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配天宮 was founded in the 26th year of the Kangxi reign (1707). It is said that a resident of the Dongshi Ban-yue Village, Lin Ma, was a devoted follower of Matsu. Every year he would travel to distant Matsu temples to pay respects. Because the journey was arduous, that year he decided to bring the Matsu statue back from Meizhou and worship it at home. On the way back, Lin Ma stopped at a tea pavilion beneath a Pú tree on the south bank of the Puzi River, where he rested. Nearby residents learned of this and invited him to stay a few days so that people could also pay respects to Matsu. A few days later, when Lin Ma was about to return home, the statue had become too heavy to move. After consulting the divination sticks, the spirit declared that it would remain here forever. The locals then built a small shrine for worship. Conveniently, a Pú tree stood next to the shrine, and the shrine was named “Púshù Gōng” (Pú Tree Temple). The settlement grew outward from the temple, and Puzi was formerly called “Púzǐ Jiǎo” (Pú Little Foot), named after this. The “Púshù Gōng” was later renamed “Pèitiān Gōng” (Matching Heaven Temple). The exact reason is uncertain, but the more credible account is that when the temple was renovated in the 4th year of the Tongzhi reign (1865), the board chose a name that meant “to share the fragrance of a thousand autumns and to serve the heavens and earth.” Pèitiān Gōng has prospered with incense, and its renovations have been continuous. The earliest expansion of the main hall and worship hall was in the 54th year of Kangxi (1725). Under the reigns of Qianlong, Jiaqing, and even during Tongzhi, renovations occurred roughly every half‑century. During the Japanese occupation (1915) it underwent a fourth renovation, believed to be overseen by the renowned architect from Zhangzhou, Chen Yingbin. He employed a “dual‑side” construction method and introduced the first Japanese‑official subsidy for Taiwanese temple repairs. After World War II, major changes included the 36th year of the Republic (1947) renovation of the hall and the construction of a bell‑and‑drum tower; the 64th–66th years (1955–1957) saw the building of a worshiper’s hall; and in the 70th year (1961) the east and west annexes were rebuilt. The lantern festival during Lantern Festival is the most distinctive celebration of Pèitiān Gōng in its more than a century of history, originating from General Wang De‑lu. Legend says that Emperor Qianlong once granted General Wang the right to hold a lantern festival in his home for his elderly brothers and sisters. Later, General Wang moved the lanterns to Pèitiān Gōng to honor Matsu and let the public enjoy them, making the lantern festival a traditional part of the temple’s Lantern Festival. **Architectural Overview** Pèitiān Gōng’s layout is roughly in the shape of the character “囬” (a horizontal line with a vertical line). Like most temples, the central axis houses the most sacred spaces: the ornate Three‑River Hall, the tallest main hall, and the rear hall, all primary worship sites. Flanking the main hall are annexes that serve as offices and other spaces. On either side of the main hall are a bell tower and a drum tower, highlighting the magnificent roof line. **Architectural Features** Pèitiān Gōng was rebuilt using the “dual‑side” method. Two teams of craftsmen were hired to work on the left and right sides along the central axis to achieve a competitive, time‑saving process. When standing in the center of the Three‑River Hall and looking toward the roof, you can see that the wooden components and carvings on either side are asymmetrical, showcasing each team's distinct craftsmanship.