Anshun Confucius Temple

　　     Anshun Confucius Temple, also known as "Fuxue Palace", is a National Key Cultural Relics Protection Unit. It is situated in Hongxueba, in the northeast corner of downtown Anshun. Construction began in the eighth year of the Xuande era during the Ming Dynasty (1443 AD). After multiple expansions and reconstructions during the Ming and Qing dynasties, it took on its current form. The temple complex now covers an area of 8,750 square meters and consists of a well-preserved, meticulously arranged, grand-scale, and exquisitely crafted group of ancient buildings. It is one of the few remaining and best-preserved ancient Confucian temple architectures in China, as well as the most culturally significant tourist attraction in Guizhou.

　　    The Anshun Confucius Temple complex is built along the central axis on five terraces of varying sizes that ascend step by step—from the lowest and most open level to the higher and more enclosed ones, creating a progressively advancing spatial experience.

　　     The first terrace features four individual structures: a stone screen wall, the “Virtue Matches Heaven and Earth” stone memorial archway, the “Morality Surpasses Ancient and Modern Times” stone memorial archway, and a “Dismount Stele”. The passageway lies beneath the two archways. The stone screen wall is constructed with longitudinal joints of quarried stone. The two archways sit on Sumeru pedestals, have three bays and four pillars, and feature an open-top design, with small mythical beast statues standing atop the stone pillars. The Dismount Stele is a square stone pillar inscribed with upright regular script in intaglio that reads: “All civil and military officials, soldiers, and civilians must dismount here”, and its base is a stone-carved kneeling elephant.

　　     The area between the first and second terraces is divided by a palace wall screen, two vertical hanging flower gates. The palace wall screen is formed by interlaced square stone pillars and beams with carved panels in between. The upper part is finished with blue bricks, gray tiles, and a white ridge, and the central carved panel bears the inscription “Palace Walls of Several Ren” (“several ren” being a traditional unit of measurement, implying great height) in both positive and negative relief. The hanging flower gates are single-eave hip-and-gable roof structures supported by dougong brackets and resting on drum stones and double pillars. The carved panels of the eastern gate are inscribed in positive and negative relief with the word “Rite Gate” (禮門), while those of the western gate bear the word “Righteousness Path” (義路). Climbing nine steps up the wedge-shaped ramp, one passes through the Rite and Righteousness Gates to reach the second terrace. At its center is the Pan Pond, flanked by pathways on both sides. The semicircular pond is encircled by carved stone railings, with a three-arch stone bridge crossing its middle. Ascending another three steps leads to the third terrace.

　　     The third terrace originally housed the Festival Filial Piety Shrine and the Hall of Enlightenment, though only the former remains today. It is a three-bay flush-gable building. Climbing nine steps with an imperial stairway platform leads to the fourth terrace.

　　     On the fourth terrace stands the “Lingxing Gate” stone memorial archway at the center. This structure has a Sumeru pedestal, three bays, four pillars, and an open-top design, covered entirely with carved patterns. It is adorned with carved stone panels featuring the three characters “Lingxing Gate” (棂星门) in both positive and negative relief, and each of the four pillars is carved with images of the Eight Immortals on both sides. On either side of the Lingxing Gate are three-bay flush-gable buildings: the eastern one is the Local Worthies Shrine, and the western one is the Festival Filial Piety Shrine. On both sides of the terrace are two double-eave hip-and-gable roof pavilions—the eastern one is the Kuwen Pavilion, and the western one is the Zunjing Pavilion. Another nine steps with an imperial stairway lead up to the fifth terrace.

　　    The Dacheng Gate is located at the center of the fifth terrace. It is a five-bay flush-gable structure, with the front columns of the central bay being tall, high-relief carved stone pillars featuring coiled dragons. To the east and west of the Dacheng Gate are the Eminent Officials Shrine and the Loyalty and Righteousness Shrine respectively—both are three-bay flush-gable buildings. Passing through the Dacheng Gate leads to the Dacheng Hall. This hall is a five-bay hip-and-gable structure, majestically situated on a 1.4-meter-high stone platform. The front columns of the central bay are solid stone pillars with openwork carvings of dragons amidst clouds. In front of the hall is a square stone platform known as the “Son of Heaven’s Terrace”, surrounded by carved stone railings. Flanking the terrace are the East and West Side Halls, as well as the Bell and Drum Towers. The Side Halls are five-bay flush-gable buildings, while the towers are single-bay hip-and-gable structures.

　　     Inside the Dacheng Hall, the central shrine enshrines statues of Confucius and his Four Disciples, all carved from white marble. Above hang three gilded plaques inscribed with “Model Teacher for All Ages”, “Herein Lies Culture”, and “Divinely Inspired Sage”. On both sides are statues of the Twelve Sages.

　　    The architectural complex of Anshun Confucius Temple is rigorously designed and fully equipped with traditional elements—“everything that should be established according to the system is present,” as noted in the Continuation of the Annals of Anshun Prefecture. Its main structures, such as the palace walls, Pan Pond, Lingxing Gate, Dacheng Gate, and Dacheng Hall, are strategically positioned along the rising terraces, highlighting their significance and giving the entire complex a well-defined hierarchy and harmonious layout.

　　     Due to historical reasons, some structures such as the “Golden Sound and Jade Resonance” Archway, the Hall of Enlightenment, the Zunjing Pavilion, and the Shrine of the Sage Ancestors were destroyed long ago, leaving certain regrets. However, these constitute only a small portion of the Confucius Temple complex and have minimal impact on the overall landscape. There are hopes for their future restoration.

　　     The Anshun Confucius Temple complex is particularly notable for its stone carving artistry. The stone walls, pillars, archways, railings, and other components feature various carving techniques—flat relief, bas-relief, openwork carving—ranging from bold to delicate, steady to refined. The subjects include figures, birds and beasts, and flowers and plants. Each piece is ingeniously composed, deeply meaningful, structurally unique, and masterfully executed, making them all captivating. The complex resembles an ancient stone carving art museum, reflecting the exquisite beauty and grandeur of the temple. The 600 years of history further accentuate its simplicity and elegance. Especially remarkable are the two cloud-dragon stone pillars in the central bay of the Dacheng Hall. Wispy clouds drift across the sky, while dragons appear and disappear amid them, seemingly dancing gracefully yet exuding overwhelming power. Their bodies stretch from earth to heaven, their whiskers appearing as if they could snap with a mere touch. These pillars are truly exceptional works of art. Using a variety of carving methods—flat relief, bas-relief, round carving, and openwork—the artisans employed ingenious designs and unique forms to imbue the cold stone with a strong sense of motion and eternal vitality. The exceptional craftsmanship has amazed experts in ancient architecture and artists from China and abroad, earning these pillars the title of the “pinnacle of Chinese dragon pillars.” They are indeed worthy of being called national treasures.

　　     From an architectural perspective, the Anshun Confucius Temple complex adheres to the traditional principles of bilateral symmetry and ascending terraces, while also showcasing distinctive characteristics. From a Confucian standpoint, each individual structure, architectural ensemble, and even the design of patterns are well-founded and compliant with rituals. From an aesthetic viewpoint, the overall layout is balanced and unified, emphasizing its solemn and majestic beauty. Each individual structure is precisely and ingeniously built, with meticulous exteriors that highlight their unique individual beauty. Especially noteworthy is the distinctive expression of classic Chinese patterns on the buildings, which enhances its aesthetic value. From a technical standpoint, various crafts such as stone carving, wood carving, and decorative painting demonstrate creative excellence, fully displaying the superb skills involved. From a historical perspective, the Confucius Temple complex serves as a vital physical resource for studying the Ming and Qing cultures, Confucian culture, and Tunbao culture of central Guizhou.

　　     The Continuation of the Annals of Anshun Prefecture praises: “The architecture of the temple is not only the finest among all prefectures, sub-prefectures, departments, and counties in central Guizhou, but even when compared to the Confucius Temple at the Imperial College in Beijing, it is in no way inferior.”

　　     That the ancients left behind such a cultural treasure is truly a great fortune for Anshun.