Regarded as one of the highest expressions of Oriental art, the 200 year-old Tsu Shih Temple was built in the 34th year of Chien Lung of the Ching Dynasty, and was dedicated to the legendary hero, Chen Chou-yin. Chen, the patron saint whose image is enshrined in the temple, was a native of Fukien Province. As the Sung Dynasty was being overrun by the iron hooves of the Mongols, Chen teamed up with Wen Tien-hsiang to rally the patriots and make a last desperate stand. Though he failed, and was forced to become a hermit to avoid persecution by the Mongols, his descendants successfully over threw the Yuan Dynasty and founded the Ming Dynasty which followed it.
When Chu Yuan-chang was enthroned, he decided to deify Chen Chou yin in commemoration of his courageous deeds, and to encourage future generations to show him honor and respect. The remains of the patron saint were later moved to Taiwan by famous General Cheng Cheng-kung, better known in the West as Koxinga, and a new temple was built in his honor. When the Japanese occupied Taiwan, the local people used the temple as a rallying point and were initially able to launch telling blows against the Japanese army. The temple, thus, became a symbol of solidarity among the Chinese people in Taiwan.
Wood carving: in process - All the work is completed in fine detail. (File photo)
After the retrocession of Taiwan from Japan to the Republic of China, the people of Taipei County started to repair and reconstruct the temple, which was almost in ruins after the war. In charge of planning and design for the renovation project was well-known artist Li Mei-shu, who studied Western painting in Japan, but also took great interest in Chinese classical art.
At first, the people of Sanhsia wanted to complete the work within two or three years, but Li urged that a longer period be allowed so the project could be accomplished systematically, and that the temple become also a museum of Chinese history, culture, art and religion For the past 35 years he has worked ceaselessly to make each object in the temple a work of perfection-including the camphorwood carvings under the eaves, the dragon stone columns and the stone lions guarding the gate.
During major festivals, Professor always accompanies the monks in their ritual chanting and scripture readings, or his stringed instruments. His concentration and dedication have identified him for onlookers as an official of the temple.
The temple's architectural style is similar to that employed in most Chinese temples over the past few centuries. It has five doors (three in the center and one each to the left and right) and three halls (front, main and rear). Inside the temple's main hall, candles glow among the cylindrical red incense containers. Always found nearby a lamp are a pile of rice, a pair of scissors, a ruler and a small mirror, representing, respectively, intelligence, life, severance from trouble ability to judge good from evil and openness of heart.
So far, reconstruction work has been I completed on the main and front halls as well as the bell tower and drum tower that flank the main hall. And a sun god is placed under the bell tower and a moon god under the drum tower. A repository hall, data building and a library are also planned for the future.
A guardian lion and pet. (File photo)
The temple is basically built of marble, with a wooden roof. During the reconstruction process, not a single piece of steel, not even a screw or a nail, was used. Conjunction between marble and marble, wood and wood and wood and marble was achieved purely through the use of mortise and tenon. This conform closely with the relationship between the yin and yang in Chinese tradition-and also achieves the modern ideal of being virtually earthquake-proof. The steps, floor, walls and columns are all built of stone, whose sturdiness and durability undoubtedly exceed those of concrete. The art of stone work is highly developed in this temple.
To further enhance the beauty of the building, the walls are draped with exquisite calligraphy pieces and paintings donated by famous artists, or decorated with bronze reliefs completed by accomplished sculptors. For instance, at the front of the compound, Professor Li and his students have embellished the walls with splendid bronze reliefs based on stories from Chinese history. They extol loyalty, filial piety, fidelity and justice; among them are the stories of Yue Fei's devotion to his country and of Hua Mu-Ian going to war in place of her aged, sick father.
The most prodigious of all the stone sculptures in the temple are the three pairs of stone columns in the main hall. The octagonal column at the center is carved with a pair of sinuous Chinese dragons whose horns, whiskers, scales and pearly teeth seem uncannily lifelike. The outer column is carved with a hundred birds amid plum blossoms.
A pride of lions peer down fiercely from a ceiling corner. (File photo)
Even the birds' thin legs and the smallest tree twigs are meticulously reproduced. The last column is decorated with 36 warriors and 18 horses taken from Chinese mythology. The weapons are intricately carved, even though they are mostly no larger than a pen. The battle capes of the generals and the lifelike facial expressions impress visitors with the skill and patience of the craftsmen. All the work is hand-done; it is estimated that it takes 2,000 working days to complete just one column.
The wood carving in the temple is even more delicate and complex. To prevent attacks from pests, the most solid and durable camphor and juniper wood has been chosen for the work. Two or Three-inch thick pieces of wood have been carved into a fretwork masterpiece of two or three layers which has been gilded to decorate the magnificent temple roof. The flying phoenix and lions on the ridge and eaves of the building look ethereal; the mood of tranquility is enhanced by the wooden lanterns which hang from the eaves.
Top right: In the sculptured image-peace and serenity; Top left: As incense swirls, an offering is readied for the altar; bottom right: Master artist Li Mei-shu participates in temple ceremonies; bottom left: Detail in the drum tower. (File photo)
Another outstanding feature of the Tsu Shih Temple is the bronze door, bearing a relief of door gods to protect it. The central gate is guarded by two gods whose names, transliterated from Chinese, are "Hum" and "Haw." They are ranked by four Chin Kang (Indras) holding a sword, stringed instrument, umbrella and snake respectively to represent peace among natural elements. The right hand side of the door is carved with gods who can help the worshippers to advance their careers, while on the left are gods representing honor and wealth.
So far, master craftsmen have taken more than 35 years to renovate the Tsu Shih Temple. They spend much of their time in a small sculpture room, using only a lamp, hammers and steel files as tools. Under the guidance of Li Mei-shu, their efforts to achieve the perfection of their art will, in another 10 years or so, be completed. When that time comes he intends that the temple's setting will do it justice, and not subordinate it to the demanding deity of modern Taiwan-the automobile.