Kinmen, or Quemoy as it is pronounced in the Amoy or Southern Fukien dialect, is just 2.4 kilometers off the southeastern coast of Fukien province. The granite island complex consists of twelve islets with a total area of 150 square kilometers and a population of about 43,000, excluding the large military force stationed there. The satellite islets are mostly low and flat, but Kinmen is hilly.
The island was first settled in the early third century A.D. by people fleeing the then war-ravaged mainland. Increasing numbers of settlers came during the ninth century AD., after the Tang dynasty court decided to develop the island. Known then as Wuchow, it did not get its present name until 1387, when a prince of Chiang-hsia built the first city, also named Kinmen, as well as defensive walls, towers, and earthworks.
Kinmen (金門) means "golden gate." 'Golden' is a poetic reference to the city walls, while 'gate' refers to the island's function in the past as a base for controlling the sea lanes along China's southeast coast, an area frequented by pirates. Kinmen still has strategic importance, and has been heavily garrisoned since the ROC government moved to Taiwan in 1949. Although there are plans to develop tourism on the island sometime in the future, it is still not open to the general public.
The farming and fishing villages which dot the island remain much as they were a hundred years ago. The preservation of the old buildings, temples, and other structures may be attributed in part to the strict military control over the island. It is quite unlikely that much of it would have survived in the booming economic and industrial environment of Taiwan. Today, the island is a living museum of Chinese architecture and local folk culture.
Kinmen's traditional architecture is derived from the Fukien style as typified by the Chuanchow and Changchow areas of Fukien province. The style, which is also found in eastern Kwangtung province and Taiwan, is characterized by the use of thin red bricks, swallowtail roof ridges, and the construction of connecting side buildings perpendicular to the main hall. These structures are known as hulung, or "protector dragons." The houses maintain the clear-cut courtyard composition typified by the traditional Chinese architectural principles of symmetry, balance, and alignment along a central axis. The layout, structure, style, and ornamentation of the buildings make them some of the finest examples of the Fukien school of architecture.
The sandy and windy environment and the constant threat of piracy in the past had a marked effect on the island's architecture. Houses have fortified construction, with low and thick walls and small windows. Basically, the houses are variations on the standard southern-style san ho yuan (三合院) or three-sided courtyard, although the northern-style ssu ho yuan (四合院) or central courtyard pattern is also found on Kinmen.
The three-sided courtyard consists of a square courtyard embraced on three sides by halls, the fourth side being a curtain wall and gateway. The central courtyard house consists of a courtyard enclosed by halls on all four sides. But on Kinmen both types incorporate ingenious modifications which depart from the standard designs. In the three-sided courtyard, for example, the roof lines of the wings are somewhat lower than the main hall. This architectural feature suggests familial hierarchy: the parents live in the principal hall while the children live in the subsidiary wings.
Another architectural innovation only seen on Kinmen is the addition of a small second-floor gallery to central courtyard houses. These galleries, which may open to either the inside or outside, are ideal places to sit on hot summer evenings. This structural element is not found on the Chinese mainland, and its origin is uncertain. It might be a product of Western design influence, or just a practical way to add more space. The galleries have about one-third the floor space of a standard hall.
Kinmen's courtyard houses never developed into the extensive multiple courtyards seen in Taiwan. Traditionally, courtyards could evolve into stem or joint structures through the marriage of sons. With an increase in wealth and family relationships, the domestic space was expanded beyond the single courtyard. Courtyards could grow laterally or in depth. The largest multiple courtyards on Taiwan contain five or more main halls. On Kinmen three is the limit.
The roof profiles are distinctive. Viewed from the front and rear, the emphasis is on the line of the ridge pole; the side views stress the often ornately decorated gable ends. Three-sided courtyard houses normally have gently sloping gabled roofs known as horseback or saddle roofs. The roofs on the main halls of central courtyard houses always have swallowtail roofs with graceful upsweeping curvature, whereas the roofs of the wings are normally flat to serve as terraces for drying fish, grain, and vegetables. At one time, the roof types were also indicators of social rank—the more ornate swallowtail roofs being reserved by law for temples, official buildings, and the residences of examination degree holders. But Kinmen was far from the imperial court, and such regulations were rarely enforced. As a result, the wealthy elite of the island tended to flout the law when building their homes and added the graceful ridge line.
Most buildings on Kinmen, like those on Taiwan, possess stylized gable profiles where the roof meets the gable end of a building. Such stylized profiles are normally found only on buildings with horseback roofs. The profiles are classified into five basic categories based on the five elements—fire, wood, earth, water, and metal. The profile is further enhanced by numerous decorative additions made of molded mortar.
Brick, stone, and tile are the most common building materials. They are used for everything except beams, arches, and doors, which are made of wood. The granite was quarried right on the island, and the bricks were shipped from Fukien province. Gray brick came from northern Fukien, while orange-red brick came from the Amoy area. Both types were high-quality and kiln-fired.
Western-style houses were very popular in the coastal area of Fukien and Kwangtung provinces at the turn of the century. The houses were built during the late Ching dynasty and early Republican period by people returning from abroad. Many people from Kinmen went to Southeast Asia to do business. In fact, according to government figures, a total of 168,000 Kinmen natives have emigrated to other countries. Some of them got rich, returned home, and built the Western-style houses as symbols of their wealth. The house styles vary depending on where their owners were based overseas. Thus, residents returning from the Philippines introduced elements of colonial Spanish architecture such as squared columns and arcades. Those returning from Singapore modeled their homes after British colonial homes; and those who worked in Vietnam opted for the French-style villa architecture of Saigon.
The people of southern Fukien call these buildings huan a lao (番仔樓), meaning foreigner's buildings. In many instances, Western architecture was combined with the traditional Fukien courtyard house in a rich synthesis. Western-style homes frequently have traditional Chinese decorative motifs, while some courtyard houses have Western facades. There are also many instances of a Western-style building being incorporated outright into a courtyard compound.
Kinmen craftsmen became quite adept at handling this kind of combination. With no formal training in Western architecture, they learned by imitating, and later they skillfully combined the different styles. The architectural medley that evolved goes further than just ornamentation. It can also be seen in spatial and structural elements as well as the choice of building materials. Chinese columns, Western capitals, Chinese friezes, and Western brickwork and pediments are all combined in an eclectic style.
The homes, shrines, and temples of Kinmen are rich in decorative ornamentation using brickwork, stone and wood carvings, clay and mortar moldings, and ceramic tile work. These materials are used individually or in combination, forming a vast array of decorative patterns. Besides traditional wall construction with the bricks laid horizontally and staggered, many walls have vertical, horizontal, and even diagonal brickwork. They also incorporate designs resembling bottle-gourds, money, turtle shells. Chinese characters, and many other motifs.
A great number of symbols for warding off evil are worked into the decorative motifs ornamenting Kinmen buildings, such as the eight-diagrams (pakua) designs above the door, knife-and-sword charms, and plant or animal symbols to ward away evil. House roof ridges often have a small figurine riding on a lion or an auspicious mythical beast. The figures are said to protect single family dwellings by warding off evil spirits. People still put these figures on their roofs when they build new houses. They are mostly ceramic and made by the Kinmen Pottery Factory, which annually produces the largest volume of pottery in Taiwan.
Chiao chih (交趾) flower and animal pottery murals are another attractive feature of Kinmen architecture. The pottery takes its name from the small town in Kwangtung province where it originated. Made from both white and black clays, the pottery is fired at a low temperature—from 300 to 800 degrees centigrade. Lead glazes are applied to produce yellow, green, and purple ceramics. In terms of color, chiao chih pottery resembles the famous three-colored glazed pottery of the Tang dynasty.
The production of a single three-dimensional mural is a slow and complicated process. Working from a predetermined design, the craftsman makes each element separately. After being glazed and fired, the parts are assembled and attached to the wall with lime cement. Because of the professional skills required to produce such three-dimensional panels, they are rather expensive. As a result, chiao chih panels are normally only seen on the walls and windows of temples and houses of the rich. There are very few such murals left in Taiwan, but many fine examples are preserved on Kinmen.
Colored ceramic tile is also used extensively in Kinmen architecture. Such tiles are used in every part of the buildings, both functionally and decoratively. There are hundreds of different designs, but most have floral and geometric patterns. Some even depict Hindu gods, such as Ganesh and Krishna. Most of these porcelain tiles were manufactured around 1910 in Japan, and can be identified by brand names stamped into the reverse side of the tiles. The architectural use of color porcelain tiles was fashionable in Japan during the early part of the century. Taiwan, being under Japanese control, was also affected by the craze, as were the islands of Kinmen and Penghu. Kinmen was home for many wealthy overseas traders and they insisted upon the best materials, imported and domestic, for their homes.
Many Kinmen villages are single surname villages. Family shrines therefore play an especially important role in village life. A family shrine usually houses wooden tablets that record the family history. These centers of filial devotion are dedicated to the memory of the ancestors to insure continued blessings for the clan. As such they served as a center for village activity.
Building a family shrine is not only an important event, but also a very expensive one. Only after a family reaches a considerable size can it pool sufficient funds to build a family shrine. Most shrines are three-hall structures enclosed by walls and are built in the center of a village. Large, multiple compound shrines are very rare. Although some of the newer shrines incorporate Western architectural elements, they still maintain a traditional appearance. The swallowtail roof is used in all family shrines. The Tsai family of Chyonglin in central Kinmen has built seven family shrines, which is a record for the island.
Kinmen has a host of temples, most of which are small single-hall structures. It is safe to say that where there is a village, there is a temple. Temples are usually found on the edges of a village, where they can best keep evil influences out of the area. As villages grow and expand, temples are built on the new perimeter. In Kinmen, there are temples dedicated to nearly a hundred different gods and goddesses, about one-third the number worshipped on Taiwan. Architecturally, the temples are distinguished by their swallowtail roof ridges as well as flat-top stylized gable profiles.
Visitors to Kinmen will no doubt be struck by the wind lion statues, which are unique to the island. It is said that the worship of wind lions started when General Cheng Cheng-kung, or Koxinga as he is also known, came to the island in the mid seventeenth century. Kinmen became Koxinga 's base of operations in his efforts to expel the Dutch from Taiwan and the Manchus from the mainland. He is alleged to have deforested the island for timber in order to build ships for an invasion of China to restore the Ming dynasty to the throne. As a result, the barren island became windy and sandy. People said these winds were caused by ghosts. Residents placed the wind lions at the entrances to their villages to scare the ghosts away.
There are about fifty such statues on the island. They are usually carved from the plentiful local granite. There is no standard model for wind lion statues. Each village has a different style, and some people say a wind lion expresses a village's character. The facial expressions are varied: stern, smiling, introspective. They can wear bells around their necks, hold balls under their claws, even hold flags or writing brushes. In recent years, the local people have begun painting the plain gray stone lions in bright colors.
Legend has it that the fifteenth day of the eighth lunar month is the wind lion's birthday, but each village celebrates the event on a different day, often in conjunction with another festival. Wind lions are worshipped by making capes for them or by "feeding" them with offerings of glutinous rice balls, cakes, or fruits.
Examining the architecture and decorative motifs of any locale can tell many things about its inhabitants, including their relationship to their environment as well as less tangible aspects of belief and kinship. In this regard, Kinmen is a mine of information concerning the history and culture of southeastern China. But the island has also evolved architectural patterns of its own, patterns which bespeak far-flung historical links with the rest of Asia and beyond. Today, the worldliness of a bygone era stands in sharp contrast to the island's relative isolation.
(This article is an abridged version of “Architectural Treasure House,” which appeared in The Earth (Taipei: July 1991).)