Taiwan Religious Culture Map

Penghu Mazu Temple’s current layout and appearance are the result of its 1922 expansion, which was supervised by artisan Lan Mu (1872 – ?) of Chaozhou, Guangdong. Hence, its architecture differs from most of Taiwan’s Minnan style temples of the same period. The overall layout consists of three halls (the Sanchuan Hall, the main hall, and the Qingfeng Pavilion or rear hall) separated by courtyards. The halls are connected by two long corridor wings that run from front to back of the temple complex. Since the temple was built on a slope, the buildings gradually rise in elevation. The temple’s exterior wall is built of Penghu’s signature coral stone. The stone steps leading from the temple’s front square to the Sanchuan Hall were created in a unique polygonal design—other Taiwanese temples use round or rectangular stone steps. The three-section Sanchuan Hall is connected to the left- and right-hand wings in such a way as to enclose the temple and keep out wind-blown beach sand. In addition to showcasing Penghu’s unique architecture, the temple also houses a trove of decorative carvings and colorful paintings. The remarkable wood carvings were mostly done in camphorwood and are a good example of the intricacy of Taiwan’s contemporary temple wood carving techniques. Several Chaozhou-style features can be observed in Penghu Mazu Temple, including the rough-hewn rectangular sandalwood tie beams in the richly decorated Sanchuan Hall, the hanging extensions under the eaves carved as oversized flowers, the rectangular shape of many of the columns in the temple, and the bracket blocks added at the junctions of the tie beam and pillars of the Sanchuan Hall.

The granite stele commemoration Shen You-Rong’s meeting with Dutch Captain Wijbrand van Waerwijck in Qingfeng Pavilion is nearly two meters tall and thirty centimeters wide. It is the oldest temple stele in Taiwan. In 1604, the Dutch East India Company sent warships led by Admiral Wijbrand van Waerwijck to China to make trade demands, but a storm off of Guangzhou forced them off course and they landed in Penghu instead. Ming dynasty General Shi De-Zhen sent regional military commissioner Shen You-Rong to Penghu to conduct negotiations which culminated in a Dutch retreat. The stele was erected as a memorial to this diplomatic achievement.

The intricate carving over the lintel above the entrance to the Sanchuan Hall was the work of carpenters influenced by the Lingnan school. Their skill is evident in the meticulously layered openwork carving, which depicts historical events and nature themes. They are the most significant element of Penghu Mazu Temple’s decorative arts, and among the most brilliant temple carvings in all Taiwan.

Penghu Mazu Temple’s powdered gold-leaf paintings can be found on either side of the shrine in the main hall. Three paintings grace the lintel and four more are housed within the shrine; all were created by master Zhu Xi-Gan (1895 – 1940), of Zhangzhou, Fujian. Powdered gold-leaf paintings are produced by grinding gold-leaf foil into a powder which is then applied to a black background that is not yet completely dry. The shading is accomplished by adjusting the density of the gold powder. A skillful master can create an exquisite visual effect. This painting technique is uncommon in Taiwan, and in Penghu is only seen in Mazu Temple. These character-themed powdered gold-leaf paintings are one of Mazu Temple’s significant decorative achievements. After the restoration, the paintings were encased in glass for their protection.

The face of the Mazu statue in the main hall was worked in gold. A majestic crown sits on her head and the expression on her face is merciful and kind. In 1683, Qing dynasty admiral Shi Lang defeated the Kingdom of Tongning’s garrison forces to take over Penghu. Shi Lang credited his victory to the blessings and protection of Mazu’s spirit. He submitted a memorial to the Kangxi Emperor in 1684 requesting the appointment of Mazu to the exalted rank of Tianhou (Heavenly Empress) as well as the bestowment of a golden-faced Mazu statue. The temple was renamed Tianhou Mazu Temple.

The eight doors inset into the main hall entryway were added after 1945 for protection against typhoons and monsoon rains. The carved screen panels feature carvings of flowers, birds, and auspicious themes related to the four seasons, all of which which symbolize an abundance of wealth and happiness. The meticulous detail of the carvings produced exquisite works of art.

A board inscribed with the phrase “Blessings upon all Intellectuals” (gòngbìsīwén) is positioned at the top of the main hall’s left corridor. It was a gift from Penghu’s advanced scholar (jinshi) Tsai Ting-Lan, who returned home to make obeisance to his ancestors after passing the imperial examination in 1844. He arrived in time for the completion of Mazu Temple’s 1845 restoration and presented this inscription board to the temple in appreciation of Mazu’s blessings upon students. The board was made in a unique design of gilt letters engraved on a black surface. It was originally positioned on the second floor of the Qingfeng Pavilion after it was restored in 1923. It has now been moved to the top of the corridor to the left of the main hall.

The Qingfeng Pavilion (the rear hall), also known as the Gong Shan Building, served as a gathering place for scholars in times past. The building was added to Penghu Mazu Temple during its 1925 renovation. The name of the pavilion—Qingfeng—describes a cooling breeze wafting through a high-ceilinged chamber. The details of the pavilion’s wood carvings are characteristic of Chaozhou-style architecture. The Pavilion houses a display that showcases historical artifacts of Penghu and artwork from the temple. Chief among these are the stone stele detailing Shen You-Rong’s meeting with Captain van Waerwijck, the Penghu harbor map drawn by the Dutch, a rubbing of a stone tablet commemorating the temple’s restoration, a rubbing of the inscription board “Blessings upon the Intellectuals,” as well as old photos and drawings of past restorations and antique materials and components that were removed from the temple buildings during its many reconstructions.