City God Temple
The City God Temple of Zhujiajiao, located at No. 69 Caohe Street, serves as the residence of the Qingpu City God. Originally built in the southern part of town at Xuejiabang, it was relocated to its current site in 1763 (the 28th year of Emperor Qianlong’s reign) and boasts a history of over 300 years.
Although this temple is not as grand as Shanghai’s famous City God Temple, it has a distinctive charm, exuding the rustic elegance of an ancient water town.
This temple is renowned for three major features:
1. Unusual Orientation
Most City God temples in China are north-facing with gates opening to the south. However, Zhujiajiao’s City God Temple is unique—its gate opens to the east. This design is tied to a story about the famous local scholar Wang Chang, a Qing dynasty cultural figure.
Facing the river, the temple’s entrance is marked by a screen wall (zhaobi), and just behind it is City God Temple Bridge. Above the main entrance hangs a plaque inscribed with the characters “City God Temple”, written by Chen Liansheng, President of the Shanghai Taoist Association. On either side of the gate are East and West side gates (yuánmén). A pair of stone lions flank the main gate. Unlike the fierce, majestic lions of northern China, these Jiangnan-style lions hold embroidered balls and cubs in their embrace, with gentle flowing lines that give them a lively, charming aura.
2. Ancient Opera Stage
In front of the main hall stands a quaint traditional opera stage of striking design. Upon entering the temple, you’ll find two side halls to your left and right. Further in lies the “fish spine” stone pillars, leading to the opera stage with its upturned eaves and intricate woodwork. Above the stage hangs a horizontal plaque inscribed with “Chengping Yaxong” (“Harmony and Elegant Ballads”), while the two stone columns bear a poetic couplet:
“This stage was built to last through the ages;
Gazing at past events—was it all a dream or reality?”
The stage’s circular ceiling is its masterpiece, crafted from 160 interlocking dougong brackets spiraling upward. Around the stage are exquisite wooden carvings depicting ancient opera scenes and characters, their profound meanings captivating visitors.
3. The Giant Abacus
A massive abacus hangs above the main hall’s doorway, its beads frozen in positions that form a symbolic message:
“Six, six, six; one, two, three, four, five, six, seven, eight, nine; eight, eight, eight.”
This translates to: “Smooth sailing (six-six smoothness), everything returns to unity (nine-nine one), peace in all directions (eight-eight peace).” It suggests that the City God watches over the people with precision and care, ensuring prosperity, favorable weather, and peace for the entire community.
In the main hall, statues of the City God and his wife are enshrined. The elaborately carved horizontal beams below the hall are considered one of the “three treasures” of City God Temple, with detailed scenes of people and operatic stories rendered in masterful craftsmanship.
A large plaque above the altar, reputedly bestowed during Emperor Qianlong’s southern tour, bears the inscription: “Fuyou Xianling Bo” (“Blessings and Miraculous Protection”).
Behind the main hall lie side corridors and auxiliary structures. In the past, the temple complex was even larger, with numerous buildings. Notably, there were once two ancient ginkgo trees over a thousand years old. Although the southern tree has perished due to lightning and pests, the northern tree still stands tall and verdant. Behind it, the damaged brick-carved archway exhibits exquisite Ming-dynasty craftsmanship, making it a rare treasure of the region.
