Scene.” In the wilderness, four warriors are shown slaying a snake, with onlookers and pilgrims gathered around. The background features a beautiful garden landscape with clear mountains, flowing water, misty clouds, and lush flowers and trees. There are woodcutters in the mountains, horse-drawn carriages on the paths, and various animals such as horses, cattle, and sheep in the scene. Domestic life, including childbirth and bathing, is also portrayed indoors. The legend of Houji’s birth is illustrated on both sides of the east wall, depicting scenes such as heaven and earth worship, Houji’s birth, the livestock pen, abandonment in the wild, bird-rearing, discovery by a woodcutter, the mother bringing him back, and neighbors visiting.

　　The west wall centers around part of the layout in front of the Hall of the Three Saints, using the hall platform and trees as the foreground, the Meridian Gate and military tents as the midground, and the mountains, clouds, and trees as the background, with temple towers on both sides creating a deep, grand spatial effect. The content mainly includes depictions of Yu the Great and Ji and Yi, sacrificial rites, immortals, farming, and hunting. The hall platform is surrounded by railings. Yu the Great is seated in the center, wearing a tall crown, a blue robe, and a golden belt. To his right sits Houji, holding a grain ear, and to his left is Boyi. Below the platform, a civil official holds a tablet facing Houji, while a military officer faces Boyi, both in a reporting posture. Surrounding them are civil and military officials, warriors, and attendants, holding tablets, axes, wine ewers, and fruit platters. On the right side tower, several maidens walk along a corridor, some holding pipas, others carrying fruit platters or food boxes, in varied poses, either conversing, whispering, or talking to themselves. In the sky, groups of red-robed immortals descend on clouds, observed by several officials bowing in reverence. On the left is the sacrificial temple, with offerings including pigs, cattle, and sheep, and three spirit tablets on the table—the central one inscribed “Heavenly Jade Emperor,” the left one for the ancestral Houji, and the right one (visible only from the back) presumably for Boyi. The worshippers include the emperor, high-ranking officials, and nobles, accompanied by instrumental music. Outside the altar, several figures are burning ritual papers. Two attendants are present—one holding a fire poker and the other calling out. In the distance, the halls and pavilions are neatly arranged with fluttering flags, trees, and round tents, guarded by warriors at the entrance.

　　The upper part of the sacrificial temple depicts a slash-and-burn hunting scene. On the mountain, a wildfire is being set for hunting, while below, an official reports to Boyi about land clearing and hunting activities. The mountain fire rages fiercely, and startled animals leap off cliffs and cross rivers. Two deer that have crossed the riverbank look back. In the distance, monkeys play in the mountain stream. In the opposite forest, a pair of tigers are fighting, while a brave warrior draws his bow to shoot, and several warriors brandish swords, ready for battle.

　　At the foot of the mountain is a scene of farming and harvesting, where Houji is teaching people how to cultivate crops. On the path, a woman carries a basket of food and a water jug, carefully crossing a small bridge, with a child walking ahead holding a bowl of water and food. Farmers in the field wear straw hats and work diligently with hoes. An elderly man seems to hear the child’s voice and looks toward the approaching mother and child. In the wheat field, two farmers are harvesting, with an older man holding a sickle and wheat, speaking to another farmer. On the path, farmers carry loads and push carts back and forth, while on the threshing ground, workers stack sheaves, thresh the grain, and a cow pulls a stone roller to crush the harvested wheat. Some farmers drive the ox with whips, others sweep the ground with brooms, and some carry wooden forks to turn the grain. A child follows the ox with a winnowing basket, collecting droppings. The threshed wheat glows golden and piles up like a mountain. A small flag is stuck on the pile, and two people nearby are packing it into sacks. Some of the packed grain is loaded onto donkeys for transport, while a woman in a green skirt holding a child watches nearby.

　　The eastern side of the south wall depicts the “Eastern Emperor Attending the Assembly,” with a procession advancing toward the “Hall of the Three Saints” in three columns. The Eastern Emperor, holding a feather fan and wearing a headband, leads the group. On both sides are depicted the “Underworld.”

　　The entire mural features over 400 figures of humans and deities. The creators were Chang Ru, a painter from Yicheng County in Shanxi, along with his two sons Chang Geng and Chang Si, disciple Zhang Kun, painter Chen Yuan from Jiangzhou, his nephew Chen Wen, and disciple Liu Chongde. The murals were completed on the fifteenth day of the ninth month in the second year of the Zhengde reign of the Ming Dynasty (1507 AD).