Taiwan Religious Culture Map

The roof over the main gate of the Lukang Long-shan Temple has double eaves with an extra gable in the center (zhòngyán sìchuídǐng). The design increases the height and number of levels of the roof to give the temple a greater sense of magnificence and solemnity.

Caisson ceilings are the pinnacle of ceiling design in traditional Chinese architecture. In temples, they add a sense of imposing loftiness to the interior. The Chinese term for caisson literally means “algae well” (zǎojǐng). Since algae usually float on top of water, this name symbolizes divine power “watching over” the believers below. Moreover, because traditional Chinese buildings were constructed of wood, fire was a constant danger and the water nature of caissons insinuates protection against fires. Caisson ceilings are usually decorated with colorful carvings and designs, and can be circular, square, hexagonal, or octagonal in shape. The octagonal caisson ceiling in Lukang’s Long-shan Temple is the best designed in Taiwan. It was built during the temple’s 1831 reconstruction. This masterpiece is the oldest of its type in Taiwan. Installed over the Theater Pavilion, this ceiling makes a great backdrop for the performances.

Placed at the center of the shrine in the main hall of the temple is a Tang dynasty style bronze Guanyin statue called the Guanyin of Seven Treasures (qībǎotóng guānyīn) because it is wearing a seven-treasure pentagonal crown. The statue sits cross-legged with eyes slightly open and the hands in the meditation position in front. This Tang style statue is a classic work from the late Ming dynasty.

The dragon columns supporting the Worship Hall (an open area in front of the main hall for believers to make preparations to pay respects to deities) were reinstalled during the 1852 renovation. The design features a dragon in high relief with its tail circling up each column. The dragons hold a pearl in one of their front paws and another pearl in their mouths. Their fangs are exposed, giving the carvings a very lifelike appearance. On the back of each column are carved four auspicious animals, the phoenix, qiling (a dragon-like creature with a horse’s body), crane, and turtle. These columns are also referred to as the Four Spirit Columns (sìlíngzhù), since these creatures are seen as symbols of rarity, preciousness, auspiciousness, and longevity.

The front hall of Long-shan Temple is called the Five Portal Hall, so named because of the five pairs of entry doors along its front side. On the center pair is painted the two principal door guardians of Buddhism, Weituo and Qielan. The Four Great Kings of Buddhism adorn the other four pairs. All were created by Lukang’s renowned religious artist Guo Shin-lin (1902 – 1973). Many of the other colorful paintings in the temple are also his works. The two finely sculpted dragon columns in front of the hall are the result the 1831 reconstruction. All of the creatures carved on the columns are called by homophonic names with auspicious connotations. For example, on each of the columns are five white cranes. The ten cranes together allude to the Chinese saying shíquánshíměi, which means to be perfect in every respect. The cranes are holding lingzhi mushrooms in their mouth, a symbol of longevity and happiness. The bottom of the stone drums placed to support the door jambs at the entrance are carved with depictions of two young boys, one holding a lotus leaf and the other a plantain leaf. The Chinese words for boy, lotus, and plantain leaf combine to make a homophone for a Chinese saying expressing wishes for many honorable descendants (liánzhāo guìzǐ).