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I have visited several Chinese temples around Java and Sumatra, usually to marvel at their architecture and extraordinarily ornate design. I’m not alone, as many travelers arrive at a Chinese temple with camera in hand but not questions about the meaning or importance of what we are looking at.

That all changed after I visited the Cu An Kiong temple in Lasem, a district of Rembang in Central Java.

The night’s long rain gave way to a bright morning on Java’s northern coast, and the sky was a perfect blue when I arrived at Cu An Kiong, whose name means “temple of mercy and peace.” The 150-square-meter building is often referred to as the oldest kelenteng, or Chinese temple, in Java. Historical accounts suggest that Lasem, which used to be called Little China, was the first point of arrival for Chinese explorers to Java.

The temple is even mentioned in the 1479 book of local history and spiritual teachings, called “Sabda Badra Santi.”

The landmark underwent major renovations in 1838, under the direction of the leader of Lasem’s Chinese community at the time, sea captain Lin Changlin. An inscription inside the temple mentions this important event. The front gate, flagged by statues of two lions and guardian figures, was installed in 1922 by another Chinese sea captain, Huang Xingguo, and later refurbished in 1950 and 1960.

Not many people know the meanings behind each of Cu An Kiong’s statues, carvings and paintings, not even members of the Lasem Heritage Community’s Communications Forum (Fokmas) or members of the Archaeological Heritage Preservation Agency (BP3), who I was tailing that day.

Either tired of being bombarded by questions or just not in the mood for sharing, the temple’s custodian, Irawan, also known as Pak Iwing, took us to an office adjacent to the main building for a history lesson. Inside, Pak Iwing pulled three whiteboards from a corner. Each board had dozens of photos of the temple, complete with short captions beneath every photo.

“I have been here many times, but never before were these photos shown to the public. Such a treasure!” whispered Baskoro, the founder of Rembang Heritage Society, who was accompanying me.

“The captions under the photos were based on research carried out in the 1980s,” Pak Iwing said. Unfortunately, he could not remember the researcher’s name, but the findings are worth sharing.

The most eye-catching part of Cu An Kiong’s exterior is the rooftop where a pair of guardian dragons are seen chasing a pearl, the symbol for protection against evil. Passing through the gate, visitors are welcomed by a sign inscribed with an eulogy to Tianhou, the highest goddess.

The rafters on the front porch bear the carvings of Bao Xiang Hua, a combination of lotus, peony and chrysanthemum — symbols of honor, majesty and beauty. On the same side, various animal icons adorn the beams, such as a pair of phoenixes named Luan and Huang that represent peace and harmony; Jinchan, the three-legged toad that symbolizes wealth; and an antelope, which represents longevity.

There is also a pair of lions to protect against disasters, and a qilin, a mythical hoofed creature that is a symbol of nobility and justice. A yang, or goat, symbolizes devotion and good luck; a xiang, or elephant, signifies strength and wisdom; and xiong ji, or the rooster, represents prestige. Complementing the whole collection are wooden icons of feixians, or angels.

Lasem was once one of the busiest maritime hubs on Java’s northern coast, so it is not surprising that there is a large statue of Makco Tian Shang Sheng Mu, the sea goddess, on Cu An Kiong’s main altar. The sea goddess also appears as an inscription on a lath on one of the terrace’s wooden walls, accompanied by prayers for stable winds, smooth sailing and fertile soil.

Just as impressive, the hall of worship has a large black and white Chinese-style ink drawing, illustrating the various aspects of human life. Composed of multiple sections neatly arranged into a grid, this masterpiece almost looks like a page from a comic book.

The temple’s Chinese influence is evident in the carvings of flowers representing four different seasons. The plum blossom signifies the chastity of winter, fall’s chrysanthemum represents longevity, summer’s lotus symbolizes household harmony and peony represents the abundance of spring.

Under the vases of flowers are embossed carvings of the Goddess of the West, the patron of longevity; Han Zhong Li, the most important god of the Immortal Eight; and Zhao Guo Jiu, the patron god of the government.

Cu An Kiong holds a lot of symbols for longevity and eternity. To me, the temple embodies the wish of Lasem’s historic Chinese population; that their beloved town would endure the test of time.

Although Lasem’s reputation and importance have declined, the discovery of historical artifacts has raised interest in the area. This could have positive and negative effects on Lasem. The local government and residents need to ensure that they are protecting each of Lasem’s treasures so that Cu An Kiong and the city’s other Chinese touches remain pure for future generations.

Whether or not Cu An Kiong is really the oldest kelenteng in Java, it remains an invaluable source for studies about the various faiths and philosophies that influenced it, Lasem’s historic growth and decline and temple architecture and artistic techniques.