台南

Bao'an Station (保安車站)

I’m a bit of a weirdo when it comes to organization, so when it comes to places that I want to visit, I have a map that I’m constantly updating, and, as I’ve mentioned on numerous occasions, the majority of spots that I have on my list are located somewhere in the south of Taiwan. Over the years, I’ve added so many places to visit on the map that I’d probably need months to visit all of them, but all that means is that whenever I do find the time to make my way down south, I always have a tight schedule of things to see and do with the little time that I have.

That being said, when I do find the time, my plans often end up being far too ambitious, and although I always try my best to get a lot of work done, something I’ve come to realize is that the pace of life down there is a lot more chill than it is up here in the north. Instead of running around trying to visit as many places as possible, a better idea might be to, instead, visit a few destinations while also remembering to spend time relaxing, enjoying the weather, eating great food, and enjoying some really cool coffee shops.

These decisions are, admittedly, made a lot easier when your trip is interrupted by a tropical storm that brings with it days of torrential rain. so, with few other options with such weather, a lot of the time during my most recent trip south was spent hanging out in some of the Tainan’s hip coffeeshops, where I enjoyed the tropical fruit-inspired coffee that the city has become known for. When the weather did clear up, I set off to check out some places on my list, but when the rain came back, I was off again in search of another seat at a coffee shop.

Even though I wasn’t as productive on this trip as I have been on others, I made the most of my time, despite the weather, and got to see a few places that I had on my list. Without a hint of irony, though, on the day that I was scheduled to head home, I woke up for breakfast, packed my bags, checked out of my hotel, and walked out into the kind of beautiful weather that Tainan is known for. With a few hours before my train was scheduled to depart, I decided to make the most of the little time I had and made my way to the historic Bao-An Station (保安車站), one of the locations that was pretty high up on my list.

If you’ve been following my blog for any period of time, you’re probably well-aware that one of my ongoing projects has been documenting Taiwan’s historic railway stations, especially those that date back to the Japanese-era, so this was one of the places on my list that I was really looking forward to visiting, and fortunately, I was able to check it out as it was on my way to the High Speed Rail Station that would eventually take me home.

View of the station from the train

Hopping on the train at Tainan Station and heading south on the commuter train, I couldn’t help but feel like I was back in Japan riding through the countryside. The scenery outside of the train, the bright natural light inside the carriage, and only the sound of the train seemed very Japan-like, but that’s probably because I’m more familiar with the trains up here in north where people are always chatting, playing on their phones and watching noisy videos. When the train stopped at Bao-an Station and I got off, that feeling of being in Japan became even stronger, because just across the platform was the small wooden station, which is architecturally identical to many of the older stations you’ll see in the countryside of Japan.

Amazingly, despite being one of the oldest of Taiwan’s remaining wooden train stations, and the amount of traffic that passes through on a daily basis, Bao-an Station remains in pretty good shape. Over the past century, a lot has changed in Taiwan, and the railway itself has been in a constant flux of modernization, but Bao-an Station has stayed the same, which I suppose you could say is credit to the architectural design that has allowed it to remain standing for so long. However, as an actively used heritage building, at some point it’s probably going to have to get a little love in the form of restoration in order to ensure that we’re able to enjoy it for many years to come.

As I usually do with these articles, I’ll start by introducing the history of the train station, its architectural design, and then give readers information about how to visit if they’re interested in checking out this little piece of Taiwanese history.   

Shiyaroken Station (車路墘驛 / しやろけんえき)

To start, I suppose I should talk about the name of the station, because, you might be a little confused with the discrepancy between with the title of the article and the name of the station provided above. Admittedly, this is something that I was quite confused about myself as well until I dug into my research process for this article.

Suffice to say, the name of the station was changed to ‘Bao-an’ (保安) in the 1960s, nearly two decades after the end of the Japanese-era. For the six decades prior, the station was named ‘Shiyaroken' Station in Japanese, which came from the Taiwanese word “Tshia-loo-kinn” (車路墘). The interesting thing about this specific name, and the reason why I was confused, is that there were several areas in Taiwan in the early years of the Japanese-era with this name, but the Chinese character ‘qian’ (墘) is an older word that is rarely used these days in Mandarin, and pretty much non-existent in Japanese.

In addition to Tainan, you could also find places named ‘Tshia-loo-kinn’ in both Taichung and Pingtung as well, and in each case, the names date back to the Qing Dynasty, and (although I haven’t found any credible source regarding the origin of the name) likely referred to ‘road-side stops’ that were once located along the safe trading routes of the time.

To better understand the name, I’ll break it down for you:

  1. 車 (Tshia) - vehicle; car;

  2. 路 (loo) - road; path;

  3. 墘 (kinn) - Taiwanese word for ‘beside’ (旁邊) or ‘nearby’ (附近)

Take from that what you will - The important thing is that after the arrival of the Japanese, the name stayed the same, but it was pronounced “Shiyaroken” (しやろけんえき / シヤロケンエキ) in Japanese, which is actually quite similar to the Taiwanese pronunciation.

Staying on the subject of the station’s name, when it was changed from ‘Shiyaroken’ (or Tshia-loo-kinn) to ‘Bao’an’ in the 1960s, the reason for doing so, if you’re asking me, was a little strange. The official reason for the name change isn’t well-documented, but they changed it to ‘Bao’an’ in honor of the local Bao’an Temple (車路墘保安宮). The reason why I’d argue that this was a bit odd was because the temple wasn't actually all that close to the station, and was in fact much closer to Rende Station (仁德車站), the next stop south. It’s possible that they just changed the name to something that was easier for the ‘newer’ residents of Taiwan, who had trouble speaking Taiwanese, or possibly because the ticket-making system that was used at the time wasn’t actually compatible with the characters.

If you read my article about Taichung’s Zhuifen Train Station (追分車站), the original name of the station in Japanese was ‘Oiwake Railway Station’ (追分驛 / おいわけえき), but given that the Chinese characters for “Oiwake” (追分) are an abbreviation for a much more auspicious meaning in Mandarin, which translates as “chasing your dreams” or “pursuing your destiny” (追到緣分), they made a similar name change to another station nearby. In that case, the next station over, originally named ‘Oda Station’ (王田驛) was officially renamed ‘Chenggong Station’ (成功車站) in the 1960s. This became a hit with the locals, who collected tickets with the stations ‘Zhuifen - Chenggong’ (追分 - 成功) as together the stations translate almost literally as “make your dreams come true” (zhui fen cheng gong / 追分成功).

Given the time frame of that particular name change, I figured the distance from the temple ultimately didn’t really make much of a difference to the Taiwan Rail Corporation at the time because a ticket from the newly re-named ‘Bao’an Station’ (保安車站) to the nearby ‘Yongkang Station’ (永康車站) became an instant hit with locals. The reason for this was similar to the situation above as the tickets employed a homophonic pun in Mandarin that read in a clockwise manner became ‘Yongbao Ankang’ (永保安康), or literally, ‘Peace and health forever!’

Even though my article about Zhuifen Station predates this one, it was only until I started my research for my article did I realize that the ‘auspicious ticket’ thing was initiated at Bao’an Station. I had always assumed it was a result of the name change between Zhuifen and Chenggong.

This is why I enjoy doing all this research for these articles. I learn a lot in the process!

Link: Auspicious train ticket | 吉祥語車票 (Wiki)

With regard to the history of this station, it actually got its start quite early. As I mentioned before in my article about Taiwan’s Remaining Japanese-era Train Stations (台鐵現存日治時期車站), the Jukan Tetsudo Project (ゅうかんてつどう / 縱貫鐵道), known in English as the ‘Taiwan Trunk Railway Project,’ quickly got underway shortly after the Japanese took control of Taiwan. The project, which sought to have a railway constructed from Keelung in the north and Kaohsiung in the south (and beyond), was constructed in different phases, and the southern phase that connected Tainan to Takao (Kaohsiung) was completed quite early.

Amazingly, it would take just over a decade to have the entire west coast railway completed, but by the time the entire system was connected, Shiyaroken Station had already been in operation for about eight years on the southern stretch of the railway between Tainan and the port station in Kaohsiung.

When most people introduce the history of the station, resources will point to a specific date to when it was established, but I have to note that there is a bit of a caveat to those claims - Originally opening for service on November 29th, 1900 (明治33年) as ‘Shiyaroken Parking Lot’ (車路墘停車場), it would only be upgraded into a ‘station’ (驛) a few years later after the opening of the Shiyaroken Sugar Factory (車路墘製糖所), which was located a short distance away from the station. That being said, when the Sugar Factory opened, the station was moved about 1.5 kilometers north of its original location for the benefit of the staff at the factory, officially opening on November 10th, 1909 (明治42年).

Oh, and remember when I mentioned above that the local Bao’an Temple was much closer to Rende Station? Well, that station, which opened in 2014, sits on the same location as the original Shiyaroken Station.

Note: That ‘Parking Lot’ reference above was a very literal translation - Today, the word most commonly used in Mandarin for ‘parking lot’ is ‘停車場’, which is literally: ’Stop Car Space’, but a long time ago in Japanese, the same characters were used to identify a minor train station. The term, ‘Teishajo’ (停車場 / ていしゃじょう) was a designation that was mostly used for smaller train stations, as opposed to the larger stations, known in Japanese as ‘eki’ ( / えき), which is another word that isn’t used in Mandarin.

Although Bao-an Station opened in its current location in 1909, another aspect of the station’s history that isn’t so well-advertised is that it likely wasn’t upgraded into an ‘eki’ (驛 / えき) type of station until 1928 (昭和3年), when the currently used station house was constructed. So, if we’re being strict with these things, the station might have been established well-over a century ago, but the building that we can pass through today is just a few years short of a century old.

Interestingly, though, the history of this station is one that goes in spurts where there’s a flurry of activity, and then some downtime when not much happens for a few years, which then repeats itself. The little station has pretty much remained the same for over a century, but the world around it has changed considerably, and the number of people passing through its turnstiles have been reflected by these changes. Obviously, the number of people passing though the station was consistent while the nearby Sugar Factory was in operation between 1909 (明治42年) and 2003 (民國92年) as the station was only a stop away from the downtown core of Tainan.

Link: Ten Drum Rende Creative Park (Wiki) | Ten Drum Tainan (Taiwan Everything)

In 2001, though, daily traffic at the station increased by about 500% due to the popularity of the 'Yongkang - Bao-an’ auspicious ticket. By the time that craze settled down, though, the number of passengers started to decrease due to fewer trains stopping at the station. Most recently, thanks to the construction of the High Speed Rail Station and the new Shalun Branch Line (沙崙線), the number of arrivals at the station has once again started to increase, and this was helped out even more by the opening of the beautiful Chimei Museum, which is within walking distance of the station.

During my visit to the station, on a beautiful sunny Monday morning, it was quite busy with a number of passengers coming and going as well as a number of tourists who had come to check out the station prior to walking over to the Chimei Museum (奇美博物館).

Roof damage on the lower right side.

With all of the tourist traffic passing through the station, it remains relatively attractive, and nostalgic for a lot of people, but looking at it through my telephoto lens, its obvious that it is in need of some urgent reparations and restoration. Sections of the roof have begun to sink in, and the city government has cited termite damage on the wooden exterior.

As a Protected Heritage Property, eventually they’ll have to restore the building, but unlike many of Taiwan’s other older railway stations, its highly unlikely that it's in any danger of being torn down or replaced any time soon.

In the drop-down box below, I’ll offer a concise timeline of the stations history and then I’ll introduce its architectural design:

    • 1896 (明治29年) - The Colonial Government puts a team of engineers in place to plan for a railway network on the newly acquired island.

    • 1900 (明治33年) - Shiyaroken Station (車路墘停車場) opens for service on a limited track running between Tainan Station (臺南停車場) and Takao Port Station (打狗停車場).

    • 1902 (明治35年) - After years of planning and surveying, the government formally approves the Jukan Tetsudo Project (縱貫鐵道 / ゅうかんてつどう), a railway plan to be constructed along the western and eastern coasts of the island.

    • 1908 (明治41年) - The 400 kilometer Taiwan Western Line (西部幹線) is completed with a ceremony held within Taichung Park (台中公園) on October 24th. For the first time, the major settlements along the western coast of the island are connected by rail from Kirin (Keelung 基隆) to Takao (Kaohsiung 高雄).

    • 1909 (明治42年) - Shiyaroken Station is relocated 1.5 kilometers north of its original location for the benefit of staff of the newly established Shiyaroken Sugar Factory (車路墘製糖所).

    • 1920 (大正9年) - In a major administrative restructuring policy, Tainan Prefecture (臺南州) is officially established, stretching from Chiayi to just south of Bao-an Station.

    • 1928 (昭和3年) - The current station house, constructed entirely of cypress from Alishan (阿里山) is completed and opens for service.

    • 1945 (昭和20年) - The Second World War comes to an end and the Japanese surrender control of Taiwan to the Chinese Nationalists.

    • 1962 (民國51年) - Shiyaroken Station is officially renamed ‘Bao’an Station’ (保安車站).

    • 2001 (民國90年) - Bao’an Station is recognized as a Tainan City Heritage Building (臺南市市定古蹟)

    • 2001 (民國90年) - Bao’an Station experiences a massive surge in traffic due to the popularity of the Yongkang - Bao’an tickets. Daily ridership increases by at least 500% for the year.

    • 2008 (民國97年) - A second platform is constructed at Bao’an Station, creating the first expansion.

    • 2011 (民國100年) - The Shalun Branch Line (沙崙線) running from Tainan Station to Shalun Station, next to the Tainan High Speed Rail Station opens for service. The number of commuter trains departing Tainan Station is increased, which means that the number of daily departures and arrivals at Bao’an Station increases.

    • 2014 (民國103年) - In order to prepare for the construction of the future Tainan City subway system, the Taiwan Railway Corporation established Rende Station (仁德車站), about 1.5 kilometers south of Bao’an Station on the site of the Shiyaroken Station that was established in 1900.

    • 2015 (民國104年) - The Chimei Museum (奇美博物館) opens in new location within walking distance of the station, which creates an increased amount of daily traffic.

Architectural Design

Whenever it’s time to start detailing the architectural design specifics of the historic Japanese-era buildings that I write about, it’s often where I end up spending the majority of my time researching and writing, but, fortunately, in this case, I won’t need that much time. I’ve already written a number of articles about Taiwan’s historic train stations, each of which was constructed in an almost identical architectural design. If you’ve read any of my articles about the Coastal Five Treasures (海線五寶), Xiangshan Station (香山車站) or  Qidu Station (七堵車站), you’re likely to notice that most of these stations all appear relatively similar,, save for some minor differences.

The reason for this uniform style of design is because during the late Taisho (大正) and early Showa (昭和) eras, prior to the Second World War, many of the (smaller) train stations constructed in not only Taiwan, but Japan as well, were built in what would become a generic style of station design that offered all the functionality that a train station of the era required, were earthquake proofed in design, and most importantly were cost-effective.

Even though the number of stations constructed in this design have deceased in the post-war era, its rarely ever due to the quality of their design, but the changing demographics of the community that they serve. So, even though you can still find quite a few of these stations around Taiwan and Japan, it’s mostly because they have been constructed in areas where the population hasn’t changed much, and a larger station has yet to become necessary.

Considered to be an architectural fusion of a traditional Japanese-style building with western elements, what I personally find surprising about the design of these stations is that there doesn’t seem to be a specific term in the Japanese language used to describe it. Something I’ve had to learn the hard way during my time researching these things, though, is that it is often difficult to come across these specifics from Japanese sources. In the Chinese language, however, the design of these stations is referred to literally as a ‘Hiraya Kirizuma Western Style Wooden Station House” (木造平家切妻洋小屋), which probably doesn’t tell you much, but does offer a pretty good idea of what to expect from the design of the station if you’re familiar with the terms.

To help you better understand, what it basically means is that these buildings are a ‘single-story’ (平家) station ‘constructed of wood’ (木造), which makes use of the traditional Japanese ‘kirizuma’ style (切妻) of architectural design with 'western fusion elements’ (洋小屋) mixed in. That being said, the ‘western’ aspects of the architectural design were, for the most part, inspired by the architectural design of Western Baroque (巴洛克建築), which was quite popular with the Japanese architects of the day. However, for cost-saving measures, the western elements of design were minimal, and Bao’an Station in particular featured far fewer of these western-inspired elements than its contemporaries.

Like the other stations mentioned earlier, Bao’an Station was constructed using the traditional irimoya-zukuri (入母屋造 / いりもやづくり) style, an ubiquitous style of Japanese design that is most often referred to in English as the “East Asian hip-and-gable roof,” which is a term that I don’t really think gives people a good indication about what’s actually going on with this style of design. The key thing to keep in mind about the ‘irimoya’ style is that despite the English translation, it doesn’t necessarily tell you what ‘variation’ of roof is constructed on any given building, but it does indicate that buildings constructed in this style will feature one of traditional Japanese architecture’s various styles of intricate roof design.

I probably couldn’t come up with a more appropriate English term for describe these buildings, but, for me, a name that focuses more on the ‘moya’ (母屋 / もや) aspect of “irimoya”, might offer people a better idea of what’s going on. In layman’s terms, the ‘moya’ is essentially the core, or the ‘base' of the building, and when the irimoya-style is used, the ‘moya’, (literally the “mother-house”) is usually considerably smaller than the roof, which extends well-beyond the base.

This is a style of design that is also used in much more decorative buildings, such as Shinto Shrines, Buddhist Temples, and Martial Arts Halls, but is also commonly used for anything from houses to train stations like this one. The purpose of the building, and the amount of decorative elements aren’t really all that important, what always remains the same is that as the roof eclipses the size of the base and that the building features a genius network of roof trusses and pillars both within the interior and on the exterior of the building that allow the roof to become the defining aspect of the building, as well as ensuring that its weight is evenly distributed to ensure that the whole thing doesn’t collapse.

In this case, the roof of the station was designed using the kirizuma-zukuri (妻造的樣式) style, which is one of the oldest and most commonly used roof designs in Japan. Translated simply as a “cut-out gable” roof, the kirizuma-style is regarded as one of the more ‘basic’ styles of Japan’s ‘hip-and-gable’ roof designs. To explain as briefly as I can, it is a two-sided roof that can appear simple in design from the front of the building, but as you walk around the perimeter, you’ll notice that it becomes much more complex. The roof is layered with the eaves on the lowest layer extending well beyond the base, supported by a network of pillars that surround it on three sides. The top layer is where you’ll find the ”cut-out gable” with the gable-section of the roof covering the eastern side of the building, while the longer ‘hipped' side ‘cuts’ through it. Both of the ends of the ‘hip’ section feature triangular-shaped “tsuma” (妻 / つま) or gable-ends, with rectangular windows placed in the middle that allow natural light into the interior of the building. 

The upper part of the roof is covered with Japanese-style black tiles (日式黑瓦) while the lower eaves are covered with rain-boards (雨淋板) that help to direct the flow of rain water on rainy days. The black tiles that cover the roof appear to be quite old, and some of them are in pretty bad shape.

I haven’t been able to find any information regarding their age, but its possible that they could be the original tiles from the Japanese-era given that they tend to have a pretty long shelf life. They’re likely going to have to be replaced at some point in the near future, though. The original rain-boards, though, have already been replaced, and if their replacements are any indication, it might be better if those black tiles can last a little longer.

Even though the roof is somewhat basic in terms of its decorative elements, especially when compared to the hip-and-gable style roofs you’ll find on other Japanese-era buildings, there are still a number of elements to take note of, I’ll list each of those specific elements below with a diagram that should help you better understand what’s going on.

  1. Hiragawara (平瓦 /ひらがわら) - A type of arc-shaped clay roofing tile.

  2. Munagawara (棟瓦 /むねがわら) - Ridge tiles used to cover the apex of the roof.

  3. Onigawara (鬼瓦/おにがわら) - Decorative roof tiles found at the ends of a main ridge.

  4. Nokigawara (軒瓦/のきがわら) - The roof tiles placed along the eaves lines.

  5. Noshigawara (熨斗瓦/のしがわら) - Thick rectangular tiles located under ridge tiles.

  6. Sodegawara (袖瓦/そでがわら) - Cylindrical sleeve tiles.

  7. Tsuma (妻/つま) - The triangular shaped parts of the gable on the roof under the ridge.

  8. Hafu (破風板/ はふいた) - Bargeboards that lay flat against the ridge ends to finish the gable.

Moving on from the roof, starting from the main entrance to the station, you’ll find a roof-covered ‘kurumayose' (車寄/くるまよせ) porch that protrudes from the flat front of the building with a pair of pillars holding it up. The roof of the porch features a similarly designed kirizuma-style roof facing in the opposite direction of the roof above, adding to the three dimensional design of the building.

The ‘moya’ base of the building is a cube-like structure that is split into two sections, with one side reserved for passengers, and the other for the staff working at the station. One of the major differences between this station and some of the others mentioned earlier is that the passenger side is considerably larger, and features beautiful wooden benches. When you walk into the building from the front entrance, you are met with the ticket booth on the left while the right-hand side is covered on all three sides with beautiful Japanese-style paneled sliding glass windows (日式橫拉窗), which assist in providing a considerable amount of Tainan’s natural light into the interior as well as a bit of breeze on hot days.

One of the most notable aspects of the interior is the wooden gate located near the ticket booth. Gates like this were once very common in train stations during the Japanese-era as a means to help filter people in and out while waiting in line, but few of them remain these days. The gate was originally constructed to look like the Japanese word for ‘money’ (円), but was likely replaced at some point and looks a little different now.

Similarly, the entrance to the train platform features two wooden partitions that connect to a fence at the rear of the station, which date back to the Japanese-era. Now that the station has transitioned to electronic card swiping, the original turnstiles have been removed, so you can simply just walk through to get to your train.

This is the part of the station’s architectural design that I appreciate the most as the open gates transition into a fence-like structure that includes a roof-covered portico that surrounds the building on three sides. Part of an intricate network of carpentry genius, the pillars that connect to the fence assist in distributing the weight of the roof, but they also prevent people from jumping over the fence to take a free train ride. The fence, pillars, and gates combine to make an almost three-dimensional design and add complex geometric shapes to the design of the building, and are part of the western-inspired elements mentioned above.

In the past, in order to get to the train platform, you literally had to cross the train tracks and walk up a set of stairs that brought you to the island platform. Given how dangerous this is, especially since the introduction of Taiwan’s express trains that speed through without stopping at the station, an overpass has been constructed that allows passengers to safely make their way to the platform area. As I mentioned earlier, the platform area is one of the areas that has been expanded several times since the Japanese-era, which has allowed the station to keep up with the modern changes to the railway, while maintaining the same historic station house. When passengers are waiting for the train on the platform, you can enjoy a pretty good view of the rear of the station, the roof of the building, and the trees that were planted next to the building when it was originally constructed.

Finally, while not exactly part of the architectural design, I’ll conclude by mentioning the trees. One of the things that I’ve really started to appreciate about Japanese architecture, especially when it comes to the construction of buildings, is that they always plant trees next to the building as a time capsule of sorts that helps to show how old the building is. In this case, we have what has become known as the ‘Bao’an Three Treasures’ (保安三寶), which are likened to 'The Three Star’ deities (三星 / 福祿壽), Fu (福), Lu (祿), and Shou (壽), who are often found adorning the top of Taiwan’s temples. To the right of the main entrance, you’ll find an Orange Jasmine (七里香) while the much taller Palm tree (棕櫚樹) and Coastal she-oak (木麻黃) are to the left. If the memorial plaque next to trees is any indication, they date back to 1909 (明治42年) and predate the current station house, which is pretty cool.

Getting There

 

Address: #10, Alley 529, Wenxian Road, Rende District, Tainan City

(臺南市仁德區保安里文賢路一段529巷10號)

GPS: 22.932940, 120.231660

How is one to get to Bao’an Train Station?

You take the train, of course.

Given all the modernization that has taken place on Taiwan’s railway, the fact that you can still take a train to one of the nation’s oldest stations is pretty cool.

So you should definitely take the train. You do however have other options for getting there. 

The station is located only one stop south of Tainan Train Station, and the ride take only about seven minutes to get there. So, if you find yourself the proximity of the downtown core of Tainan, you shouldn’t have much of a problem hopping on a train. Likewise, if you’ve travelled into the city by High Speed Rail, you can transfer to a commuter train from the Shalun Train Station (沙崙車站) and take the train to Bao’an Station, which is a seventeen minute ride.

As a smaller station though, Bao’an Station isn’t serviced by every train headed south rom Tainan, so if you want to visit, you’ll need to make sure that you get on one of the silver Local Commuter Trains (區間車). 

Bus

In terms of buses, there are a few options that’ll help you get to the station, or the Chimei Museum (奇美博物館), which is within walking distance of the station. Located a short distance from the main entrance of the station, you’ll find a roof-covered pavilion set up where buses will come in off the main road and pick people up and drop them off. There are options that will take you to downtown Tainan, as well as others that will take you to the High Speed Rail Station, and beyond.

The following bus routes are available at the Bao’an Station stop:

Tainan City Bus (幹支線公車): Red Line #3, Red Line #4

High Speed Rail Shuttle Bus (高鐵快捷公車): #H31

Kaohsiung Bus (高雄客運): #239, #8042, #8046

I’ve linked to each of the bus routes above, but Taiwanese websites like this are notoriously unreliable, so if you click on any of the links and they don’t work, you should be able to just search the bus route on your own, and you’ll be able to find the link that they’re currently using.

Youbike

The bus stop is also home to a large Youbike Station where you can swipe your EasyCard and hop on one of the shared bicycles. If you’ve taken a Youbike on the ride from Tainan, you can easily dock the bicycle at the docking station in front of the train station and check out the train station, or take the train back to the city.

If you haven’t already, I highly recommend downloading the Youbike App to your phone so that you’ll have a better idea of the location where you’ll be able to find the closest docking station.

Link: Youbike - Apple / Android

Whether you’re simply on your way to the much larger, and (probably) much more interesting Chimei Museum nearby, a stop by this historic train station is an added bonus to your excursion out of Tainan. There aren’t too many stations like this left in Taiwan, and the fact that it still looks so great after nearly one hundred years is a testament to the skills of the carpenters and architects of the era. If you're just getting off the train to before heading else, make sure to take a few minutes to enjoy the historic station, and don’t forget to take a few photos at the same time.

References

  1. Bao'an Railway Station | 保安車站 中文 | 保安駅 日文 (Wiki)

  2. 保安車站 (國家文化資產網)

  3. 保安車站 (國家文化記憶庫)

  4. 保安車站 (鐵貓)

  5. 保安車站 (臺灣驛站之旅)

  6. 保安車站 (Blair and Kate's 旅遊與美食)

  7. 臺南市文化資產 (Wiki)

  8. 112 年度臺南市文資防護專業服務中心成果報告書 (臺南市文化資產管理處)

  9. 臺灣鐵道旅行案內 (臺灣總督府交通局鐵道部)

  10. 台南縱貫線木造車站巡禮 - 保安車站、林鳳營車站、後壁車站 (LINE Today)

  11. 仁德糖廠 (Wiki)

  12. 木造車站-海線五寶 (張誌恩 / 許正諱)


Gallery / Flickr (High Res Photos)

Grand Mazu Temple (臺南大天后宮)

This article has been a long time coming.

I’ve written extensively about Taiwan’s most important and architecturally distinct places of worship over the years that I’ve become a lot more selective when it comes to where I devote my time.

This is especially true considering that whenever I write one of these articles, I’ve discovered that it takes an incredible amount of time to complete one, and this one certainly wasn’t an exception to that rule.

I’ve written articles about some of Taiwan’s other significant Mazu temples in the past, but of the more than four to five hundred places of worship in Taiwan dedicated to the goddess, this one stands apart. With a history dating back more than three-and-a-half centuries, Tainan’s Grand Mazu temple is one of the nation’s most important places of worship, and one where you can list any number of superlatives to describe how significant it is with regard to Taiwanese history.

Originally the mansion of a ‘royal refugee’, the temple holds incredible religious significance as well as historic and political significance in addition to offering visitors a treasure trove of stone carvings, wood carvings, paintings, and historic relics. Thus, writing an informed guide about it certainly isn’t something that I could take lightly or finish quickly, so I hope for those of you reading this that you’ll be able to learn something that you might not have found elsewhere, while also enjoying the photos.

Tainan’s Grand Mazu Temple (臺南祀典大天后宮)

When discussing the history of Tainan’s Grand Mazu temple, you’ll often find articles and travel guides stating that the temple dates back to 1664, however, this is a claim that should be analyzed a bit more closely to better understand the temple’s history. While it is true that the building itself is that old, it wasn’t originally constructed to be a place of worship.

Constructed in 1664 (康熙3年), the building was originally a mansion provided for one of the seventeen remaining princes from the Ming Dynasty (明朝), who escaped to Taiwan when the Manchurian’s seized control of China and started the Qing Dynasty (清朝). Taiwan (or at least the greater Tainan area) at that time was controlled by a group of Ming-loyalists who had set up a military government known as the Kingdom of Tungning (東寧王國), under the leadership of Zheng Cheng Gong (鄭成功), who is better known as Koxinga.

The princes, who are often referred to by historians as ‘pretenders’ were a group of distant relatives of the Ming royal family who figured they had a claim to the throne if the Ming Dynasty (明朝) were ever to be successfully restored. However, that was rather unlikely given that the best the Zheng family could do was periodically attack coastal communities in Southern China from their bases in Taiwan and Peng Hu (澎湖).

One of the most important of the seventeen princes who fled to Taiwan, Zhu Shugui (朱術桂), who was given the formal title ‘Prince of Ningjing’ (寧靖王) resided in the mansion from 1664 until his death in 1683.

Constructed next door to a mansion for the Prince of Yanping (南明延平王), the son of Koxinga, who from 1662 was the ruler of the Kingdom of Tungning, it was important for the legitimacy of the Zheng’s to maintain the struggle to ‘restore the Ming’ for propaganda purposes, but they weren’t interested in sharing political power with the ‘pretender princes’. So even though they may have been afforded mansions like this one during their years in Taiwan, they were essentially just puppets for the pirate-kings.

1. The Prince of Ningjing (明寧靖王) was a prince with royal connections to the Southern Ming Dynasty (南明) in China while the Prince of Yanping (南明延平王) was simply a Prince of the short-lived ‘Kingdom of Tungning’ here in Taiwan, with no official connections to royalty back in China.

2. Similar to the Grand Mazu Temple, the mansion that was once home to the Prince of Yanping, the son of Koxinga is now occupied by Tainan’s God Of War Temple (臺灣祀典武廟) and a visit to one of these should temples should also include the other.

When Manchurian-led Qing authorities had finally had enough of the pirate raids and attempts to restore the Ming, Admiral Shi Lang (施琅) was given a mission to set sail for Taiwan and put an end to the Zheng family and their headache inducing attempts to cause problems for the newly established dynasty.

In the summer of 1683, Qing forces sailed to Peng Hu (澎湖) and defeated the Zheng family’s largest army. With the vast majority of their military power decimated, the leadership of the Kingdom of Tungning was left in disarray and the Zheng’s quickly surrendered bringing the Tungning-era to an end.

Seeing the writing on the wall, the Prince of Ningjing came to the conclusion that it would be best to end his life prior to the arrival of the Qing forces in Taiwan to save himself from whatever they had in store for him. Prior to his death, the prince’s five loyal concubines came to the decision that if their ‘prince’ was going to die, then so were they, so they hung themselves within the mansion. The next day the prince followed suit and ended his life in the same way.

Initially, I thought it was odd that the women killed themselves first, but later found it interesting to note that the prince made sure that they were properly buried in a tomb nearby (the site of the current Temple of the Five Concubines 五妃廟), and once that was done he took his own life.

One of the stipulations in the official suicide note (and/or last will and testament) left by the prince was that his mansion be converted into a temple dedicated to the worship of Guanyin (觀音), the Buddha of Compassion, and for a short time that was the case. Within a year of Admiral Shi Lang’s arrival in Taiwan however, the mansion was converted into a place of worship dedicated to the Hokkien Goddess of the Sea, Mazu (馬祖), transforming it into the first (officially sponsored) temple dedicated to her worship in Taiwan.

In 1684, the Taiwan Fu Princess of Heaven Temple’ (台灣府祠天妃宮) was established within the building, but in the same year Emperor Kangxi (康熙帝) bestowed upon Mazu the official titles “Empress of Heaven” (天后) and “Holy Heavenly Mother” (天生聖母), and the temple was renamed, officially becoming the first place of worship with the title “Empress of Heaven Temple” (天后宮), for which many would follow.

As mentioned above, there are hundreds of temples dedicated to Mazu in Taiwan today and as the Patron Saint of Taiwan, you can find several “Empress of Heaven Temples” around the country. Nevertheless, as this one was first of its kind, the Tainan temple became known (literally) as the ‘big’, ‘great’ or ‘grandEmpress of Heaven Temple (大天后宮), ensuring its place in history, and it’s position at the top of the hierarchy of temples is maintained.

Tainan has the best light

Long story short, even though the original building was constructed in 1664, the Mazu temple wasn’t actually established until a couple of decades later - In the grander scheme of things, twenty years probably doesn’t really matter very much to this three-and-a-half century old building, but it’s important to be clear with these things.

Obviously, as one of Taiwan’s oldest places of worship, it would be difficult to write out a concise history of all of the important events in paragraph form, so instead I’m going to offer a brief timeline of important events so that you can have a better understanding of its history.

Temple Timeline

  • 1664 (康熙3年) - Zheng Jing constructs a mansion for the Prince of Ningjing (寧靖王朱術桂府邸), otherwise known as Zhu Shugui (朱術桂) a distant member of the Ming Dynasty royal line who came to Taiwan (along with more than a dozen other princes) hoping to restore the dynasty with the help of the Kingdom of Tungning (東寧王國).

  • 1683 (康熙22年) - When Admiral Shi Lang (施琅) conquered the Peng Hu islands with a mission to continue on to Taiwan to put an end to the Ming Loyalist Kingdom of Tungning, the Prince of Ningjing realized that the Ming Dynasty would never be restored and decided to commit suicide. Before his death, his five concubines hung themselves one by one within the palace and then the next day the prince dressed in his royal attire and followed them in death. Prior to his death, the prince decreed that the palace should be dedicated to Guanyin, the Buddha of Compassion.

  • 1683 (康熙22年) - Zheng Keshuang (鄭克塽), the Prince of Yanping (延平王), sent letters of surrender to the Qing forces stationed in Peng Hu, and the Kingdom of Tungning came to an end less than a month later with Admiral Shi Lang arriving in Taiwan on August 13th to receive the official surrender of the Zheng family and its army. Taken back to Beijing to have an audience with the Emperor, Zheng Keshuang was given the noble name Duke of Hanjun (漢軍公), and his army was absorbed into the Qing army.

  • 1684 (康熙23年) - Admiral Shi Lang initially converted the palace into the ‘Taiwan Fu Princess of Heaven Temple’ (台灣府祠天妃宮), but when Emperor Kangxi bestowed the titles “Empress of Heaven” (天后) and “Holy Heavenly Mother” (天生聖母) upon the goddess, the temple was renamed the ‘Grand Empress of Heaven Temple’ (大天后宮), becoming the first major place of worship in Taiwan dedicated to the worship of Mazu (媽祖), and coincidentally also the first of many places of worship around the world with the “Tianhou Temple” (天后宮) title.

  • 1685 (康熙24年) - Admiral Shi Lang erects the ‘Steele of the Pacification of Taiwan’ (平臺紀略碑) at the temple, which is currently the oldest remaining stele in Taiwan.

  • 1720 (康熙59年) - The temple is officially upgraded into a Sacrificial Rites Temple (祀典) and was given the responsibility of coordinating important worship events in the Spring and Fall of each year (春秋二祭), and the name of the temple was officially changed to “Sacrificial Grand Goddess of Heaven Temple” (祀典大天后宮).

  • 1765 (乾隆30年) - The temple undergoes its first major renovation since Admiral Shi Lang converted the palace into a temple.

  • 1775 (乾隆40年) - A decade after the first renovation of the temple, a second renovation and restoration project takes place, converting the historic palace into the layout that is currently used at the temple.

  • 1818 (嘉慶23年) - A fire breaks out in the temple on March 16th causing a significant amount of damage, including the damage to the original Mazu statue. It would take at least two years for the repairs to be completed. Interestingly, the local government at the time was strapped for cash, so the responsibility for the reparation of the temple and its funding were commissioned by a group of merchants known as the ‘three suburbs of the city’ (府城三郊). Given that the statues in the main hall were under repair with the other parts of the temple, Chaotian Temple (北港朝天宮) sent a statue to the temple to take up residency on a temporary basis, creating a relationship between the temples that continues to the day with the Beigang Mazu Pilgrimage (北港朝天宮迎媽祖).

  • 1895 (明治28年) - The Japanese take control of Taiwan and the group of merchants known as the ‘three suburbs’ met with economic difficulty, which in turn caused issues for the fiscal control of the temple. Nevertheless, the temple continued to prosper as the colonial government considered it to be an important place of worship for the local population.

  • 1941 (昭和16年) - As a result the 'Kominka policy' (皇民化運動 / こうみんかせいさく) imposed by the colonial government in 1936, Japanese language, culture and religion were forced upon the people of Taiwan, leaving little room for local traditional religious practices. This coupled with the decline of the leadership group resulted in a period of decline for the temple where it fell into disrepair. It was at one point slated to be auctioned off, but the colonial government fortunately blocked the auction and left the temple as it was.

  • 1946 (民國31年) - As a result of the Xinhua Earthquake (新化大地震), the temple suffered a considerable amount of damage, prompting a restoration project that converted the roof of the building into a double-eave roof, which is how it continues to appear today.

  • 1985 (民國74年) - The temple is officially recognized as a First Grade National Historic Site (第一級古蹟), putting it on a short list of very important historic sites in Taiwan.

  • 2004 (民國93年) - After three centuries, Taiwan’s humidity got the best of the Mazu statue in the main shrine with parts of it collapsing resulting in a period of restoration for one of Taiwan’s most important religious images.

Now that we’ve taken a look at the history of the temple, let’s take a look at each of the shrines within so that you can better understand what you’ll see when you visit.

The Shrines within the Grand Mazu Temple

Layout Map from the official Grand Temple Website.

As the temple expanded over the centuries, so did the number of shrines located within. What started out as a palace for a prince was converted into a temple dedicated to who would become one of Taiwan’s most important religious figures. For a temple of its size, it’s common to find shrines dedicated to other deities, but in this one, they’re carefully chosen to better reflect the importance of Taiwan’s first and arguably most iconic Mazu temple. Below, I’ll list each of the shrine rooms within the temple and which deities you’ll find in each:

Main Hall (正殿)

I’m not exaggerating when I tell you that I’ve visited hundreds of temples and shrines of all shapes and sizes. Yet, from my first trip to Tainan (well over a decade ago) until now, it doesn’t matter how many temples I’ve visited in between, the Main Hall of the Grand Mazu Temple is (as far as I’m concerned) the most beautiful shrine room in the entire country.

Not only is the Main Hall absolutely beautiful, most people don’t realize that it is also very historic - Sure, that probably seems like an understatement given that the temple dates back to the 1600s.

What few fail to take into consideration here though is that the main shrine is currently also the permanent home to some significant deities, who lost their homes (just like Mazu almost did) during the Japanese-era. Providing a home to these celestial refugees makes this shrine room considerably more significant than the number of years it has been around.

To the right of the Main Shrine (右龕) you’ll find a shrine dedicated to the Dragon Kings of the Four Seas (四海龍王), originally worshipped at the Fucheng Dragon King Temple (府城龍王廟), which was constructed in 1716 (康熙55年) and torn down during the Japanese-era.

Similarly, on the left of the main shrine (左龕), you’ll find the King of the Water Immortals (水仙尊王), who moved to his current location when his temple, the Water Immortal Temple (臺郡三郊水仙宮) was bombed by the allies during the Second World War.

Taking into consideration that both of the temples above were administered by the same group of merchants as the Mazu temple, it wasn’t a big deal for the statues to be welcomed to take up residence there. The Water Immortal Temple dates back to 1683 (康熙22年), which means that the five statues are probably just as old. Interestingly, the temple was later reconstructed, but the original statues remain in place at the Mazu temple today.

Link: 臺南水仙宮 | Shuixian Zunwang | 水仙尊王 (Wiki)

Within the shrine you’ll find five statues of the Water Immortal Kings, each of whom are historical figures that are somehow related to water, and are believed to protect people at sea, much like Mazu herself. The five figures are as follows: Yu the Great (夏禹), King Ao (奡王), Xiang Yu (項羽), Wu Xizu (伍員) and Qu Yuan (屈原).

Note: Qu Yuan is considered to be the inspiration for the annual Dragon Boat Festival that is celebrated annually in many parts of Asia.

Within the Main Shrine (正中) in the center of the Main Hall, you’ll find the star attraction, Mazu (天上聖母) in a display like no other - The shrine is large and beautiful with a number of smaller images of the goddess flanked by a giant golden statue.

Accompanied on either side by her loyal guardians the green-skinned All-Seeing General (千里眼) and the red-skinned All-Hearing General (順風耳) whose names translate literally as ‘Thousand-Mile Eye’ and ‘Wind-Following Ear’. The two generals keep their ‘eyes’ and ‘ears’ open for danger, working in tandem with Mazu to help protect people at sea.

You’ll also find a shrine dedicated to the Tiger General (虎爺將軍), one of my personal favorites.

The temple claims that the Mazu statue in the main hall is the largest in Taiwan at 5.45 meters in height and dates back to the Qing Dynasty. Crafted over three hundred years ago, the statue was constructed using the Quanzhou style of mixing clay and wood (泉州派泥塑佛像).

In 2004 (民國93年), one of the temple’s keepers discovered that after almost three centuries of Taiwan’s notorious humidity, the statue’s head had fallen off, resulting in a period of careful restoration on the statue.

It was during this period that three stone tablets were found encased within the body dating back to 1822, detailing another restoration of the statue and more importantly indicating that the statue’s face was once covered in gold foil (金箔貼鋪). By that time, centuries of incense left had her face blackened, so with this newfound knowledge, the restoration of the statue not only repaired the statue, but converted its blackened face back to its original golden color.

Whether you’re looking at the statue directly or from either the left or right side of the shrine, the detail in her face is absolutely beautiful and the expression on her face is calming, displaying the beauty of traditional Hokkien artistry. It goes without saying that this Mazu statue is one of the oldest in Taiwan, but it is also one of the most important religious statues in the entire country as well.

Rear Hall (後殿)

The Rear Hall is located directly behind the Mazu shrine in an area that has a traditional open roof where you’ll find a large incense cauldron that is used for each of the four shrines within the hall.

I’m going to separate each of the shrines below so that you have a better idea of what’s going on in this section as there are quite a few important deities here.

Prayer Hall (拜亭)

Located directly against the wall of the Main Hall, with their backs to Mazu, you’ll find three important figures within Taoism known as the Three Great Officials (三官大帝). These ‘officials’ are considered the highest of the celestial deities and answer only to the Jade Emperor (玉皇上帝) himself.

The three officials are the Heavenly Emperor (天官), the Earthly Official (地官) and the Water Official (水官).

Goddess of Childbirth Shrine (註生娘娘祠)

Not the easiest shrine to take photos of..

On the right hand side of the rear hall you’ll find a shrine dedicated to the ‘Goddess of Childbirth’, also known as the ‘Goddess of Fertility’ (註生娘娘), who is one of the most highly respected fertility deities in Chinese Folk Religion, especially for those hailing from the Southern Fujian region of China - where many of the first immigrants to Taiwan originated. Holding a notebook in one hand and a brush in the other, she is charged with recording the births of every household, and does her best to assist anyone having trouble having children. 

Sitting next to her, you’ll find another Southern Fujianese goddess, “Ms. Linshui” (臨水夫人) - According to legend, Ms. Linshui was a well-known Taoist priest named Chen Jinggu (陳靖姑) who was elevated to the status of goddess after death. Known to the Hokkien people as a protector of villages, she is also known as the patron saint of women and children.

As an assistant to the Goddess of Childbirth, she acts like a spiritual mid-wife for pregnant women.

Sacred Parents Shrine Room (聖父母廳)

The middle shrine in the Rear Hall is referred to as the ‘Sacred Parents Shrine Room’, referring to the parents of Lin Moniang (林默娘), who would be elevated to goddess status as Mazu, the Goddess of Heaven or the sea (depending on who you ask). While it’s not entirely unique, it isn’t exactly common to find a shrine dedicated to Mazu’s parents, so this is a pretty special one.

There is a bit of confusion with the literature about the shrine room as some refer to it as a shrine just for her parents (聖父母) while others refer to it as a shrine for her parents and siblings (聖父母兄姐). I’d probably say the latter is probably true given that there are several statues there.

Another thing that makes this shrine special is that it also features ‘spirit plates’ (牌位) dedicated to some interesting figures. First, you’ll find one dedicated to the Prince of Ningjing (寧靖王之牌位), who committed suicide in the building. You’ll also find two more for Qing-era Prefectural Magistrates of Taiwan Jiang Yuanshu (蔣元樞) and his predecessor Cheng Cheng (成城).

Matchmaking God Shrine (月老祠)

The shrine on the left hand side of the rear hall is a popular and powerful one known as the Matchmaking God Shrine. You’ll find shrines and temples dedicated to the ‘Old Man under the Moon’ (月下老人) all over the country, but a few of them are quite as special in terms of their spiritual ability to help people find a significant other - The Matchmaking God at this temple is one of those where you’re likely to find lots of people praying for some help in matters of the heart.

Accompanying the Matchmaking God, you’ll also find some other important figures including the Earth God (福德正神), the God of Wealth (文武財神) and the Five Literary Emperors (五文昌帝君).

Together, this shrine helps to assist worshipers with affairs of love, finances, education, etc.

Suffice to say, it’s also one of the most important and busiest shrines in the temple.

Yuanchen Palace (元晨殿)

Located at the rear of the temple, and in a secluded corridor next to the garden is a shrine named Yuanchen Palace, dedicated to celestial deities from Taoism. Within the musty old shrine room you’ll find the Mother of the North Dipper (斗母星君), commonly known in Taiwan as ‘Doumu’ with the Sixty Dukes of Jupiter (太歲星君) surrounding her. The Dukes of Jupiter are more commonly known as the ‘Taisui’ (太歲) and are extremely important figures when it comes to traditional Chinese astrology, each representing the twelve signs of the Chinese zodiac, with five ‘dukes’ for each sign.

Link: Tai Sui | 太歲 (Wiki)

Guanyin Hall (觀音殿)

The location of Guanyin Hall was originally where the Prince of Ningjing’s personal quarters would have been. After he committed suicide, one of his dying wishes was that the main hall of his mansion be converted into a shrine for Guanyin, the Buddha of Compassion, while his quarters would be turned into a nunnery.

As mentioned earlier, when Admiral Shi Lang arrived in Taiwan, he converted the palace into a temple dedicated to the worship of Mazu, so the Guanyin shrine was relocated to the side hall where the quarters were originally located.

The statue of Guanyin is one of three historic statues dedicated to the goddess that was donated by the Qing-era prefect Jiang Yuanshu (蔣元樞), dating this particular statue to sometime in the late 1700s.

Similar to the statue of Mazu, at nearly 250 years old, it’s face has blackened over time with centuries of incense smoke staining her face.

Three Treasures Hall (三寶殿)

One of the ‘newest’ additions to the temple, dating back to the 1970s, the ‘Three Treasures Hall’ is a room dedicated to three of Buddhism’s most important figures. Within the main shrine you’ll find statues of Amida Buddha (阿彌陀佛), Shakyamuni Buddha (釋迦牟尼佛) and the Medicine Buddha (藥師佛), whom together are known as as the Three Treasures. Directly in front of them you’ll find a statue of Maitreya Buddha (彌勒佛), who is probably more well known among westerners as the ‘Laughing Buddha’ or simply just the fat one.

On both the left and right of the shrine, you’ll find two guardian deities, who often appear as protectors for the Buddha’s, or as ‘Door Gods’ (門神) in many of Taiwan’s temples. On the left you’ll find Skanda (韋馱) and to the right Sangharama (伽藍), who is simply the Buddhist version of Guan Gong (關公), a popular historical figure known as Guan-Yu (關於), who is highly regarded for his ability to offer spiritual protection and grant blessings.

Architectural Design

As is the case with the very few buildings of its age that remain in Taiwan, the Grand Temple has changed quite a bit over the years, with the interior design and layout of the building altered due to fire, or some of the other reasons mentioned above - So to describe the architectural design of the building, I’m going to look solely at its current layout, but I’m also going to spend some time introducing some of the important decorative aspects of its design as well as the historic objects you’ll find within.

The architectural design of the temple is officially described as a “relic of the Southern Ming Dynasty, and the only remaining Ming-style palace in Taiwan”. Even though the Ming Dynasty is fondly remembered for its architectural prowess (look no further than the Forbidden City), this mansion-turned-temple was constructed several years after the Qing took control of China. The architectural style took inspiration from what was common during that era, but in the context of the what we’re more familiar with here in Taiwan, it’s easy to see that it has taken on many of the architectural elements indicative of traditional Hokkien design.

In terms of its layout, the temple follows the rules of Feng Shui in that it ‘sits east and faces west’ (坐東朝西) towards the coast, which is especially important for a Mazu temple as she should be looking toward the coast. Differing slightly from a traditional temple design layout, the temple features four halls (四進建築), and its width is measured in ‘bays’ being three bays wide (面寬三開間), each of which is about 3.6 meters.

As mentioned above, the main part of the temple features four halls (殿) and an open courtyard (院) including the Front Entrance (三川殿), the Worship hall (拜殿), the Main Hall (正殿), and the Rear Hall (後殿).

What this description doesn’t account for however is that the wing on the left is home to an additional two halls: the Three Treasure Hall (三寶殿) and the Guanyin Hall (觀音殿), as well as a Rear Hall that was later extended and divided into two sections. In terms of the original design of the palace, the left side was used primarily as the residential part of the building and was converted into shrine rooms when the the palace was turned into a temple.

Despite being an important part of the temple today, the left side is rarely mentioned in official texts as the focus is always on the main part of the building as it is ‘newer’ but also not new at the same time. In traditional design terms however, the left side is a bit awkward as it takes away from the typical rectangular shape that most temples have.

The roof of the building is complex in that it is separated in a few different sections, the first part of the roof covers the Front Entrance and the Worship Hall while the larger roof covers the Main Hall and parts of the Rear Hall. The roof however is where the temple differentiates itself from almost all of its contemporaries across the country in that it is a gabled roof (硬山頂) with a round or curved sloping ridge (捲棚式屋架), the largest of its kind in Taiwan. Amazingly, it was constructed without the use of a single nail, held in place by a jigsaw-like network of trusses.

In term of the roof’s decorative elements, the curved part that covers most of the building is quite subdued in comparison to most of Taiwan’s other temples. However, the section that covers the front part of the Main Hall is dual-layered with the top section featuring a four-sided curved swallow-tail design (燕尾脊) and cut-porcelain carvings (剪瓷雕) along the ridges.

The section of roof that covers the front of the building is the most decorative portion in that it features a dual-layered swallow-tail design (雙脊燕尾造型), and is decorated with green porcelain dragons on each of its rising ridges. On the apex of the roof you’ll find the famed ‘Sanxing’ (三星) deities Fu, Lu and Shou (福祿壽) who are considered to the be embodiment of ‘Fortune’ (福), Prosperity (祿), and Longevity (壽), and are commonly found on temple roofs all across Taiwan. You’ll also find other cut-porcelain carvings (剪瓷雕) along the roof, which have become indicative of traditional Hokkien-style architecture in Taiwan.   

Links: Sanxing | 三星 | Hokkien Architecture | 燕尾脊 (Wiki) 

Now that we have the basics of the building’s architectural design out of the way, I’d like to spend some time discussing some of the building’s more decorative elements, which work hand-in-hand with its architecture. Like many of Tainan’s other temples, the devil often lies in the details with these things as you’re likely to pass by an object that is quite significant, without ever realizing it.

Main Gate (山川們)

Starting with the entrance to the temple, you’ll find something different from every other Mazu temple in the country. Instead of the typical Door Gods (門神) that you’ll find painted on the doors, this one is instead adorned with seventy-three door studs (廟門73門釘). Giant red doors with studs like these are typically reserved for palaces or official temples, and here in Taiwan you’ll generally only ever see them on Confucius Temples (孔廟) or Martyrs Shrines (忠烈祠). The door studs in the case of this temple can be viewed through a historic lens as the building was originally a palace for a prince, but also the first officially recognized Mazu temple in Taiwan. The studs essentially elevate the status of the temple and recognize it, and its goddess of the highest nobility.

The interesting thing about the door studs here is that there are (currently) an odd number of them, which is strange given that calculation of the number of studs is usually done by a factor of nine. The reason there is an extra one is because Emperor Kangxi ‘gifted’ the temple an extra stud, increasing the temple’s level of importance.

Standing on either side of the middle door you’ll find two stone guardian lions (石獅), both of which date back to the Qing dynasty. If you weren’t aware, the guardian lions always appear with one male and the other a female. The male lion at this temple has a ferocious appearance with his body erect while its forelegs are playing with a hydrangea. The female lion on the left on the other hand has a similar appearance, but instead has a baby lion between its forelegs.

Just behind the stone lions you’ll find two exquisitely carved Dragon Pilars (龍柱) with stone mined from Guanyin Mountain (觀音山) in Taipei. The pillars, which feature dragons encircling them are somewhat of a new addition to the temple (carved in 1959) replacing the originals which likely met their fate due to an earthquake.

The left and right walls in addition to the gate are likewise home to a number of historic stone-carved murals, each of which date back to the Qing Dynasty. The murals feature depictions of auspicious and mystical Chinese creatures, including peony birds, qilin (麒麟), phoenixes (龍鳳), dragons, lions, tigers, bats, etc.

Notably, above the stone murals on the left and right walls you’ll find golden Chinese characters that read ‘Dragon Growl’ (龍吟) and ‘Tiger Roar’ (虎嘯), a traditional phrase that goes together to mean ‘Good Fortune’ but in this case holds somewhat of a double meaning with the ‘dragon growl’ located next to the ‘Dragon Door’ (龍門) and the ‘Tiger Roar’ next to the Tiger Door (虎門).

Note: In Chinese, they say “龍門進虎門出“ (lóng mén jìn hǔ mén chū) which means that you should enter a temple through the “Dragon Door” (龍門) and exit via the “Tiger Door” (虎門). The reason for this is because entering the dragon symbolizes ”praying for happiness” while exiting through the tiger is thought to “ward off bad luck or misfortune”.

It is essentially a symbolic way of purifying yourself before you enter a temple. If you however were unaware of the rules and you entered through the tiger door, it would be considered to be bringing misfortune both for yourself and the temple, and thats not a good thing. 

Likewise, the middle door (中門) is a space reserved for the gods or high-ranking government officials. If you’re wandering around a temple and you walk through the middle door, it could be considered bad luck because you’re blocking the view of the gods. 

So, if you want to enter a temple, you should enter through the ‘Dragon Door’, which is on the far right. If you want to leave the temple, you should exit via the ‘Tiger Door’ on the left and if you want to make the gods angry, just walk through the middle door and try your luck. 

Courtyard (螭廳)

The open-air courtyard in between the Worship Hall and the Main Hall doesn’t really feature all that much in terms of decoration, but the little that is there makes this area one of my favorite sections of the temple.

The walls on both the right and left sides feature round paintings set between two stone pillars with Chinese calligraphy on either side of the pillars. The Chinese calligraphy is an imitation of Confucian scholar Zhu Xi’s (朱熹) style with the words ‘Loyalty’ (忠) and 'Filial Piety’ (孝) on the right side and ‘Righteousness (義) and ‘Integrity’ (節) on the left. The calligraphy is really beautiful and if you look at each side from a distance you can really appreciate how beautiful they are.

On the right side, you’ll find a shelf of traditional weapons used by Mazu’s ‘Honor Guard’ (儀仗) and her ‘Silk Guard’ (絲仗). These weapons apparently only appear during the weekdays, and they’re only there for decorative purposes, but they’re actually something that you’ll come across often in some of Tainan’s other historic temples, less so in other areas of the country.

As you climb the stairs to approach the Main Hall you’ll find four stone heads protruding from the stone base, something that is extremely uncommon among Taiwan’s temples. A Chinese-style gargoyle if you will, the heads are referred to as “Chi” (螭首), a hornless dragon. These miniature dragons are common decorations in imperial palaces back in China, but here in Taiwan are quite rare.

The heads date back to 1664 (明永曆18年), and served not only a decorative purpose but a functional one as well as the open mouths of the dragons served as drains for rainwater that accumulated in the Main Hall.

Unfortunately, even though it would be pretty cool to see water pouring out of their mouths, the drainage function doesn’t exist anymore. As a leftover from the palace that existed in the building before the temple, this is one of the only temples in the country to feature them.

Before I finish, I want to touch on some important decorative elements that you’ll find throughout the temple, each of which have historic or cultural significance. The temple is full of paintings, plaques and stone steles, which are pretty important but rarely ever get much attention in English.

Ancient Inscription Plaques (古匾額)

Tainan is a pretty historic city, but if anything its a pretty significant place when it comes to ancient plaques.

You might be thinking, “plaques? What’s so special about them?

There are more of these plaques, which were gifts from Qing Emperors, in the city than anywhere else in Taiwan. Almost every major temple in the city has at least one, but none of them have as many as the Grand Temple - where there are more than a hundred. Obviously, I’m not going to list each of them below, but it’s important to draw attention to the five most important.

Each of the plaques will be listed below, with a rough translation, the year they were gifted to the temple, and by which emperor. These ancient Chinese idioms aren’t particularly the easiest to translate into English, so please bear with me on this one, I’ll try to get them as close as possible.

  1. Divine Protection from on land and sea”「輝煌海澨」 - 1684 (康熙23年) Gifted by Kangxi Emperor

  2. The Divine Power of the Sea”「神昭海表」 - 1726 (雍正4年) Gifted by Yongzheng Emperor

  3. The Power to Fulfill your Wishes”「佑濟昭靈」 - 1788 (乾隆53年) Gifted by Qianlong Emperor

  4. Kindness and Virtue that Transcend the Ages”「德侔厚載」 - 1853 (咸豐3年) Gifted by Xianfeng Emperor

  5. “Working hand in hand with heaven”「與天同功」 - 1881 (光緒7年) Gifted by Guanxu Emperor

Paintings (名家彩繪)

Cleaning the area around the paintings.

The paintings you’ll currently find on the walls of the temple aren’t exactly ‘historic’ given that most of them have been painted within the past century - but they were all painted by some pretty legendary artists, known in Taiwan for some very iconic work, especially when with regard to traditional temple art around the country.

  1. 1943 (昭和18年) - Chen Yufeng (陳玉峰) - located on left and right sides of the Main Hall and in the Sacred Parents Shrine.

  2. 1956 (民國45年) - Chen Yufeng (陳玉峰) - twelve images located on the walls in the Worship Hall

  3. 1971 (民國60年) - Pan Lishui (潘麗水) - painting of Mulan (花木蘭) in the Sacred Parents Hall and murals on the wall within the Three Treasure Hall.

  4. 1976 (民國67年) - Chen Shouyi (陳壽彝) - The son of Chen Yufeng repainted the original works of his father in the Worship Hall and the Main Hall after they had faded

  5. 1980 (民國69年) - Ding Qingshi (丁清石) - Recolored the work of Chen Yufeng’s 1956 works in the Worship Hall.

  6. 1997 (民國86年) - Pan Xuexiong (潘岳雄) - The son of Pan Lishui, repainted some of the pieces created by his father.

Stone Steles (石碑記)

These days, when temples want to mark an occasion or draw people’s attention to something, they install a bunch of flashing lights and a gaudy LED signboard that gets their message across. During the Qing dynasty however, it was more common to have a giant stone tablet inscribed with hard to read calligraphy and art to mark an occasion. Somewhat of a lost art form in Taiwan these days, the Grand Mazu Temple is home to several of the nation’s oldest and most prized steles. Like the paintings mentioned above, these tablets are a work of art in their own right, and even though they might just look like giant stone tablets with fading words on them to the naked eye, you should take a look when you visit the temple.   

  1. 1685 (康熙24年) -  ‘Stele of the Pacification of Taiwan’ (平台紀略碑記) - erected by Admiral Shi Lang, its the oldest stele in Taiwan and recollects the events that led up to the surrender of the short-lived Kingdom of Tungning. It is currently located on the left wall of the Worship Hall is somewhat of a national treasure.

  2. 1693 (康熙32年) - ‘Stele of Merit and Appreciation for Admiral Shi Lang’ (靖海將軍侯施公功德碑記) - The second oldest stele tablet in Taiwan, this one was erected in the temple in appreciation for the donations made by Admiral Shi Lang to Tainan’s places of worship. It’s currently located against the right wall of the Worship Hall.

  3. 1778 (乾隆43年) - ‘Record of Restoration Stele’ (重修天后宮碑記) - Essentially a record of the three year process of restoration of the temple that converted it into the layout that we know today. The stele is located along the left wall of the Worship Hall.

  4. 1830 (道光10年) ‘Record of Restoration Stele’ (重興大天后宮碑記) - A second stele that records the efforts to restore the temple. The stele is located along the right wall of the Worship hall.

Getting There

 

Address: #18, Lane #227, Yongfu Road Section 2, Tainan City

(臺南市中西區永福路二段227巷18號)

GPS: 22.996530, 120.201560

Hours: Open daily from 5:30am - 9:00pm

Located within Tainan’s historic West-Central District’s (中西區) Chihkan Cultural Zone (赤崁文化園區), which is home to the famed Chihkan Tower (赤崁樓), the God of War Temple (武廟) and a ton of amazing restaurants that focus on local cuisine. The Mazu temple is a short walk from each and is also within walking distance from some of the city’s other important tourist attractions, including the Tainan Confucius Temple (台南孔廟), Tainan Martial Arts Hall (台南武德殿), the Taiwan Prefectural City God Temple (臺灣府城隍廟), Shennong Street (神農街), as well as the train station.

If you weren’t already aware, Tainan is a very walkable city and every street and alley you pass by features an incredible amount of local history. You could easily drive a car or a scooter around town, but you’d really be missing out on a lot of the city’s charms. My best recommendation for getting around, if you’ve got your own means of transportation is to simply find a parking spot and from there enjoy the city on foot. That being said, Tainan is as modern as it is historic, so there are a number of public transport options for getting around the city and getting to this historic temple.

High Speed Rail / Train

If you’ve arrived in the city by way of the High Speed Rail you have a couple of options for getting to the area. First, you can take the free HSR Shuttle Bus to Tainan Train Station (台南火車站) and from there making use of any of the public transportation options listed below. Or you could take a more direct route by taking Tainan City Bus (台南公車) #3, #5, #88 or #99 and getting off at the Chihkan Tower stop.

Similarly, if you’ve arrived in town by train, you are within walking distance from the temple, or you could make use of any o the public transportation options listed below.

Walking

The best point of reference for getting to the Mazu temple is from Chihkan Tower, which can be found pretty easily thanks to the various methods of public transportation. From the tower, walking to the temple is quite simple as you just have to cross Minzu Road (民族路二段) where you’ll have the option of either walking past the God of War temple and through the stone alley that leads you to the temple or walking a little further east from down Minzu Road where you’ll find the newly constructed main gate to the temple.

Public Bus

There are three bus stops within three hundred meters of the temple, so you have quite a few options for taking a bus from wherever you are. Admittedly, there are far too many buses that service each of these three stops, so instead of linking to each of them below, I’m just going to provide a Google Maps link to each of the stops which will provide the list of routes and allow you to figure out which one is best for you.

  1. Chihkan Tower Bus Stop (赤崁樓站) - 80 meters from the temple

  2. West Gate Traffic Circle Stop (西門圓環站) - 180 meters from the temple

  3. Ximen Road Section 2 Stop (西門路二段站) - 280 meters from the temple

Shared Bicycles

In a recent development, Tainan has finally standardized their shared bike service with the other city’s in Taiwan, making use of the popular Youbike shared bicycle rental service instead of their own ‘Tbike’ (臺南市公共自行車). Travelers can easily access the system with their EasyCard, iPass, iCash or credit card. But, if you haven’t already, you’ll have to register your card at one of the kiosks around the city before taking off.

Similarly, if you haven’t already, I highly recommend downloading the Youbike App to your phone so that you can more conveniently find the docking station closest to wherever you find yourself.

Links: Youbike: Apple / Android

There are several docking stations located within a short walking distance of the temple and the Chihkan Cultural Zone where you’ll be able to pick up or return one of the bikes. If you’ve just arrived in Tainan on the train, you can easily grab one of the bikes in front of the station and make your way over to the Chihkan Cultural Zone area, which will probably take you less than five minutes.

Car

Finally, if you’re driving a car, there are three parking lots nearby where you’ll be able to park your car and make your way to the temple. Mind you, parking within this part of town is going to be a little more expensive than other parts of the city given that the area is a popular tourist destination. If you’re driving, you might also want to try to find street side parking on one of the side streets adjacent to Minzu Road.

The parking lots closest to the Chihkan Cultural Zone are as follows:

  1. Minchuan Road Parking Lot (民權路二段收費停車場)

  2. Fucheng Parking Lot (府城停車場)

  3. Zhongcheng Road Parking Lot (中成路停車場)

  4. Huan-an Parking Lot (環安停車場)

Whatever method you take the get to the temple, I highly recommend you visit Chihkan Tower and the God of War Temple which you’re there. While in the area, I also recommend you try some of the restaurants that line both sides of Minzu road that show case some amazing local cuisine. Or you could try the simple, yet really tasty Yamane Sushi (山根壽司) while sipping a refreshing drink from the famed Winter-melon Tea shop (義豐阿川冬瓜茶) across the street from the God of War temple. You could easily spend the better part of the day within this city block enjoying the historic sites and eating and drinking your way through the city.

And if you stay there in the area long enough, I highly recommend checking out Bar TCRC (前科累累俱樂部), one of the country’s most well-loved cocktail bars.

You might need to make a reservation though, the place is pretty popular!

Like a trip to Taipei’s Longshan Temple (艋舺龍山寺), a visit to the Grand Mazu Temple isn’t just an experience that should be shared by the religious - this temple is one of the most historic places of worship in the country and when you visit you’ll get a crash course in Taiwan’s history while walking around, especially if you include a stop at the Chihkan Tower and the God of War temple as well. The temple is more or less one of the must-visit destinations on any trip to Tainan, and as one of my personal favorite temples in Taiwan, I cannot recommend enough that you pay this one a visit while you’re in Tainan.

References

  1. Grand Mazu Temple | 大天后宮 (Wiki)

  2. Grand Mazu Temple | 大天后宮 (Taiwan Tourism Bureau)

  3. Tainan Grand Matsu Temple | 臺南祀典大天后宮 (臺灣宗教百景)

  4. Tainan Grand Matsu Temple (Tainan City Guide)

  5. 臺南祀典大天后宮 (Official Page)

  6. 全臺祀典大天后宮「明寧靖王府邸」 (台南旅遊網)

  7. 祀典臺南大天后宮志 (曾吉連)

  8. 祀典台南大天后宮(二) 鎮殿媽祖 (逸想天開)

  9. 祀典「台南大天后宮」的過去與現在 (台南市九十三年度國中小師生鄉土主題探 究比賽)

  10. 臺南大天后宮的歷史與場域之研究 (毛紹周)

  11. 台南大天后宮傳統設計之研究 (郭旭姬)


Taiwan Prefectural City God Temple (臺灣府城隍廟)

Given that you can find a City God temple in every major city, town or village in Taiwan, it shouldn’t surprise anyone to know that there are close to a hundred of these places of worship throughout the country, celebrating an ancient Chinese folk religious tradition.

Having already published articles about the Xiahai City God Temple (霞海城隍廟), one of Taipei’s most important places of worship, and Hsinchu’s City God Temple (新竹城隍廟), the headquarters of all City God Temples in Taiwan, I figured it was about time to do another deep dive about one of the nation’s other ‘most influential’ City God temples - the one that started it all, namely the Taiwan Prefectural City God Temple (臺灣府城隍廟) in Tainan. 

With a history spanning several centuries, the temple originated during the Kingdom of Tungning era, and has continued to thrive through the Qing era, the Japanese era, and the current Republic of China era.

To put it simply, this City God temple has lived through some of the most tumultuous periods of Taiwan’s modern history, and continues to stand today as one of the nation’s most important places of worship, a national treasure if you will.

That being said, when you see someone claim that it’s three and a half centuries old, it’s true, but not necessarily true at the same time. 

Link: List of City God Temples in Taiwan 臺灣城隍廟列表 (Wiki)

Surprisingly, there are few articles that go into much detail about this important place of worship, both in Chinese or English, so I’ll be doing a bit of a deep dive on this one having spent a considerable amount of time researching its history and architectural design. So with that in mind, I’m just going to get right into it. 

Taiwan Prefectural City God Temple (臺灣府城隍廟)

Few places of worship (or any building for that matter) in Taiwan can claim a history of over three and a half centuries, but if you’re looking for some, look no further than the southern city of Tainan

Tainan as an organized city has changed considerably over the various periods of Taiwan’s modern development, but starting from the Dutch era, the city became an important trading port for the European powers. Things changed considerably however when Koxinga (鄭成功) and his band of pirate ships showed up and forcibly removed the Dutch. The large fleet of ships (fleeing dynastic regime change back in China) arrived in Taiwan hoping to ‘regroup’ in order to go back to China and restore the Ming Emperor.

Koxinga, and his family quickly established a Chinese-style settlement in Tainan, which (at that time) was referred to as ’Hú-siâ’ (府城) in Hokkien, which is where the temple derives its name.

While developing the city, which would ultimately become the capital of the Kingdom of Tunging (東寧王國), it was important for the ruling class that a ‘Chinese style societal structure’ was imposed on the people of the newly formed kingdom. So, they founded a Confucius Temple, the first in Taiwan - which was tasked with training civil servants. It is said that Koxinga placed quite a bit of importance on Confucian thought and philosophy, and the construction of a shrine, where Imperial Examinations (科舉) could be held was important to the fledgling ‘kingdom’ seeking to maintain the traditions of the Ming dynasty.

With the Confucius Temple constructed in 1665, one of the next steps for the Zheng Family was to construct a City God Temple for which they could better instill the values of the newly formed system of governance. One of the things that you have to keep in mind about City God worship (I’ll explain more later) is that the City God is essentially a celestial civil servant, like a governor or a mayor - and it is the role of his court to oversee everything that is taking place within his territorial boundaries. The human rulers of a specific area were required to pay homage to the local City God, while at the same time using his example to teach people about traditional Chinese styles of governance. That being said, life in the early days of an undeveloped Tainan was harsh, and even Koxinga himself died of Malaria, so even though City God worship was beneficial to the ruling elite, it might have also been to their detriment if they weren’t living in a military dictatorship.

Constructed in 1669 as the “Sêng-thian-hú Prefectural City God Temple” (承天府城隍廟), the temple, like its Confucius Temple counterpart, was the first of its kind in Taiwan, and the City God enshrined within was considered to be the highest ranking in the ‘prefecture’, which pretty much meant the entire island of Taiwan. 

Language note: The words “Sêng-thian-hú” are the Taiwanese Hokkien pronunciation for “Cheng-tian fu” (承天府), which was the term used at the time to refer to the governing territory of Taiwan. Similarly, Chinese capitals Nanjing (南京) and Beijing (北京) were referred to as “Ying-tian fu” (應天府) and “Shun-tian fu” (順天府) respectively.

When the temple was constructed over three and a half centuries ago, it was a considerably smaller place of worship than it appears today - As you’ll see in the timeline provided below, there have been numerous occasions where the temple was renovated, expanded upon and restored, culminating in it doubling in size with additional shrines and decorations added later. 

With regard to architectural changes though, I’ll touch more on that later.

What I think is important to note about the City God temple was the special relationship it maintained with regard to the ever-changing political situation over the various eras of Taiwan’s modern history. The temple was regarded as the most important City God temple during the Kingdom of Tungning era, which lasted from 1661–1683. When the Qing took control of Taiwan, it maintained its role as the highest-ranking shrine in Taiwan until 1891 when the Qing court officially recognized the Hsinchu City God Temple as the highest-ranking temple in Taiwan. Not much changed in this regard during the Japanese-era, but when the Chinese Nationalists took control of Taiwan, they constructed the “Taiwan Provincial City God Temple” (臺灣省城隍廟) in Taipei and attempted to shift the balance of power away from the Hsinchu temple, but it doesn’t really seem like many actually paid attention to those efforts. 

These days we have a bit of a delicate situation with three high-ranking City God’s presiding over the nation - but when it comes to people’s attitudes about these temples, the Hsinchu Temple is probably the most popular as it maintains its role as the ‘headquarters’ of all of Taiwan’s nearly one-hundred City God temples. The Tainan temple on the other hand is highly respected as it is the first of its kind in Taiwan, and its history and architectural design are considered to be a national treasure, which is why it has been permitted to keep its name.

And the temple in Taipei… Well, I suppose it was useful for propaganda purposes, but it’s neither historic, nor as widely frequented as the other two.  

Below, I’ve created a timeline of some of the most important events in the temple’s long history: 

Timeline

  • 1661 (永曆15年) - The Kingdom of Tungning (東寧王國) is established in Tainan by Koxinga and his  army of Ming loyalists. 

  • 1665 (康熙4年) - The Tainan Confucius Temple is officially established nearby in an effort to promote Ming Dynasty-style governance and cultivating a local civil service. 

  • 1669 (永曆23年) - The “Chengtian Prefectural City God Temple” (承天府城隍廟) is constructed in an eastern area of the city then known as ‘Tong-an-hong’ (東安坊) near the East Gate (東門). 

  • 1683 (康熙22年) - The Kingdom of Tungning is annexed by the Qing, who take control of parts of Taiwan. 

  • 1693 (康熙32年) - The temple undergoes its first of many renovation and restoration projects. 

  • 1752 (乾隆17年) - Official records indicate that the renovation project started decades earlier is completed and the the temple design is officially a ‘Two Hall’ (兩段式廟宇) layout.

  • 1758 (乾隆24年) - 1777 (乾隆42年) - Once again, the temple is renovated and expanded on and pretty much doubles in size transforming into the layout that we see today (四進兩廂房式的廟宇建築). 

  • 1827 (道光7年) - The temple undergoes a period of repair (natural disaster related)

  • 1828 (道光8年) - The temple is officially renamed “Taiwan Prefectural City God Temple” (臺灣府城隍廟). 

  • 1862 (同治元年) - The temple undergoes a period of repair (natural disaster related)

  • 1890 (光緒16年) - The temple undergoes a period of repair (natural disaster related)

  • 1891 (光緒17年) - Hsinchu is upgraded as a city in Taipei Prefecture, and the Hsinchu City God temple is upgraded into a prefectural-level temple. 

  • 1895 (明知28年) - Japan takes control of Taiwan.

  • 1907 (明知40年) - Due to Japan’s urban renewal plans, the road in front of the temple is modernized and widened for cars, reducing the size of the front court yard. 

  • 1934 (昭和9年) - The temple undergoes another period of extensive restoration and modernization with celebrations held at the end of the project. 

  • 1937 (昭和12年) - The '爾來了’ plaque is gifted to the temple. 

  • 1945 (民國34年) - Japan surrenders control of Taiwan and the temple starts a long restoration project. 

  • 1947 (民國36年) - The Taiwan Provincial City God Temple (臺灣省城隍廟) is constructed in Taipei and the City God once again is ranked the highest in Taiwan, another awkward situation. 

  • 1952 (民國41年) - After seven years, the restoration project is finally completed. 

  • 1975 (民國64年) - The temple undergoes another period of restoration and new Door Gods are added by a famed local artist named Pan Lishui. 

  • 1982 (民國71年) - Qingnian Road is widened to 15m, reducing the size of the front courtyard (廟埕) and putting the road next to the front door. 

  • 1983 (民國85年) - The temple undergoes a period of restoration paid for by the government.

  • 2005 (民國94年) - The temple is officially designated as a protected historic site (國定古蹟).  

Now that we’ve talked a bit about the history of this temple, to better understand the deities enshrined within, I’ll introduce them individually as briefly as I can. Before I do, keep in mind that even though this temple is primarily a Chinese Folk Religion place of worship, you’re also going to find figures commonly associated with Taoism and Buddhism. The great thing about this is that unlike other areas around the world, here in Taiwan the mixing of religious traditions isn’t a big deal, and everyone has happily gotten along for the past few hundred years. 

The City God (城隍爺)

Most often referred to as the City God (城隍) in English, "Cheng Huang Ye" (城隍爺) is an influential figure in Taoism, and even though he’s considered a ‘tutelary’ deity (and isn’t one of the figures that frequents the Jade Emperor’s celestial court), he is still an important figure within the hierarchy of deities, especially within Chinese Folk Religion.  

Worship of the City God is thought to have originated over two thousand years ago, but is a religious tradition that has evolved over time with changes in political ideology, in addition to societal changes, and the concept of a modern city or town. Once a minor figure within Chinese Folk Religion, worship of the City God was popularized during the late stages of the Ming Dynasty, and continued well into the Qing Dynasty.

Considered to be a protector deity, the City God acts as a liaison between the living and the supernatural and plays an important role in assisting the earthly bureaucracy in making the ‘right’ decisions in addition to assisting governments in maintaining order. The function of the City God, whose name literally translates as the god of "walls and moats" (城 means 'city' while 隍 is a 'moat') was to act as a supernatural 'magistrate' who would make decisions about a city's governance (along with human colleagues). He was also responsible for acting as a judge for those citizens who lived within the borders of the city, in addition to working to keep it safe.

Essentially, the City God is not unlike a traditional court official governing from a throne room with a long list of assistants helping to maintain order. As a supernatural magistrate, City God shrines typically appear in a similar design to what you’d expect from a throne room, and the City God is always surrounded by his officials and protectors. From his throne room, the City God would help to oversee development of the city and its defense, and assist in solving issues for the citizens living within his jurisdiction and more importantly handing out judgement for those who have done wrong. 

Link: City God | 城隍 (Wiki)

The traditional role of the City God has evolved over time and these days fills the role of an ‘all-purpose’ deity who holds authority with regard to matters of life and death within his specific territory, but also offers assistance to people suffering from poor health, or other contemporary issues. With the societal shifts mentioned above, the City God has changed with the times and has transformed from a simple village guardian to a figure regarded as a protector deity of the modern-nation-state. 

One area that sets the City God apart from many of his supernatural colleagues is that in the early days of City God worship, if people prayed for rain and the god failed to 'bring the rain', it was within their ability to hold the god 'accountable' and punish him. Punishments for such heinous inaction on the part of the City God could include leaving his statue out in the hot sun, or having the local governor or magistrate whip him.

This is something that is pretty much unfathomable for the high-ranking members of the Jade Emperor’s Celestial Court, but is an interesting concept where even supernatural beings are able to be held accountable for not holding up their end of the bargain!

These days, worship of the City God has changed considerably, and the notion of dragging him out of his throne room to torture him is probably impossible. Even here in Taiwan where there are ninety-five temples dedicated in his honor, no one mistreated any of his statues during the most recent several-year long drought which caused water shortages around the country.

One thing that most people don’t actually realize about the City God is that his supernatural powers are divided up based on the area that he represents, which is something that is quite significant to this temple; To put it simply, if you come across a City God temple in a small town or city, his influence isn’t as powerful as that of a ‘prefectural’ or ‘national-level’ version.

The City God’s official divisions are as follows: 

  1. National Level City God (都城隍、府城隍), known formally as the Duke Xiang (享公爵)

  2. State / Provincial Level City God (州城隍), known formally as the Marquis of Xiang (享侯爵)

  3. County / Town Level City God (縣城隍), known formally as the Earl of Xiang (享伯爵)

Given that this is the ‘Taiwan Prefectural City God Temple’, the City God that is enshrined within is the National Level City God, who is regarded as the “Duke of Wei” (衛靈公) and is one of the highest ranking in Taiwan. 

Having already read the history of the temple above, you’ll know that when it was first constructed, during the short-lived Kingdom of Tungning era, where its purpose was to serve in the capital of the kingdom, which was located in present-day Tainan. With that in mind, it’s important to note that there is also a ‘Duke of Wei’ level City God in the Hsinchu City God Temple, which is currently the most influential City God temple in Taiwan as it acts as the headquarters for the rest.

Ultimately when it comes to the City God, there is a considerable amount of politics that needs to be taken into consideration, and that is usually something that takes place here with us humans who use these images to our own advantage.  

The Civil and Martial Judges (文武判官)

Accompanying the City God in the main shrine of the temple you’ll find standing statues of two of the City God’s most important officials, the Civil and Martial Judges. Starting on the right, you’ll find the “Civil Judge” (文判官) with the ‘book of life and death’ (生死簿) in one hand and a brush in the other. The function of the Civil Judge is to record both the good and bad deeds in ones life and judge them accordingly when they pass away. On the left, you’ll find the “Martial Judge” (武判官), who is responsible for the enforcement of the City God’s judgements. Holding a mace in his left hand, this judge is a much more opposing and serious-looking figure and is responsible for the scarier aspects of a City God’s duties.  

The City God’s Twenty-Four Officials (二十四司 / 司爺)

Located within a glass-covered compartment on walls to the left and right of the main shrine you’ll find twenty-four statues of the rest of the City God’s spiritual assistants. According to tradition, the twenty-four officials are an imitation of the ancient official system of governance in China with each of the officials performing a specific duty. In a contemporary sense, they are basically ‘department heads’ or ministers of each of their respective bureaus. For brevity, I won’t be going into detail about each of their names or their responsibilities, but for example you’ll find someone who takes care of labor rights, household rights, education, national defense, etc.

For reference: Their names are as follows: 陰陽司、速報司、稽查司、賞善司、罰惡司、註福司、註壽司、功曹司、良願司、提刑司、地獄司、驅疫司、感應司、文書司、檢簿司、掌案司、考功司、保安司、查過司、學政司、典籍司、督糧司、巡政司、儀禮司。

Unfortunately there isn’t very much information available about these guys in English, so if I find some time in the future, I might go into a bit more detail about them with a dedicated article. They’re actually quite interesting and are essentially a supernatural mirror into the way people perceived governance a thousand or more years ago.  

Generals Fan and Hsieh (范謝將軍)

Located at the entrance to the temple, you’ll find shrines dedicated to General Fan (范將軍) and General Hsieh (謝將軍), who together are more commonly known as the “Seventh and Eighth Lords” (七爺八爺), or the “Black and White Impermanence” (黑白無常), and are common figures within Taiwan’s religious scene, especially at temple festivals.

Often appearing in parades with long waving hands, the two generals are important members of the City Gods court and are charged with carrying out the task of escorting the dead to trial to be judged by the City God. 

Link: 范謝將軍 (Wiki)

How does one go about telling the two generals apart? 

Well, their name “Black and White Impermanence” as mentioned above is probably one of the best indications given that one of the generals appears in white while the other is black. General Hsieh, who greets you at the entrance to the temple (right side) is tall and thin, and wears while robes with long eyebrows and a beard. His counterpart, General Fan, on the other hand is short and chubby with dark skin and a black robe. 

Given that the two of these generals play an important role in carrying out the judgements of the City God, (especially with regard to the afterlife), having them at the front door is a constant reminder to anyone who enters that they should be on their best behavior. 

General Hsieh: Wearing white robes and holding a feather fan in his hand. 

General Fan: Wearing black robes and holding a square card connected to a chain that has tiger heads painted on it.

Generals Gan and Liu (甘柳將軍)

Accompanying the smaller statues of General Fan and Hsieh are two of their associates, General’s Gan (甘爺) and Liu (柳爺), who are famously part of the fierce Eight Generals (八家將), and can be commonly found roaming the streets (in human form) during temple festivals. 

Both generals are part of the “Front Line” (頭排) of the group of underworld immortals and are responsible for carrying out executions.

Interestingly, they take turns supervising people’s good and bad deeds during the day, which means that you won’t often find them appearing together unless there is an important event. 

In statue form, they appear quite menacing, but when they’re in human form in front of you on the street with their weapons used for torture, they’re even scarier. Still, they’re part of one of the coolest aspects of Taiwan temple culture, and their appearance at any event is an important occasion. 

The City God's Wife (城隍夫人)

In the rear hall, you’ll find a second City God-related shrine dedicated to his wife, who is known simply as “The City God’s Wife.”

Despite the obvious arguments of gender inequality that come with this, the City God's Wife is an important fixture within any City God temple, and a temple dedicated to the City God couldn’t be complete without a shrine to his wife, who also performs official state functions like her husband. 

While the City God is busy being the all-important political figure, his wife deals with matters of the heart and is known as a ‘Chinese Cupid’ of sorts. Tradition has it that if you’re praying for love, marriage or having children, she’s the one you’ll want to visit in order to take care of all your needs.

Making things even better, if your husband has undesirable habits such as gambling, drinking or sleeping around - she'll also help take care of that!

While it may come across as a sexist tradition to some, the City God's wife is highly respected, and with a palace of her own, she’s just as important as the City God himself. And as mentioned above, taking into consideration that these temples are often a reflection of the ancient Chinese court-system, their shrines mirror that of the roles that leaders of the past would have had.

Interestingly, in many City God temples you’ll often find photos of happy couples posted nearby the shrine to the City God’s wife thanking her for her assistance in helping people to find true love. 

In the case of this temple, the City God’s Wife is located in the Rear Shrine (後殿), but she isn’t located in the main shrine in the centre as you’ll find in other City God temples. Her shrine is to the right of the main shrine, and in another departure from what you’d typically see in one of her shrines, she is accompanied by a statue of her husband, who sits side-by-side with her. 

The Goddess of Child Birth (註生娘娘)

Following along with shrines that are predominately dedicated to women, visitors will find a statue dedicated to the ‘Goddess of Childbirth’, also known as the ‘Goddess of Fertility’ (註生娘娘), who is of the most highly respected fertility deities in Chinese Folk Religion, especially for those hailing from the Southern Fujian region of China - where many of the first immigrants to Taiwan originated. 

Holding a notebook in one hand and a brush in the other, she is in charge of recording the births of every household, and does her best to assist anyone having trouble having children. 

Ms. Linshui (臨水夫人)

Sitting next to the Goddess of Child Birth, you’ll find another Southern Fujianese goddess, “Ms. Linshui” (臨水夫人). With regard to the English translation of her name, I decided to go with “Ms.” instead of “Wife” as is the case with the City God’s partner above.

This is due to the fact that I’m not particularly sure who her husband is supposed to be and the word “夫人” doesn’t necessarily have to mean “wife” as it was a sign of respect (for women) hundreds of years ago.  

According to legend, Ms. Linshui was a well-known Taoist priest named Chen Jinggu (陳靖姑) who became a goddess after death. Known to the Hokkien people as a protector of villages, she is also known as the patron saint of women and children.

Mazu (天上聖母)

Rounding out the shrine dedicated to Southern Fujian goddesses, I’ve saved the most important for last - Mazu (媽祖), or the Goddess of Heaven (天上聖母) is arguably the most important religious figure in Taiwan, and is regarded as the patron saint of the country.

Finding a shrine dedicated to the ‘heavenly mother’ is a pretty common thing in Taiwan, and even moreso in Tainan, but it’s important to remember that when this shrine was constructed, Mazu worship in Taiwan was still relatively new.

The statue of Mazu here certainly isn’t as grand as what you’d find at the nearby Goddess of Heaven Temple (天后宮), but given that she’s situated next to some other amazing Hokkien goddesses, its a pretty important one that represents the power and important role that women play in society.  

Guanyin (觀音菩薩)

Located within the middle shrine in the rear hall is the Buddha of Compassion, known throughout the Mandarin speaking world as Guanyin (觀音菩薩).

Within the Mahayana Buddhist tradition, the Buddha of Compassion is a Buddha who is constantly reborn with the mission to ensure that all of humanity has the opportunity to reach enlightenment. 

In Tibet, the Buddha of Compassion is none other than the Dalai Lama, but in Taiwan, China and other parts of Asia, the Buddha manifests as the mother-like Guanyin. Here in Taiwan, Guanyin is one of the most highly regarded Buddhist figures, and her worship transcends Buddhism, which is why you’ll often find shrines in her honor within Taoist and folk religion temples, like this one. 

With that in mind, as the Buddha of Compassion, whenever something bad happens, Guanyin is always one of the first religious figures that people think of, so it shouldn’t be surprising that there is a shrine in her honor in this temple.

What does surprise me however is that her shrine is located in the middle position, which in most cases should be reserved for the throne of the City God’s Wife. Unfortunately I’ve been unable to find any explanation as to why it was set up in this way. 

The Eighteen Arhats (十八羅漢)

Given that the main shrine in the rear palace is primarily dedicated to Guanyin, a Buddhist figure, you’ll find statues of the ‘eighteen disciples’ of the Buddha located along the left and right walls, with nine on each side. The eighteen arhats are interesting figures, so if you’re visiting the temple, I recommend taking a close look at each of the statues as some of them are likely to appear a bit differently than what you’d expect from one of the Buddha’s disciples. 

Like the twenty-four judges above, I won’t be going into too much detail about the arhats as there is already an ample amount of information about them online. If you’d like to know more, click one of the links below. 

Link: Eighteen Arhats | 十八羅漢 (Wiki)

Ksitigarbha (地藏菩薩)

Kṣitigarbha Buddha, known in Taiwan and China as “Dizang” (地藏菩薩), and Japan as “Jizo”(じぞうぼさつ), like Guanyin mentioned above is another Buddha who has vowed to continue being reborn until his mission is complete. In this case though, Ksitigarbha’s mission is to ensure that all of the people suffering through ‘karmic hell’ are eventually guided through to enlightenment. The role this Buddha plays in countries across Asia differs slightly, but taking into consideration how Taiwan has been influenced by both Chinese and Japanese Buddhist traditions, his worship tends to be a mixture of the two.

Link: Kṣitigarbha | 地藏菩薩 (Wiki) 

In Japan, he plays a role similar to Taiwan’s Earth God (described below), and is also a protector of women and children, and pays special attention to unborn children. In the Chinese tradition, he is the person people visit to pray for blessings to the souls of their ancestors.  

The Earth God (福德正神)

Located along the passageway to the right of the rear shrine you’ll find a shrine set up another one of Taiwan’s most important deities, the Earth God (福德正神).

If I was to make an analogy about deities in Taiwan, shrines dedicated to Mazu would be a bit like Family Mart (全家) while shrines dedicated to the Earth God are like 7-11 convenience stores. This is to say that there are certainly more 7-11’s around the country, but Family Mart is still pretty awesome.

Even though Mazu is regarded as the patron saint of Taiwan, the Earth God remains to be one of the most highly worshiped deities around the country, and temples and shrines in his honor can be found pretty much everywhere. Shrines to the Earth God are likely to be found in almost every major temple, so even though the shrine here isn’t at the forefront of the temple, his inclusion is still a necessity.

Accompanying the Earth God is one of my favorite folk religion figures, the Tiger General (虎爺將軍), who you’ll find located just below the shrine to the Earth God. Legend has it that the Tiger General is so ferocious that only the Earth God can contain him. While it may appear that the Tiger General is the Earth God’s pet, I wouldn’t say something like that out loud.

When it comes to evil spirits, the Tiger General is especially skilled at scaring them off. He’s also known as the protector of children, and is known for his skills when it comes to helping people make money. 

The God of Matchmaking (月下老人)

Last but not least, the temple features a modest shrine to the ‘God of Matchmaking’, known literally as the “Old Man Under the Moon” (月下老人) or “Yue Lao” (月老). You might be thinking, “Hey doesn’t the City God’s Wife already cover that?”, and you’d be right. But within Chinese Folk Religious traditions, the God of Matchmaking is your go-to person for all romance-related problems, whereas the City God’s wife focuses much of her power on taking care of women. 

The shrine to the God of Matchmaking is located along the western wall of the rear hall, and you’ll notice that there are lots of photos of couples next to the shrine. Sometimes the photos of these couples are fun to look at, because they’re all people who visited the shrine looking for love, and came back later to thank the god when they found someone. 

Architectural Design

Even though the layout of the temple has changed considerably over the past three and a half centuries, it continues to maintain what you’d consider a traditional architectural design. Constructed in a North-facing-South (座北朝南) direction, the layout consists of ‘three hall and two-passage-way’ design (三殿兩護龍). What this means in layman's terms is that the temple was constructed according to Feng Shui, and is rectangular in shape with three different sections, a common design for temples.

With regard to the three ‘halls’ (殿), the front reception area (山門) acts as the one of the halls, while the City God shrine is located in the ‘Main Hall’ (正殿), and the ‘Rear Hall’ (後殿) is located behind that and features another shrine room. The two ‘passage ways’ on the other hand are located along the east and west-side walls, and in contemporary terms would be referred to simply as ‘walkways’ (走廊), but in a folk religion setting they are given the official name, ‘protector dragons’ (護龍), and allow visitors to make their way from the front entrance all the way to the rear courtyard in a counter-clockwise direction.

Starting from the front of the temple, you’ll find that the entrance has three doors, known locally as the Dragon Door (龍門), Middle Door (中門) and Tiger door (虎門). Located on either side of the Middle Door you’ll find a pair of beautifully carved Stone Lion Guardians (石獅), each of which date back to 1937 and amazingly continue to have their Japanese-era dates displayed on the base, which reads “Showa Era Year 12” (昭和丁丑). 

The roof of the front hall is designed with a traditional single-layered swallow-tail design (單脊燕尾造型), and is decorated with green porcelain dragons on each of its rising ridges. On the apex of the roof you’ll find the famed ‘Sanxing’ (三星) deities Fu, Lu and Shou (福祿壽) who are considered to the be embodiment of ‘Fortune’ (福), Prosperity (祿), and Longevity (壽), and are commonly found on temple roofs all across Taiwan. You’ll also find other cut-porcelain carvings (剪瓷雕) along the roof, which have become indicative of traditional Hokkien-style architecture in Taiwan.   

Links: Sanxing | 三星 | Hokkien Architecture | 燕尾脊 (Wiki) 

It’s not often that I actually learn new words when I write these articles, but as you enter the temple you are met with an area reserved for prayers referred to as a ‘Chuan-tang prayer pavilion’ (川堂拜亭), admittedly a loose translation.

This part of the temple features an area where guests are free to sit on one of the provided cushions to worship the City God. The reason why I’m learning a new word here is due to the fact that these prayer areas aren’t as common in temples anymore as most people complete their prayers while standing. 

Coincidentally in a lot of temples, this particular area would be a roofless court-like area that allows for natural light to come into the temple and the burning incense to leave. However, as this is a City God Temple, it differs in its design as temples like this are traditionally constructed to be a bit ‘darker’ than your average temple, creating what should be a more solemn and mysterious space like that of a governmental office.

With this in mind, you’ll probably also notice that the elaborate designs and bright gold decorations that you find in other Taiwanese temples aren’t utilized here as the City God prefers a much more subtle throne room given that he has little use for luxurious decorations.

Taking into consideration that there is an open space along the eastern and western walls between the Front Hall and the Main Hall, its important to take note of the network of pillars located between the ‘Chuan-tang’ pavilion and the Main Hall. In total there are eight stone pillars, with four on each side, and while they are decorative they serve a more functional purpose in helping to keep the roof above in place. 

Once you’ve passed through the Main Hall and go to the rear, you’ll find a much more open space  and brighter space featuring an open roof that allows an ample amount of natural light into the rear shrine room. One of my favorite features of the rear hall though isn’t its more bright and spacious design but the round open passage doors along the eastern and western walls. These round doors can be found in some of Taiwan’s older places of worship, but it is an architectural design that has been lost over time, which is a shame. 

Although the rear hall is a lot more spacious and brighter, it is also a bit cramped as it features three shrines in the center, with two more to their sides and another against the wall. With more than eighteen deities featured within the rear hall, its spaciousness can also come across as a bit busy, especially if there are a lot of people visiting. 

Finally, if you continue walking beyond the rear hall to the back of the temple you’ll come across something that is quite odd in Taiwan - grass!

The temple is home to a ‘backyard’ of sorts where there is a very nice public washroom, and a large paper burner next to a garden with grass and a beautiful Chinese-style open air pavilion. The area is quite nice, but with the recent construction of a luxury apartment building to the rear of the temple, the view from the garden isn’t as nice as I’m sure it used to be.

That being said, if you’re doing a walking tour of the area and require a nice washroom to relieve yourself, I highly recommend this one! 

While this is more of a general description of the architectural design of the temple, I do want to focus on a few of the decorative elements that really stand out. If you visit, it’s important that you take note of these things as they’re important cultural relics here in Taiwan. 

Stone and Wood Carvings (石雕/木雕)

While the temple might differ from other temples in Taiwan with regard to its decorative elements, it’s important to note that the major difference is that it doesn’t go over the top. The decorative elements in the temple are subdued, but also aged at the same time. So while you don’t experience the over-saturation of color that you get at most temples, if you pay close attention, you’re going to notice that there is considerable artistic mastery on display throughout the temple, but the devil is in the details, and you really have to take some time to notice it. 

With regard to the stone carvings, you’ll want to pay attention to the pillars mentioned above, each of which feature stone carvings. Located between the Middle Door at the front entrance you’ll find two beautifully carved dragon pillars and several murals along the walls nearby.

Likewise along the eastern and western walls between the Front Hall and the Main Hall you’ll find two large murals of a dragon (天井龍堵石刻) and a tiger (天井虎堵石刻). The murals position, following the tradition of the ‘dragon’ door and the ‘tiger’ door with the dragon on the right side and the tiger on the left. 

When it comes to the wooden carvings, you’ll have to look to the sky to find them. The wooden carvings, which have been masterfully crafted are located along along the network of trusses and beams that help to keep the roof in place and distribute its weight. You are going to find various designs within the carvings, which are usually of ancient Chinese mythical creatures, but are all really beautiful and have been part of the temple for hundreds of years.

The most obvious of all the wood carvings, or at least the one that is at eye-level is the beautifully crafted wooden panel window (木雕門版) on either side of the middle door. When it comes to these hand-carved wooden panel windows, they’re somewhat of a dying art in Taiwan, and in most cases you’ll find them today made of cement, which is a shame.

For foreign visitors looking at the mural, you might think its just a hodge-podge of images, but in actuality both murals, if put together are telling the story of the ‘Eight Immortals Crossing the Sea’ which is one of the most popular Taoist myths. 

Link: The Eight Immortals Cross the Sea (The Daoist Encyclopedia)

The Iconic Plaque (爾來了匾額)

As soon as you enter the temple, you’re met with one of it’s most well-known, and highly-regarded decorations, the “You’re finally here!” plaque.

Considered to be one of Tainan’s ‘four famous plaques’ (臺南四大名匾), it is one of those things that most locals in Taiwan are aware of, even before they visit the shrine as it is often covered in history textbooks in Taiwan’s schools.

For reference: The other three plaques are: 「一」at Tiantan Temple (天壇), 「了然世界」at Zhuxi Temple (竹溪寺), and「大丈夫」at the Martial Temple (祀典武廟). 

The black plaque features beautiful golden calligraphy that, as mentioned above, translates as “You’re finally here!” (爾來了) a phrase that is used somewhat ironically, or in a condescending tone.

The reason for this is quite simple - the City God is pretty much always watching you, and he knows the good things you’ve done, as well as the bad. For westerners, I guess this is comparable to Santa Claus, but unfortunately for children Santa doesn’t have a temple where you can go to apologize for your transgressions. As a judicial deity, the City God has control over Yin and Yang (陰陽), and its his role to deal out demerits for any karmic misdeeds in your life.

So, when people arrive and see this beautiful plaque, its a reminder that you not only have to be a better, more righteous person. You should likewise come often to confess those sins to the City God so that when you pass away, your demerits don’t outweigh the good things that you’ve accomplished. 

The Abacus (大算盤) 

Located in the rafters directly opposite the plaque, you’ll find a giant abacus, which is another one of the most important decorative elements of the temple. Considered to be one of the City God’s most important tools upon which he comes to a conclusion about a person’s life, the abacus is a reminder to people, like the plaque, that you should always be on your best behavior. 

Both the plaque and the abacus were donated to the temple upon the completion of a major restoration project in 1937

Door Gods (門神)

The Door Gods at the shrine are classified as“Martial” (武將) and “Literary” (文官) with Qin Shubao (秦瓊) and his counterpart Yuchi Gong (尉遲恭) located on the middle door (中門). Qin is the lighter-skinned man carrying a sword while Yuchi has dark skin and carries batons.

The two figures are legendary figures who lived the Tang Dynasty (唐朝), and are commonly displayed as door gods on temples thanks to a story that explains how they once stood guard at the door of the emperors bedroom to protect him from angry ghosts, allowing him to rest peacefully.

On the Dragon Door (龍門), you’ll find a ‘Eunuch’ (宦官) holding a peony and an incense burner while the Tiger Door (虎門) on the other side features a ‘Palace Lady’ (宮女) holding a teapot. Both of these door gods are used to indicate that there is a royal palace on the inside. 

Even though the temple itself is hundreds of years old, these beautifully painted Door Gods only date back to 1976 when they were repainted by famed Tainan artist Phuann Lē-tsuí (潘麗水), whose work can be viewed all over Taiwan today in many of the nations most important places of worship. 

Link: Pan Li-shui's art (The Bradt Taiwan Taiwan Guide)

Getting There

 

Address: No. 133, Qingnian Rd., West Central Dist., Tainan City (臺南市中西區青年路133號)

GPS: 120.20906/22.991987

Located a short distance from Tainan Train Station, getting to the City God Temple is relatively easy if you’re coming from out of town.

That being said, if you’re staying closer to some of the city’s larger attractions like the Confucius Temple, or Chikan Tower, there is a bit of a distance between them. Unfortunately, given the temple’s proximity to the railway station, there aren’t too many buses available that will bring you directly to the temple. 

Train / High Speed Rail

If you’re taking a train to Tainan, the temple is less than a ten minute walk away from the railway station, so if you’re not carrying too much with you, you’ll probably just want to make your way on foot. To get there, you’ll turn left from the station front and walk down Beimen Road (北門路) until you reach Qingnian Road (青年路) where you’ll turn right and walk until you get to the temple. 

If you’re arriving in Tainan from the High Speed Railway Station (台南高鐵站), you’ll have to first take the free shuttle bus to the Tainan Railway Station and then follow the steps above. 

Bus

Most local travel sites recommend you take Bus #2, 5, 6, 7, 15, 19, 25, or 26 and get off at the Tang Te-chang Memorial Park bus stop (民生綠園站) and either walk or take a taxi from there. One thing you’ll want to note is that the park itself is located within a traffic circle, so when you get off the bus you have to be careful about which direction you head in when you are making your way toward the temple. 

Link: Tainan City Bus Website

Scooter / Bicycle

While in Tainan you unfortunately won’t have access to Youbikes like other cities around the country, but the city has its own version called “T-Bike,” which you are encouraged to make use of during your visit. Likewise, if you have a drivers license you can also sign up for the convenient GoShare scooter service that’ll allow you to cheaply scoot around the city. 

Links: GoShare | T-Bike

As is the case in most of Taiwan’s large cities, you’ll also find scooter rental shops near the railway station where you can rent a scooter for the duration of your stay. The prices per day are usually pretty fair, but if you don’t have a local license, you might be refused. 

If you’re asking me, Tainan is a very walkable city and one of the best things about a visit to the city is that as you walk around town you’re able to find so many secret crevices in alleys that are hidden from your average tourist. With a distance of less then 10-20 minutes walking from anywhere you’ll want to visit in the historic district, you’ll certainly enjoy your visit better if you walk. 

While in Tainan, you’ll also want to check out the Koxinga Shrine (延平郡王祠), the Confucius Temple (台南孔廟), and the Tainan Martial Arts Hall (台南武德殿), all of which are nearby. Likewise, you may have already heard that it’s pretty much the culinary capital of Taiwan, so if you are wondering where or what to eat, I recommend checking out this article about how to Eat Like a Local in Tainan to help guide you through the city.

Hours: Open daily from 06:00 - 21:00

References

  1. 臺灣府城隍廟 (TW CITY GOD)

  2. 臺灣府城隍廟 (Wiki)

  3. 臺灣府城隍廟 (Taiwan Gods) 

  4. 臺灣府城隍廟 (Taiwan Digital Archives)

  5. 臺灣府城隍廟 (臺南宗教藝術)

  6. 臺灣府城隍廟 (台灣文化部)

  7. 臺灣府城隍廟 (台南咬一口)

  8. 台南-台灣府城隍廟 (Just a Balcony)

  9. 台灣城隍廟{二} (台南顯佑堂安溪城隍爺的部落格)

  10. Taiwan Fu City God Temple (TW CITY GOD)

  11. Taiwan City God Temple / 臺灣府城隍廟 (Travel Tainan / 台南旅遊網)

  12. City God Temples (Premier Hotels)

  13. Chenghuang—City God, Judge, and Underworld Official (Digital Taiwan)