Kaying Juan and Aleena Bhattarai
Miaoli County, located in northwestern Taiwan, has a diverse and rich religious landscape, primarily centered around Taiwanese folk beliefs, Taoism, and Buddhism.
Among the county's population, about 63% are Hakka, around 31% are Minnan (Hoklo), approximately 1% are Indigenous peoples, and about 5% belong to other ethnic groups.
The Hakka are one of the main ethnic groups in Miaoli, known for their hardworking spirit and strong sense of community. They have unique customs, food (like lei cha and preserved vegetables), and a deep respect for tradition. Many Hakka in Miaoli still speak the Hakka language and take part in important festivals like the Yimin Festival to honor their ancestors.
Minnan, also called Hoklo, people mostly came from southern Fujian in China. They're famous for their lively temple festivals, colorful traditions, and strong belief in deities like Mazu. Minnan culture has influenced a lot of Taiwan’s music, language, and food, especially in coastal and farming areas.
Although Indigenous groups make up a smaller part of the population in Miaoli, their culture is still an important piece of the region’s identity. The Saisiyat people are one of the main tribes here, and they’re especially known for the mysterious and beautiful “Pasta’ay” (Dwarf Spirit Festival), which happens every two years and carries a lot of spiritual meaning.
In Miaoli, Mazu worship is also quite common, especially in Hakka communities. Studies have pointed out that Mazu belief in Miaoli's Hakka areas is shaped by specific social, cultural, and economic contexts, reflecting the local people's deep reverence for maritime faith (Lai Hui-Min 2008).
The Department of Civil Affairs of the Miaoli County Government has a Division of Religious and Folk Affairs, which is responsible for handling matters related to temples and churches, guiding religious organizations to maintain sound structures, organizing traditional folk cultural activities, and preserving indigenous culture.
The religious culture of Miaoli County is rich in history and local characteristics, especially in terms of folk beliefs, which preserve the deep-rooted traditions of both the Hakka and Minnan peoples. In the following sections, I will introduce the historical and cultural background of several important religious practices and rituals in Miaoli County.
The Baishatun Mazu Pilgrimage is a major religious event in Tongxiao Township. Every year, thousands of people—mostly Hakka and Minnan believers—join the walk from Gongtian Temple in Baishatun to Chaotian Temple in Beigang, Yunlin. Mazu, the goddess of the sea, is seen as a protector, especially for coastal communities. The event also strengthens communal bonds, as villagers along the unplanned route welcome pilgrims with free meals and lodging, practicing what is locally called “xiāng tíng” (香停)—ritual hospitality rooted in religious ethics.
This pilgrimage dates back to the early 1800s during the Qing Dynasty, and it’s still going strong today. One of the most interesting things about this ritual is that there is no fixed route. The bearers of Mazu’s palanquin believe that she guides them by moving the palanquin in different directions—this is called "walking with Mazu's will" (Lin, 2020). This spontaneity makes each year's journey unique and meaningful for those who follow.
The most unique feature of the Baishatun is the route because no matter how it departs or returns, the route is unpredictable and changes each time. Mazu's palanquin carrier stated that they held the ability to feel Mazu's will and that she indicated to them the next direction or where to stop while they were walking. However, the pilgrims only know the start point and destination so therefore people regard the Baishatun Mazu pilgrimage as the most challenging pilgrimage in Taiwan.
The pilgrimage starts at the historic Gongtian Temple, which has been a center of faith for generations. The architecture is traditional, with colorful carvings and incense-filled altars. The journey usually takes place around the Lunar New Year and lasts more than a week. It’s physically demanding but spiritually rewarding. What really stands out is how people completely trust Mazu to lead the way—this faith in divine guidance is something rare and deeply rooted in Taiwan’s religious culture (Lin, 2020).
During the whole pilgrimage, Mazu's palanquin carriers go forward only on foot. Many pilgrims would follow the steps of Mazu's palanquin, traditionally followed by walking, but regardless plenty of the pilgrims would travel by scooter, car, or bicycles. The duration of the route of the Baishatun pilgrimage is not the same in different years such as 6 days and 5 nights in 2009 vs 12 days and 11 nights in 2017.
History: Built during the Jiaqing era of the Qing Dynasty (early 1800s), Gongtian Temple is the origin point of the Baishatun Mazu Pilgrimage and serves as a major center of local faith.
The temple enshrines a “soft-bodied” Mazu statue, allowing the palanquin bearers to feel her divine movement. This feature is central to the spontaneous nature of the pilgrimage route.
The temple includes a main hall dedicated to Mazu and secondary halls for other deities. Its front square is the official starting point of the pilgrimage and can host large crowds of pilgrims.
A traditional Minnan-style temple with swallowtail roof ridges and intricate dragon carvings. The temple is painted in vivid colors and decorated with ornate woodwork.
This ritual takes place in Houlong Township during the Lantern Festival and is centered at Ciyun Temple. It’s a high-energy, explosive event where locals—especially young men from temple groups—build paper forts representing evil spirits and then throw firecrackers at them. The goal is to chase away bad luck and bring blessings to the community (Miaoli County Government, 2023).
The ritual has been going on for over a hundred years and is deeply tied to the local calendar and temple life. Held in the open square around Ciyun Temple, the setting becomes a mix of fire, sound, and festive energy. It’s not just about the visual impact—the act of bombing the paper structures is symbolic of fighting off negativity and clearing the way for a good year.
What makes this ritual special is how participatory it is. People don’t just watch; they join in. There’s a strong community spirit, and even those who don’t live in Houlong often return just to be part of it. The use of firecrackers as a spiritual weapon connects modern-day celebration with traditional beliefs about sound and fire as cleansing tools.
Folk belief is that the more firecrackers you throw, the greater fortune enjoy in the coming year. The firecrackers have red-paper skins, though in this instance the main source of your good luck lies elsewhere. Residents wait outside homes and employees outside businesses for the deity to pass, as they do great throngs of Taiwanese from elsewhere.
History: Over a century old, Ciyun Temple is deeply embedded in the local community and is the central site for the Bombardment Ritual during the Lantern Festival.
A mix of Hakka and Minnan influences, with a three-hall structure, ceramic figurines on the roof, and a restrained yet dignified use of red and gold tones.
The temple opens up to a spacious square, where the paper forts are built and firecracker battles take place. The open-air design accommodates large public participation
In Zhunan, the Zhonggang Ciyu Temple hosts a sea ritual each year in the third lunar month. The event focuses on Mazu, like the Baishatun pilgrimage, but this ritual is more about water and purification. Fishing communities and coastal families take part, asking Mazu to protect them while out at sea (Lee, 2015).
The ritual includes carrying Mazu’s statue from the temple to the sea and bathing it in the ocean. This bath symbolizes cleansing—not just for the statue, but for the whole community. It’s about renewal, safety, and giving thanks for the sea’s resources. The atmosphere is lively but also very respectful, with music, traditional clothing, and temple banners filling the streets.
The temple itself is close to the coast, making it easy to carry out the ritual. Over time, this ceremony has become more than just a religious tradition—it’s a reminder of the community’s bond with the ocean. It stands out for how clearly it connects religion to the environment and everyday life along Taiwan’s shoreline.
It was one of the earliest areas to develop in the region. It was built with staws in Yanguanqiue (southern area of Zhunan Township, Miaoli) by Hokkien immigrants from Zhangzhou. It was founded in 1658 the Zhongang Cihyu Temple is the oldest ancient Matsu temple and the local religious center in Miaoli. It is listed as a Third-class historical site because it holds innumerable precious and extremely rare historic artifacts.
The ceremony of sacrificing the river and washing the ports is coming to an end with the burning of paper money, and the front needs to die to avoid good brothers from following behind and reluctant to leave until they arrive at Ciyu Palace. Various palaces and temples in that area go to the Zhonggang stream to assist the ceremony. The front of the temporary will have various kinds of offerings that were prepared to pay homage to the souls who were unfortunately killed. Marshal Zhongtan led the five battalions to guard the Hong Kong washing team and assisted the third mother of Ciyu Palace and the Marshal wishing ceremony. The Marshal of the Central Altar of Cihyu Temple in Zhonggang conducts the ceremony of dispatching troops and generals before setting off. Before the port washing ceremony, the temple representative and participants explain the process and precautions.
History: With more than a hundred years of history, the temple originated as a protective site for fishing communities.
A seaside temple with a strong southern Fujian influence—bright roof tiles, dragon and phoenix motifs, and graceful curved ridges.
Built near the shoreline, the temple has a clear path to the beach for the sea ritual. The Mazu statue is often elevated, facing the ocean as a symbol of protection.
One of the few temples in Taiwan constructed so close to the sea, it’s perfectly situated for the sea-bathing ritual. The integration of nature and spirituality is especially vivid here.
The Yimin Festival is especially meaningful to Hakka people living on the border of Hsinchu and Miaoli. It honors the Yimin, or "righteous citizens," who defended their villages during the Qing Dynasty and were later worshipped as protective spirits. This history of resistance and loyalty is still remembered every year through ritual and celebration (Chang, 2018).
The festival is held in temples such as those in Tongluo and Toufen. Families bring offerings, watch traditional Hakka opera, and join huge community meals. These temples are decorated with banners and food altars, creating a strong festive vibe. It’s a very localized, personal kind of holiday that brings extended families together.
One of the most important events during the festival is the Divine Pig Contest and Ram Horn Length Competition. The top-ranking pigs and old rams are truly a spectacle to behold—each divine pig weighs over a thousand kilograms and is lined up in front of the temple square, creating an awe-inspiring scene. The elderly rams, on the other hand, are humorously dressed like old gentlemen, wearing sunglasses and holding smoking pipes in their mouths, adding a playful touch to the celebration.
The “Divine Pig Contest” held in front of the temple is considered one of the most unique sights during Taiwan’s Ghost Festival season. It is also one of the most representative religious traditions of the Hakka people. For over a hundred years, this traditional celebration has been preserved and passed down from generation to generation.
What’s really unique about this event is how it brings Hakka cultural identity into the spotlight. It’s not just about honoring the past—it’s about showing pride in Hakka traditions today. The government even listed it as a national intangible cultural heritage, which shows how important it is in preserving Hakka history and language (Chang, 2018).
History: Most Yimin temples were built in the late Qing or Japanese colonial period to honor Hakka militias who defended their communities.
Yimin Temples are solemn and sturdy. They emphasize Confucian aesthetics, with stone and wood carvings commemorating historical heroes.
Spacious courtyards are used for worship, banquets, and opera performances. The main hall enshrines spirit tablets of the Yimin warriors, with walls often engraved with their stories.
Unlike Mazu temples that feel more maternal and protective, Yimin temples project strength and moral values. They are places of remembrance as much as worship.
This ritual is practiced in Tongxiao and Houlong, mostly by coastal communities. It’s a large-scale event where locals build a wooden "Wangye Boat," fill it with offerings, and then burn it or send it out to sea. This boat is believed to carry away diseases, misfortunes, and evil spirits, as Wangye deities are known as plague-expelling gods (Tsai, 2016).
The festival is held every three or five years, depending on the community’s calendar. Leading up to the main event, there are processions, music, and prayers. The boat is usually beautifully decorated and becomes a work of art itself. Once burned or launched, the ritual marks the end of a spiritual cleansing cycle.
The directors begin arranging all the festival's ceremonies and events after the mid-autumn celebration of the year. The constriction of the boat used during the festival must be completed before the end of the year preceding the festival. Around the beginning of the second lunar month in the year of the festival, ceremonies are held inside the shipyard. The boat is then presented to the public to allow worshipper to pay their respects. After that, the five-day sacrificial ceremony is held. The three Wangye statues are taken on an inspection tour on the day of the ceremony. The burning Wangye boat will take place in the morning in an open space not far from the temple. The boat is first packed with provisions such as daily supplies and food, and Wangye statues are escorted onto the boat. The organizing officials are attired as Qing dynasty officials, while staff members wear Qing official headwear and traditional white gowns in a gesture of respect to traditions. The boat is then transported two hundred meters to the site of burning. As tens of thousands of worshippers line the street of the ceremony, oftentimes it takes hours for the boat to arrive. As the procession moves forward, water is sprinkled ahead of the boat to symbolize the creation of a waterway for the boat to sail on. When the boat is set alight the ceremony has reached its climax.
This ritual is originally from Fujian and was brought over by early settlers. What’s powerful here is the symbolism—the idea that a boat can carry away bad luck is both visual and emotional. It gives the whole community a sense of starting fresh. It also shows how Taiwanese folk religion blends storytelling, performance, and shared belief into one powerful act.
History: These temples were founded by early settlers from Fujian who brought the Wangye plague-expelling rituals to Taiwan.
Southern-style temples with strong Minnan roots—bright colors, high eaves, and rich symbolic carvings of demons and deities.
Most have open areas for building and displaying the Wangye Boats, along with altars for offerings. The main hall is dedicated to Wangye (Royal Lords) and often includes statues of plague gods.
Some temples have designated boat-making halls or sheds used only for the Wangye festival. The integration of sacred space with craft and ritual function is a key architectural feature.
The Saisiyat Festival of the Short Spirits, or "Pasta’ay," is one of the most significant rituals of the Indigenous Saisiyat people, whose traditional lands stretch across the mountainous border between Hsinchu and Miaoli. This ritual honors the spirits of a mythical short people, the Ta’ay, who once lived alongside the Saisiyat and passed down songs and customs.
According to Saisiyat oral tradition, over 300 years ago, a group of small people—standing less than one meter tall—once lived in a cave across from the Saisiyat settlement. These people were known as Ta’ay, or more casually, “the little people.” Though short in stature, the Ta’ay were incredibly wise and agile. They generously taught the Saisiyat people farming, fishing, hunting techniques, and healing methods. Out of gratitude, the Saisiyat frequently invited the Ta’ay to share food and wine, especially after harvests.
However, over time, problems began to arise. The Ta’ay, often intoxicated at these celebrations, started to harass Saisiyat women, and in some cases even caused pregnancies. Although the Saisiyat were increasingly disturbed, they didn’t act immediately out of fear and uncertainty. One harvest celebration night, after repeated harassment, a Saisiyat youth finally decided to take revenge. He secretly sabotaged a narrow bridge—made of loquat tree trunks—that the Ta’ay crossed daily. He cut halfway through the logs and covered the damage with mud. Later that night, as the drunken Ta’ay walked across the bridge in groups, it collapsed under their weight, sending them into the ravine below. Nearly all of them died, except for two elders who had not yet reached the bridge.
These two survivors, stricken with grief, decided to leave the Saisiyat village for good. Before departing, they taught the Saisiyat special ritual songs and instructions, warning that the tribe must hold a festival each year to honor the spirits of the deceased Ta’ay—otherwise, they would suffer curses and misfortune. After giving these teachings, the elders disappeared toward the east.
The following year, misfortune indeed struck. Crops failed, game became scarce, famine spread, and disease took hold. The Saisiyat, terrified, believed they were being punished by the spirits of the Ta’ay. In response, they began holding a ritual after every autumn harvest, on the night of the full moon in the 10th lunar month. For three nights, they sang and danced from sundown to sunrise, praying to the spirits. This became known as Pasta’ay, or “the Ritual of the Short Spirits,” one of Taiwan’s most unique and haunting indigenous ceremonies.
Held once every two years, and in a larger version every ten years, the ritual takes place at night over two days. Participants—mostly Saisiyat community members, elders, and youth—gather in sacred spaces known as the festival grounds. They sing ceremonial songs, chant prayers, and perform traditional dances around firelight.
The festival is both solemn and communal. It preserves oral tradition, reinforces collective memory, and reminds participants of their ancestral responsibility to respect the spiritual world. Unique to this ritual is the deep narrative structure carried through chants, which recount the Saisiyat's historic relationship with the Ta’ay. It’s a cornerstone of Indigenous cultural preservation in northern Taiwan.
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