Shilin Shen Nong Temple Introduction
Today, the architecture of the Shilin Shen Nong Temple is designed in a two-entrance, five-bay layout. There are bell towers and drum towers situated above the side rooms on either side of the San Chuan Hall. The main hall of the Shilin Shen Nong Temple has two stories, with the deity Shen Nong Da Di worshipped at the center of the second floor, while the Fude Zheng Shen is worshipped at the center of the first floor. In addition to the three doors of the San Chuan Hall, each side room also features a door; since Shen Nong Da Di is a deity of imperial status, the temple can have more than five doors on its façade to showcase the deity's noble standing. During the imperial era of ancient China, the court mandated that the architectural style of temples must align with the rank of the deities being worshipped. The Shilin Shen Nong Temple was originally named "Zhi Lan Temple," dedicated to the worship of the Earth God, Fude Zheng Shen. However, during the reign of Qianlong, local residents renovated the temple for Fude Zheng Shen and opted for a tail-style roof, which was only permitted for use by deities of imperial rank. This highlighted the significant status of the Earth God in the eyes of the settlers, but also made the temple overly ornate and non-compliant with regulations. To avoid penalties for violating temple building codes, the local community added the worship of Shen Nong Da Di, a deity of imperial rank, as the main deity. This change reflects a compromise and integration of Han Chinese temple order, familial rituals, and local beliefs. The Shilin Shen Nong Temple has undergone several renovations but still retains many old features, such as the stone dragon columns in front of the San Chuan Hall, as well as stone beams and stone-carved windows inside the temple. There are also items from the Qing Dynasty such as the longevity and prosperity seats from the Qianlong era, and incense burners from the Xianfeng era, as well as statues of Shen Nong Da Di and Fude Zheng Shen carved during the Qing Dynasty. The columns on both sides of the main hall are embedded with stone pillars from the Japanese occupation period, and the design of the main hall's walls retains the characteristics of that era, using Guanyin Mountain stone which is difficult to replicate in contemporary times. The temple also preserves numerous stone tablets documenting the history of temple repairs and donation lists, as well as a pavilion for burning paper offerings, which witness the developmental process of the Shilin area and its rich historical literary tradition. Inside the Shen Nong Temple, multiple statues of Shen Nong Da Di are enshrined. The representations of Shen Nong Da Di typically come in two forms: one as a naked, barefoot figure adorned only with leaves around the shoulders and waist, holding golden rice ears, symbolizing the invention of agriculture and the transition from primitivism to civilization; the other portrays the deity in royal attire, symbolizing the high status of Huaxia civilization and the ancestors of the nation. The statue of Shen Nong Da Di worshipped at the Shilin Shen Nong Temple depicts the primitive man, with both red and black faces. The red face symbolizes the healthiness of Shen Nong after consuming grains, while the black face represents him after consuming poisonous herbs—a commemoration of his sacrifices in searching for herbal remedies for humanity. On another note, the Shilin Shen Nong Temple houses many pieces of pottery made from high-temperature colored glaze, crafted by Chen Zhuan You, a disciple of Hong Kun Fu (1911- ), who was a prominent figure in the decorative arts of temple architecture in mid-20th century Taiwan, known as one of the "Five Tiger Generals." The decorations of Taiwanese temples often feature themes from traditional theater, and a single thematic story displayed on a wall is referred to as a "Zhu Tou." Inside the San Chuan Hall of the Shen Nong Temple, there are six pieces of Jiaozhi pottery, along with "Shuicherdou" near the roof on the front hall wall, and "Dui Kandu" on the opposing side walls, totaling twelve pieces of Jiaozhi pottery, each containing more than seven figures, amounting to a significant number of characters with intricate poses, preserving a rich array of traditional decorative art.
