Wufeng Temple Introduction
Historical Development: Construction Year: Year 25 of Jiaqing (1820) Main Deity: Wu Feng The earliest known Wu Feng Temple originated in the 25th year of Jiaqing (1820), when the then interpreter Yang Mi converted the interpreter's office into a shrine, commonly referred to by locals as the Alishan Loyal King Temple. In 1906 (the 39th year of Meiji), the temple was destroyed in a major earthquake. In 1913 (the 2nd year of Taisho), the temple was rebuilt with donations funded by the Japanese government, with the fifth Governor-General of Taiwan, Sakuma Samata, serving as the main officiant at the completion ceremony. In 1931 (the 6th year of Showa), it was rebuilt again, expanding to include the worship hall, the main hall, and two side rooms, as well as a large garden; during the completion, the fourteenth Governor-General, Ota Masahiro, visited to worship. After World War II, several renovations were carried out, adding a relic display room and a stele pavilion, and in 1985 (the 74th year of the Republic), it was expanded into a memorial park, along with the addition of a rear hall and side rooms. The entrance archway of the temple is grand and solemn, adopting the "Five Mountains Facing the Sky" style of gable. Beyond the archway, instead of a typical temple square, there is a vast area of lush greenery and walkways, emphasizing that the shrine focuses on commemoration rather than large-scale ceremonial activities. The worship hall and main hall serve as the primary sacrificial spaces; the rear side rooms function as reception rooms and relic display areas, while the rear hall is dedicated to the enshrining of Wu Feng. Architectural Overview: The most exquisite structure of the Wu Feng Temple is undoubtedly the worship hall, supported by eight pillars with capitals mimicking Western architectural styles. The wood carvings in the worship hall are exceptionally detailed, with lions and qilins carved into the beams as structural connections, while other decorative themes include traditional theater, flowers, birds, and even fish, shrimp, and crabs. Furthermore, the colorful paintings in the worship hall are the works of the well-known Lukang artist Guo Xinlin, known for their rich and refined colors. The roof of the worship hall features long, slender ridges and intricate cut-and-paste decorations, while the side gable is adorned with owl patterns, making it quite unique. Although the quantity of painted and carved elements in the main hall is not as high as in the worship hall, they are still quite detailed and exquisite, especially the colorful paintings of civil officials and door gods, which are vibrant and distinct, representing a masterpiece. Architectural Features: The earliest known Wu Feng Temple, originating in the 25th year of Jiaqing (1820), was converted by the interpreter Yang Mi from the interpreter's office into a shrine, commonly referred to by locals as the Alishan Loyal King Temple. In 1906 (the 39th year of Meiji), the temple was destroyed in a major earthquake. In 1913 (the 2nd year of Taisho), the temple was rebuilt with donations supported by the Japanese government, with the fifth Governor-General of Taiwan, Sakuma, officiating the completion ceremony. In 1931 (the 6th year of Showa), it was rebuilt again and expanded to include the worship hall, the main hall, and two side rooms, along with a large garden; during the completion, the fourteenth Governor-General, Ota, visited to pray. After World War II, multiple renovations were performed, increasing the relic display room and stele pavilion, and in 1985 (the 74th year of the Republic), it was expanded into a memorial park with additional rear halls and side rooms. The entrance archway of the temple is grand and solemn, using the "Five Mountains Facing the Sky" gable style. Beyond the archway, instead of a typical temple square, there is a large area of greenery and walkways, emphasizing that the shrine focuses on commemoration rather than large-scale ceremonial activities. The worship hall and main hall are the primary sacrificial spaces; the rear side rooms serve as reception areas, relic exhibition rooms, and the rear hall enshrines Wu Feng.
