The Ming Dynasty undertook a grand reconstruction of Mount Wudang, constructing the Taihe Palace, Qingwei Palace, Zixiao Palace, Chaotian Palace, Nanyan Palace, Wulong Palace, Yuxu Palace, Jingyue Palace, Yuzhen Palace, as well as the Renwei Temple, Huilong Temple, Longquan Temple, Fuzhen Temple, Yuanhe Temple, and other nine palaces and eight temples. Along with hermitages, pavilions, bridges, and gazebos, this vast ensemble of ancient Taoist architecture was built across the 800 li of Mount Wudang.
A “Palace” is the dwelling of emperors and also the abode of deities, often large divine shrines bestowed by imperial edict. A “Temple” (or “Loudian”), originally an ancient high place for observation, is also where heavenly gods are greeted; later generations generically referred to Taoist temples as palaces and temples.
Taoist palace and temple architecture developed from traditional Chinese palace, shrine, and altar buildings. They are places where Taoists worship deities and also locations for their seclusion and cultivation.
In terms of layout, scale, and structure, Taoist palaces and temples not only inherit the traditional Chinese architectural philosophy, layout, and methods but also incorporate Daoist aesthetic ideas and values, forming their unique style.
The halls enshrining Taoist deities in Taoist palaces and temples are set along the central axis. Adjacent chambers house various gods. This symmetrical layout embodies the hierarchical idea of “the honored one in the center.” Symmetrical architecture also reflects a pursuit of balance, solemnity, and tranquility in aesthetics.
Taoist palaces and temples generally present a series of courtyards advancing in layers, creating a dense development momentum. Taoism believes that this can gather qi from all directions and welcome gods from all sides, also facilitating the differentiation of the divine hierarchy.
The Wudang Taoist palaces and temples follow the terrain, using individual buildings composing courtyards as units, connected through clear axial relationships into a myriad of architectural groups. This allows for flexible variations within strict symmetry without compromising the overall architectural style. This organic combination of group buildings unfolds step by step in depth, highlighting the artistic effect of the architectural space, making it even more magnificent.
The main halls of Wudang Taoist palaces adopt high-level architectural standards, with eaves extending far out and curving upwards, complemented by ornamental ridge ends and roof decorations, forming beautiful and varied curves. This makes the originally heavy roofs appear elegant and airy. Especially when juxtaposed against the upright, thick walls and the wide moon platform or high terrace beneath the hall, the entire building appears solemn and stable, creating a harmonious beauty of curves and straight lines, stillness and movement, rigidity and softness.
Most Taoist palaces and temples on Mount Wudang are built among forests, surrounded by hollow valleys, ancient trees, and hanging vines, quiet and secluded, blending harmoniously with nature. They provide a natural environment for Daoists to return to simplicity, cultivate tranquility, and practice meditation, becoming scenic spots for believers and tourists to visit and tour. (Editor: Li Fengsen Author: Wu Dangyun)