Hidden Gem: Water God Temple
Southeast of Guangling County in Shanxi, on Hushan Island, stands an ancient building surrounded by water on all sides, accessible only by a single bridge. In Qingming 2025, I arrived here. From afar, a pool of clear water supports a solitary island, the water surface wide and rippling. A cultural protection stele stands at the bridgehead; crossing the bridge leads to the Water God Temple, also called Feng Shui Shen Ci. The Water God Temple is octagonal, surrounded by a covered corridor. The mountain gate has a single-eave hard mountain roof, with a plaque reading "Xiao Fang Hu," inscribed by Zhu Xiudu, the Qing Guangling county magistrate. Fang Hu refers to a legendary sea mountain. To the west of the gate is the Drum Tower, and to the east, the Bell Tower, with an iron bell cast in the fifth year of the Ming Jiajing reign.
Behind the mountain gate is the Holy Mother Hall, three bays wide, with a single-eave hanging mountain roof, decorated with yellow glazed tiles. Inside the hall is a statue of the Water God—the Holy Mother of Jiujiang. The east wall features the painting "Dragon Mother Leaving the Palace to Bring Rain," and the west wall shows "Returning to the Palace After the Rain." Guangling belongs to Datong in Shanxi, located on the northern Jin Plateau, a harsh frontier land, so the murals express wishes for favorable weather and abundant harvests. Directly behind the hall is the Guanyin Hall, housing Guanyin in the center, with Manjushri and Samantabhadra on either side, and eighteen Arhats painted on the two walls. The Taoist Holy Mother and Buddhist Bodhisattvas coexist here, connected yet undisturbed by each other, which is quite unique.
In front of the Holy Mother Hall stands the "Lingying Pagoda," built during the Qianlong period of the Qing dynasty. It is a seven-story, hexagonal, solid brick pagoda. To the west of the pagoda, a moon gate is set in the courtyard wall, with the inscription "Mo Chi" (Ink Pool) on the lintel. Standing behind the gate, the pagoda fits perfectly into the moon gate, one standing and one lying down, one tall and one low—the pagoda as a brush, the pool as an inkstone, forming a perfect brush-and-inkstone motif. This small temple on the frontier not only prays for favorable weather but also hopes for flourishing literary fortune.
Beyond the moon gate is the Hundred Craftsmen Shrine, where statues of the three ancestral founders of trades are enshrined: in the center, the Supreme Lord Laozi (God of the Fire and Metal Furnace), to the left Fan Li (ancestor of merchants), and to the right Lu Ban (patron saint of craftsmen). On both sides, there are 41 murals depicting various tradespeople—blacksmiths, carpenters, tailors, peddlers... Each mural is accompanied by a dedicated building backdrop and work scenes. Though the lines are rough, the expressions are vivid, making it Guangling’s own version of the Qingming Riverside Scroll. Centuries later, few ask about the stories of immortals, but the daily lives of common folk remain captured for every visitor to see.
Finally, on the east side of the Holy Mother Hall is the Wenchang Pavilion, built during the Qianlong era of the Qing dynasty. It is a fully wooden structure with two stories, four corners, a pointed roof, and flying eaves. Inside, the Wenchang Emperor is enshrined. It is one of the few surviving ancient wooden buildings in Guangling.
Leaving the Water God Temple, crossing the stone bridge and looking back, a pool of clear water embraces the solitary island, with the reflection of the seven-story pagoda. Whether Fang Hu or Penglai, this is not a fleeting fairy mountain but a temple that embraces the earthly world.