In the ancient Dunhuang Grottoes of China, a mesmerizing love story unfolds, delicately captured in murals that have withstood the test of time. Let us immerse ourselves in this enchanting tale of kindness, courage, and wisdom.
Once upon a time, in the Kingdom of Polo, a joyous occasion marked the birth of a prince named Sunwoo. Born to the noble king and queen after twelve years of fervent prayers, the young prince brought immense happiness to the royal family.
As Sunwoo grew, so did his wisdom and kindness. His presence was a beacon of light, radiating love and compassion. However, alongside him was a stepbrother, an evil friend, whose heart harbored jealousy and resentment towards the virtuous prince.
The tale takes an unexpected turn when Sunwoo, driven by a desire to alleviate the suffering of his people, embarks on a perilous journey to seek treasures from the sea. His selflessness touches the hearts of many, but it also ignites the envy of his malevolent stepbrother.
Prince Sunwoo accompanied by 500 volunteers to search for treasur
Guided by an elderly instructor and accompanied by 500 volunteers, Sunwoo reaches Haizhou Jumbo Island. As he ventures further, facing challenges and loss, he encounters the benevolent Dragon King, who grants him the priceless Ruyi pearl.
Prince Sunwoo and his team sailed across the ocean
Meanwhile, back in the Kingdom of Polo, Sunwoo’s absence is keenly felt. His parents, yearning for his return, send a white goose as a messenger. The devoted goose delivers a letter revealing the Prince’s dire circumstances.
As Sunwoo’s journey unfolds, his evil stepbrother, fearing Sunwoo’s increased popularity upon return, decides to sabotage him. The malicious act blinds Sunwoo, leaving him vulnerable and alone.
In his darkest hour, a compassionate cowherd boy comes to Sunwoo’s aid. Unaware of his royal identity, the boy rescues Sunwoo and becomes his loyal companion, leading him back to the kingdom.
The love story takes an unexpected twist when the blind Sunwoo, reduced to a beggar, meets a kind princess during his wanderings. The princess was very touched by Sunwoo’s music. Her genuine affection and determination to marry him, despite societal norms, lead to a grand wedding.
In a poignant moment, the princess, deeply in love, makes a solemn vow. She promises to restore Sunwoo’s sight if her love is true and vows to take away her own eyes if she ever betrays him. Miraculously, her unwavering love restores one of Sunwoo’s eyes.
The narrative weaves through twists and turns, revealing the complex interplay of good and evil, karma, and ultimate redemption. Sunwoo’s evil stepbrother, realizing the consequences of his actions, repents and reveals the hidden Ruyi pearl.
In a grand reunion, Sunwoo’s parents regain their sight, and the entire kingdom is bathed in prosperity. The murals in Dunhuang and Kaihua Temple immortalize this timeless love story, showcasing not only the artistic brilliance of ancient China but also the enduring power of kindness and virtue.
As we reflect on this captivating tale, may it inspire us to embrace compassion, navigate life’s challenges with wisdom, and believe in the transformative power of love and redemption. The Dunhuang Grottoes stand as a testament to the rich tapestry of human stories etched in history, inviting us to cherish the enduring lessons embedded in their ancient walls.
The Usnisa Palace, also known as Foding Palace, is situated in the Niushoushan Cultural Tourism Zone, Jiangning District, Nanjing City. This architectural marvel, characterized by its deep pit structure, serves as the long-term sanctuary for the Foding relic bone. Spanning 220 meters in length, 160 meters in width, and towering at an overall height of 89.3 meters, with a total building area of approximately 136,000 square meters, the palace is a testament to grandeur. The external space is subdivided into three components: the large dome, small dome, and Foding cliff. Internally, it comprises nine layers – three above ground and six underground – housing the Zen Grand View, Relic Hall, and Relic Treasury. Foding Palace not only serves as the primary repository for the Buddha’s crown relic bones and a place of worship for believers but also functions as a cultural exhibition space showcasing relic culture and global Buddhist culture through various artistic mediums.
Niushoushan stands as one of China’s renowned Buddhist mountains and is the birthplace of Niutou Zen Buddhism, a significant sect of Chinese Zen Buddhism. It houses the world’s only Buddha’s Parietal Relic – the skull of Shakyamuni. This complete skull, with a circumference of 35 cm and a diameter of 10 cm, is adorned with yellow-and-black hues and features clear hair holes distributed throughout.
The Buddha’s Parietal Relic was unearthed in the Ashoka Pagoda within the underground palace of Bao’en Temple in Qinhuai District, Nanjing. It stands as the sole surviving true parietal relic of the Buddha globally.
The external space is ingeniously divided into three sections: the large dome, small dome, and Buddha Grottoes. The large dome, shaped like a Buddha’s cassock and stretching 120 meters in length, covers the small dome palace, symbolizing the boundless blessings of the Buddha. The small dome, resembling the Buddha’s hair bun, is composed of thousands of small units, representing the offerings made by thousands of believers. The base of the small dome takes the form of a lotus throne, featuring 56 flying Bodhi gates symbolizing Buddha’s infinite wisdom and 56 cloud gate wishful pillars symbolizing good luck and fortune.
Usnisa Palace : Large Dome and Small Dome
Within Foding Palace, the design deviates from a singular dome to an atrium-style space connecting upper and lower levels directly. The central reclining statue of the Buddha in Nirvana is a captivating focal point, visible from various angles. Using the four sights of birth, old age, sickness, and death, the Buddha imparts guidance and enlightenment to sentient beings. In Buddhism, “Nirvana” signifies a state of eternal and serene tranquility without birth or death. As the Buddha speaks, heavenly beings scatter flowers. Tradition holds that in the Buddha’s pure land, day and night witness the auspicious occurrence of raining flowers. During the Buddha’s Nirvana, offerings such as incense, flowers, and precious banners are made.
Upon entering Foding Palace, visitors traverse a long corridor adorned with paintings depicting sacred scenes. Four small palaces within the passage illustrate wonders of the four natural elements: earth, fire, water, and wind. The journey provides an opportunity to contemplate the painted stories of the Buddha’s eightfold path to enlightenment, featuring extraordinary phenomena related to earth and fire, such as thousands of small Buddha niches and a thousand heart lamps.
To approach Foding Palace, one ascends using a water elevator, marking the third wonder – the purification of the three realms through water. Depicting these natural phenomena through a meditative design, the top floor of Foding Palace awaits, featuring a towering space and exquisite dome. The celestial ambiance, with stars seemingly within reach, fosters a sense of unity between heaven and earth. This intentional design aims to allow individuals to grasp Buddhist stories and appreciate nature’s wonders before encountering the Buddha’s relic. This preparatory “journey” facilitates entry into Foding Palace with a tranquil and peaceful mindset, reminiscent of a meditative experience.
The internal space encompasses nine floors – three above ground and six underground – housing the Zen Grand View, Relic Hall, and Relic Palace.
Relic Hall
The Relic Hall comprises the Thousands Buddhas Hall and the Ten Thousands Buddha Corridor. The Thousand Buddhas Hall, adorned in red, yellow, and dark gold, features a vault-shaped layout corresponding to the Hua Zang Buddhist World. The central focus is the 21.8-meter-high Relic Pagoda, imitating the Ashoka Pagoda where the Buddha’s Parietal Relic was found. The Ten Thousands Buddha Corridor spans the 3rd, 4th, and 5th underground floors, showcasing Chinese Buddhism culture, seven-sided lacquer paintings depicting Indian Buddhist teachings, and Buddha’s relic and relic culture, including videos, porcelain paintings, ancient pagodas, and historical relics.
Thousand Buddha Hall
Ten Thousands Buddha Corridor
Relic Palace
Also known as the Buddha’s Treasure Palace, the Relic Palace exudes a solemn and mysterious atmosphere with its dark color scheme. It serves as a sacred space for housing the Buddha’s Parietal Relic and a place for Buddhist worship and meditation. At its center is the 7-meter-high Relic Treasure Pagoda adorned with exquisite golden decoration. Inside the pagoda is a hexagonal and intricate lotus stupa, housing the sealed glass box containing the Buddha’s Parietal Relic. The pagoda is equipped with fireproof and explosion-proof features, along with a constant temperature and humidity system to ensure the optimal environment for the relic. Surrounding the relic pagoda are eight unparalleled marble mosaics depicting the life of the Buddha.
Corridor of the Relic Palace
Relic Palace
Zen Grand View
The Zen Grand View spans 112 meters from north to south and 62 meters from east to west, with a total height of 46.5 meters. Its oval shape encompasses an area exceeding 6000 square meters, with a core focus on Zen culture. Comprising Buddha’s Birth, Buddha’s Enlightenment, and the Lotus Theater in the middle, the Zen Grand View narrates the life story of the Buddha.
Lotus Buddha Theatre – Not-to-miss Visual Feast
The Lotus Buddha Theatre hosts a daily “Song of the Lotus Buddha” Zen Buddhism culture ceremony and stage multimedia show from 10:00 to 11:30 in the morning and from 13:30 to 15:00 in the afternoon. This 30-minute visual feast combines ceremonial performance with burning lamps, praying, offering flowers to the Buddha, large-scale dancing, and more. During the performance, the Sleeping Buddha descends slowly from the air, accompanied by a rising stage, actors, and 16-meter-high lotus petals. The Sleeping Buddha, a copper statue of Sakyamuni, with a length of 7.5 meters and a surface made of white marble, can rotate 360 degrees, expressing the Buddha’s peaceful moment of Nirvana.
George Washington may rightly be known as the “Father of his Country,” but for the two decades before the American Revolution, Benjamin Franklin held the title of the world’s most famous American.
Franklin, a celebrated scientist and inventor, earned recognition for his groundbreaking electrical experiments, winning the Royal Society’s Copley Medal—a prestigious 18th-century equivalent of the Nobel Prize. His notable inventions included the lightning conductor, the first map of the Gulf Stream, and a unique musical instrument, the glass armonica. Renowned composers like Gluck, Mozart, and Beethoven created concertos for this instrument. Franklin’s genius received international acclaim, with Immanuel Kant describing him as “The Prometheus of Modern Times,” and David Hume hailing him as America’s “first great man of letters.”
Benjamin Franklin, a polymath and one of the Founding Fathers of the United States, left an enduring legacy not only for his political contributions but also for his philosophy of personal development. In his autobiography, Franklin outlined 13 virtues that he believed were crucial for leading a virtuous and successful life. This blog post will explore each of these virtues and delve into how Franklin practiced them in his own life.
Temperance: Franklin advised moderation in eating and drinking, emphasizing the importance of avoiding excess. By maintaining temperance, individuals could achieve a clear and focused mind. Franklin recognized that a balanced lifestyle laid the foundation for success in cultivating other virtues.
Silence: The virtue of silence urged individuals to speak only when their words could benefit others or themselves, discouraging trifling conversation. Franklin realized the power of listening and the importance of thoughtful communication for personal and intellectual growth.
Order: To bring order to one’s life, Franklin recommended organizing belongings and allocating time efficiently. By assigning specific places for possessions and dedicating time to each aspect of one’s business, an individual could enhance productivity and reduce chaos.
Resolution: Resolution involved the commitment to fulfill one’s duties and promises without fail. Franklin understood that steadfast determination was crucial for personal and professional success, encouraging individuals to set goals and work relentlessly towards achieving them.
Frugality: Franklin advocated for mindful spending, emphasizing that expenses should serve a purpose, either benefiting oneself or others. This virtue highlighted the importance of avoiding wastefulness and making financial decisions with a long-term perspective.
Industry: Losing no time and being consistently engaged in useful activities formed the basis of the virtue of industry. Franklin valued hard work and believed that avoiding unnecessary actions was essential for personal progress and achievement.
Sincerity: Sincerity required the avoidance of deceit and the cultivation of honest and just thoughts and speech. Franklin believed that sincerity contributed to building trust in personal and professional relationships.
Justice: The virtue of justice focused on treating others fairly and fulfilling one’s duty to both prevent harm and provide benefits. Franklin emphasized the importance of not wronging others through actions or neglect.
Moderation: Avoiding extremes in emotions and reactions, particularly in response to injuries, was crucial for maintaining composure and cultivating the virtue of moderation. Franklin recognized the value of forbearance in dealing with challenges.
Cleanliness: Tolerating no uncleanliness in body, clothes, or habitation reflected Franklin’s belief in the importance of personal hygiene and a clean environment for overall well-being.
Tranquility: Tranquility involved maintaining a calm and composed demeanor, especially in the face of trifles and common accidents. Franklin valued the ability to remain undisturbed and focused on long-term goals.
Chastity: Chastity, as outlined by Franklin, suggested a responsible approach to intimate relationships, emphasizing health and the well-being of oneself and others.
Humility: Imitating the virtues of Jesus and Socrates, humility was the capstone of Franklin’s 13 virtues. Humility involved recognizing one’s strengths and weaknesses, learning from others, and continually striving for self-improvement.
Franklin’s approach to acquiring these virtues was systematic. He advised focusing on one virtue at a time, mastering it before moving on to the next. By prioritizing temperance, Franklin believed that a clear and focused mind would make subsequent virtues easier to acquire. This deliberate and methodical approach allowed him to build a foundation for a virtuous life.
Benjamin Franklin’s 13 virtues remain a timeless guide to personal development and success. By understanding and incorporating these principles into our lives, we can strive towards a more virtuous and fulfilling existence, following in the footsteps of one of history’s most influential thinkers and statesmen.
Detail of reclining Buddha, Parinirvana of Shakyamuni attended by bodhisattvas, Mt. Baoding, Southern Song Dynasty, Dazu, China, 102′ long (photo: Mulligan Stu, CC BY 2.0)
With a history spanning over 1,300 years, the Dazu Rock Carvings represents the pinnacle of grotto art worldwide from the ninth to the thirteenth century. The exquisite and varied cliff-side sculptures at Dazu caves provide outstanding proof of the harmonious fusion of Buddhism, Taoism, and Confucianism in civil. In 1999, the Dazu Rock Carvings was inscribed on the World Heritage List by UNESCO.
Enjoying a comparable reputation with the top four grottoes in China (Mogao Grottoes, Yungang Grottoes, Longmen Grottoes, and Maijishan Grottoes) and being rated as one of the eight grottoes in the world, the Dazu Rock Carvings (“大足石刻” in Chinese), also known as Dazu Caves or Dazu Grottoes, located 167km from the city center of Chongqing. It is the one and only UNESCO World Cultural Heritage Site in Chongqing municipality. The Dazu Rock Carvings consists of 75 cave temple sites, including more than 50,000 statues, being protected for their historical, artistic, and scientific values at different levels, representing the pinnacle of Chinese cave temple art between the 9th and 13th centuries. Among them, rock carvings of Baodingshan (宝顶山), Beishan (北山), Nanshan (南山), Shimenshan (石门山), and Shizhuanshan (石篆山) are exquisitely sculpted with the most distinctive style.
The Dazu Rock Carvings started in the early Tang Dynasty, went through the late Tang Dynasty and the Five Dynasties, and then experienced its golden time in the Northern and Southern Song Dynasty. At the time when cave art in northern China fell into decay, the Dazu Rock Carvings undoubtedly created another peak in the history of Chinese cave art, extending the history of Chinese cave art for more than 400 years. Since then, there have been no such large-scale rock carving events in China or even in the world. Therefore, the Dazu Rock Carvings are also known as the last monument and swan song in the history of the world’s grotto art.
UNESCO Stele of the Dazu Rock Carvings
Differing from famous royal grottoes in the north, the religious cliff inscriptions in Dazu show distinctive features of nationalization, secularization, and everyday life, reflecting the remarkable development and changes in folk religious beliefs. Thus, the Dazu caves have the irreplaceable historical, artistic, scientific, and connoisseurship values of grottoes of the previous generations. Another highlight that has to be mentioned is that the statues there provide outstanding evidence of the harmonious synthesis of Tantric Buddhism, Taoism, and Confucianism. Visitors can see separate stone carvings as well as the unity caves reflecting the three religions’ confluence and ruling together. Moreover, thanks to the southern hinterland location of the Dazu Rock Carvings, this cultural heritage stays far away from man-made sabotage, retaining the integrity of the statues, the original characteristics and values of the period when the carvings were created.
Rock carvings in Dazu are mainly located across five mountains, each containing distinct sets of grottoes, among which the cliff-side sculptures on Baodingshan and Beishan are best known and considered to be the model of the late Chinese grottoes statue art. The pictures of the Dazu rock carvings that we commonly find online were mostly taken at the Baodingshan Scenic Area, which is also the must-visit site for a Dazu Rock Carvings tour.
Baodingshan Rock Carvings (Baodingshan Scenic Area)
Fifteen kilometers northeast from Dazu center, Baodingshan Rock Carvings was constructed by the famous monk Zhao Zhifeng in the Song Dynasty for more than 70 years. As one of the most famous Tantric Buddhist shrines in China, there is an old saying that goes like “Go North, climb the Emei Mountain; Go South, reach the Baoding Mountain.” The centerpiece of the Baodingshan rock carvings is the U-shaped Grant Buddha Bay, also known as Dafowan (“大佛湾” in Chinese). Nearly ten thousand statues are carved along the east, north, and south cliffs, which are approximately 500 meters in length and 8-25 meters high. Like a picture scroll with endless photographs, the content of Baodingshan rock carvings is mainly Buddhist scripture stories, each niche related to the other but not identical.
Dazu Rock Carvings – Buddhist Wheel of Life
Avalokitesvara with Thousand Hands
The Buddha statues at Baodingshan are novel in conception, skillful in carving, and rich in secular characters. Religious treasures come one after another, including the representative work – Niche of Sakyamuni Entering Nirvana, one of the wonders of Buddhist art in the world – Avalokitesvara with Thousand Hands, striking image of Buddhist Wheel of Life, scientific designs of Three Saints of Huayan School of Buddhism and Cave of Full Enlightment showed craftsmans’ ingenuity.
In addition, niche content and their expression approach are striving to visualize reality. For instance, Niche of Parental Love Sutra contains ten groups of carvings, including scenes like begging for a son, carrying a child, and going into labor, etc., depicting parental love in bringing up children with plots linking to each other as a picture-book. These carvings are vivid and impressive. They were the outcome after Buddhism had been localized in China.
The ox herding story
Located at the eastern end of the Great Buddha Bend, the ox herding tableau, shows a herdsman taming a disobedient ox—a traditional metaphor for the path to self-enlightenment and a popular theme among Ch’an Buddhist monks and painters in the Song Dynasty. The tableau is made up of eleven vignettes arranged horizontally along a 27-meter cliff wall.
Ox herding story (scene 1–2), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)
The first three vignettes each depict a lively interaction between a herdsman and an ox in a landscape setting. The herdsman represents the Buddhist practitioner while the ox refers to the practitioner’s potential to become a Buddha. As the ox turns its body away, the stocky herdsman uses force, grass, and a stick to tame the ox. The verses accompanying the scenes further recount these struggles.
Herdsmen embracing in the ox herding story (scene 5), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)
In the fourth and fifth vignettes, the ox is finally brought under control. The herdsman, featuring a wide, joyful smile, wraps his arms around his fellow herdsman while holding on to the ox with the rope in his hands.
In addition to the uncanny quality of grottoes’ masterpieces at Grant Buddha Bay (Dafowan), there are also many highlights you can’t miss while visiting Baodingshan Scenic Area:
Watch a 4K film with English subtitles to learn about the history and development of Dazu rock carvings, and enjoy an 8D view of spectacular grottos at the dome theater
Take a leisure stroll at Dazu Rock Carvings Museum (大足石刻博物馆) to gain insights into the whole thread of world cave temple art and the basic characteristics of Dazu Rock Carvings
Visit Shengshou Temple (圣寿寺) to admire the exquisite temple architecture, which was rebuilt at the Ming and Qing Dynasties.
Shengshou Temple & Dazu Rock Carvings Museum
Beishan Rock Carvings
1.5km north to Longgang Town of Dazu, with an altitude of 545.5m, Beishan is also called Longgang Mountain in the past. Beishan Rock Carvings is the initial of Dazu Rock Carvings. They were first created by Wei Junjing, prefect of Changzhou, in 892 A.D. of the late Tang Dynasty. Until 1162 A.D. of the Southern Song Dynasty, the existing scale of Beishan Rock Carvings was formed, and it centered around Fowan. The rock carvings are numbered and divided into two sections: No.1 ~ No.100 are in the south section, while No.101 ~ No. 290 are in the north section. There are over 5,000 statues on a 500m long cliff, with a height of 7 to 10 meters. The grottoes are very dense, just like a hive, and all of them are delicate and carved with high sculpture skills.
Avalokitesvara with a Rosary
The crowning jewels of Beishan rock carvings are the statues of Avalokitesvara. They are ornamental and artistic, with diverse looks and postures. The most emblematic ones are the Avalokitesvara with a Rosary, Avalokitesvara Watching the Moon Reflection in the Water, and Thousand-armed and Thousand-eyed Avalokitesvara, etc.
Beishan rock carvings can be visited both during the day and at night. An additional visual experience is provided by the scenic spot’s usage of colored light to illuminate the stone statues. Besides, if you have enough time and stamina, don’t forget to follow the downhill trail to visit the Duobao Pagoda (多宝塔) to see the giant cliff statues of Beishan, the Two Buddhas of the North Pagoda.
In the midst of the First World War, a remarkable event occurred that transcended the boundaries of conflict and highlighted the true essence of Christmas – the Christmas Truce of 1914. As we celebrate this joyous season, it’s essential to reflect on the lessons of compassion, love, and humanity that emerged during that extraordinary moment in history.
“It will be over by Christmas.” This false assurance echoed among the 60 million soldiers sent to the battlefront, exposing the grim reality that war does not adhere to predetermined timelines. The soldiers found themselves entrenched along the Western Front, living in harsh conditions, mere meters away from their adversaries.
Despite the hostility of war, the spirit of Christmas prevailed on that fateful Christmas Eve. German troops, unwrapping gifts from home and lighting lanterns along their trenches, initiated a surprising turn of events. Carol singing broke out, and soon British and French troops joined in, bridging the gap between enemies.
As Christmas morning dawned, a temporary ceasefire was proposed, and soldiers from both sides cautiously ventured into no man’s land. Greetings, well wishes, and even gifts were exchanged. Spontaneous football matches broke out, demonstrating a shared humanity that transcended the barriers of war.
The Truce of 1914 was not an isolated incident; it was a series of truces involving over 100,000 soldiers across the British-held area of the Western Front. The scale of these impromptu ceasefires is a testament to the universal longing for peace, even in the midst of one of the deadliest conflicts in history. Spontaneous football matches broke out, transforming caps and jackets into makeshift goal posts. Corporal John Ferguson vividly described the scene: “What a sight – little groups of Germans and British extending almost the length of our front! Out of the darkness we could hear laughter and see lighted matches, a German lighting a Scotchman’s cigarette and vice versa, exchanging cigarettes and souvenirs.”
Reflecting on the teachings of Jesus, who implored his disciples to love their neighbors, it becomes apparent that the message transcends religious boundaries. In times of war fueled by religious differences, it is crucial to remember that faith should serve as a source of inspiration for compassion, love, and kindness, irrespective of one’s beliefs.
Similarly, the teachings of Shakyamuni Buddha echo through time, emphasizing the compatibility and mutual respect among religions. The contemporary Buddha, H.H. Dorje Chang Buddha III, extends this ethos by acknowledging figures like Jesus Christ as great holy beings. In his Dharma discourses, His Holiness emphasizes the imperative for all Buddhist disciples: “When encountering living beings, regardless of whether they are handicapped, deficient, sick, or healthy, treat them all equally as family members…” His Holiness further calls for global cooperation, transcending religious, cultural, and national boundaries. He underscores the importance of treating each other as dear relatives, emphasizing a collective effort necessary for the peace and auspiciousness of the world.
As we celebrate Christmas today, let us draw inspiration from the Christmas Truce of 1914. In a world where conflicts persist, particularly in places like Gaza, may we strive for peace, understanding, and empathy. Let the spirit of Christmas be a beacon of hope, guiding us towards a future where love triumphs over hatred, and unity prevails over division.
The Christmas Truce of 1914 serves as a timeless reminder that even in the darkest of times, the light of humanity can shine through. As we gather with loved ones during this festive season, may we carry the spirit of Christmas within our hearts and work towards a world where the message of love and peace prevails.
In 64 AD, Emperor Ming of the Eastern Han Dynasty sent Cai Yin and others on a mission to the Western Regions to retrieve Buddhist scriptures. The following year, in 65 AD, Cai Yin, Qin Jing, and others met the esteemed Indian monks She Moteng and Zhu Falan in Greater Yuezhi (present-day Afghanistan), where they were introduced to Buddhist scriptures and statues for the first time. In 67 AD, the Han envoy team returned to Luoyang with the high monks She Moteng, Zhu Falan, and the Buddhist scriptures and statues carried by a white horse. The two high monks were welcomed with a grand reception by Emperor Ming, who also commissioned the construction of China’s first temple, the White Horse Temple in Luoyang, especially for them.
White Horse Temple
On the first day of the first month in the fourteenth year of Yongping, Taoists from the Five Sacred Mountains submitted a petition requesting a competition with the Brahmin monks to determine the superiority of China’s native Taoism versus the foreign Buddhism. Emperor Ming granted the Taoists’ request. In 71 AD, a historic Buddhist-Taoist debate and contest unfolded in Chinese Buddhist history.
As the competition began, the Taoists said, “Let’s start with debating. You monks pride yourselves on eloquently explaining the Dharma, don’t you? So, let’s have a debate! If you can make one point, we will make two; if you raise one, we will counter with three. Go ahead and present your profound arguments!”
She Moteng slowly lifted one foot and raised it towards the sky, smiling, and said, “Amitabha, I have raised one, now it’s your turn to raise three!”
The Taoists looked at each other, stumped, and couldn’t think of a way to counter for a long time. They then changed the subject: “Let’s compare theories. You Buddhists call yourselves ‘Inner Learning,’ while you call us ‘Heterodox.’ But throughout history, when discussing inner and outer, inner has always been smaller than outer. So, your Inner Learning is small, and cannot compare to our great Heterodox!”
She Moteng brought his palms together in a gesture of respect and slowly explained: “The emperor resides in the inner palace, while the common people live in the outer city; although the inner palace is small, the emperor is great. The heart is inside the body, while the hands and feet are outside, the activity of the heart is boundless, while the movements of the hands and feet are limited. This is another example of how the inner is superior to the outer. Think carefully, the Inner Learning of Buddhism is much greater than the Heterodox!”
The Taoists, unable to win the debate, finally said, “Let’s compare magical powers!” How to compare? By placing the scriptures spoken by the Buddha and the scriptures spoken by the Taoist tradition together and burning them with fire. If one’s scriptures burn, then they are false; if one’s scriptures don’t burn, then they are true.
So, in the south of White Horse Temple, two high platforms were set up, one in the east and one in the west. The east platform held the Buddhist scriptures, images, and relics, while the west platform held the Taoist scriptures.
At that time, five hundred Taoist priests gathered the Taoist scriptures and magical texts together and prayed to the Supreme Lord Laozi, saying: “Oh, Taoist Virtuous Sage! Please show great divine power, and make our Taoist scriptures not burn, and let the Buddhist scriptures burn.”
Many of the Taoist priests at that time had supernatural powers – some could ride clouds and fog, some could fly in the sky and hide underground, and some could become invisible. Invisible means that you could see him right in front of you, and then suddenly he’s gone! There were Taoist priests with such abilities. They could use evasion techniques – Qimen Dunjia, to escape, and with Taoist spells and incantations, they had great supernatural powers.
But what happened when the fire was lit? The Buddhist scriptures did not burn; they emitted light! The Buddha’s relics also emitted a five-colored light, and the scriptures emitted light up into the sky, as if the sun was shining upon the world.
What about the Taoist scriptures? They caught fire as soon as they were burned and were completely destroyed by the fire. Those who could ride clouds and fog could no longer ride clouds or exhibit supernatural powers; those who could fly in the sky could no longer fly; those who could hide underground could no longer hide; those who could become invisible could no longer become invisible. Their spells and incantations also lost their effectiveness and had no power.
She Moteng and Zhu Falan, the two venerable monks, were responsible for overseeing this scripture contest, which was of great significance for the rise or fall of Buddhism. To strengthen the faith of the masses, She Moteng and Zhu Falan displayed eighteen divine transformations, levitating in the sky and reciting the following verses:
“The fox is not of the lion’s kind, a lamp is not as bright as the sun and moon; a pond cannot hold the vast sea, a hill cannot match the towering mountain. The Dharma cloud descends upon the world, the Dharma rain nourishes all beings. Supernatural powers are rare, manifesting everywhere to transform sentient beings.”
“The fox is not of the lion’s kind” means that, although the fox spirit is cunning and can change shape, it is far inferior to the lion. The fox and the lion cannot be compared; they are not of the same kind. This is saying that the breadth of Taoism is like the smallness of the fox, different from Buddhism, which has the grandeur of a lion.
“The lamp is not as bright as the sun and moon” refers to how the light of a lamp or a candle, which were small in the past, is far less bright than the light of the sun and moon. This means that the scriptures and teachings of Taoism are like the light of a lamp, while the Buddhist scriptures and teachings are like the light of the sun and moon, incomparable.
“A pond cannot hold the vast sea” means that a small pond has a limited capacity and can only hold a small amount of water, while the vast sea can accommodate many rivers. The pond and the sea cannot be spoken of in the same breath. This is a metaphor comparing the theories of Taoism to a small pond, while the teachings of Buddhism are like the vast and boundless sea.
“A hill cannot match the towering mountain” means that a small hill cannot compare to the grand and towering Mount Song, one of the Five Sacred Mountains of China. If the practice of Taoism is like a small hill, then the profound teachings of Buddhism are like the towering cliffs and deep ravines of ancient trees.
“The Dharma cloud descends upon the world, the Dharma rain nourishes all beings” means that when Buddhism spread to China, it was like a cloud of Dharma, like sweet dew, pervading the world and nourishing all beings.
“Supernatural powers are a rare thing” means that I have now shown supernatural powers, which is a rare and precious thing in the world.
“Everywhere transforming sentient beings” means that in reality, I did not want to show supernatural powers, and I did not want to compete with you. This is a last resort, for the purpose of guiding you and leading you to a brighter path, I am doing this as a convenient means.
After this contest, Buddhism took deep roots in China, not only producing a succession of talented individuals but also establishing a glorious foundation. White Horse Temple became the first and foremost temple in Chinese Buddhist history, and temples began to be built one after another. Ever since then the marvelous fruits and wondrous flowers of Chinese Buddhism have continued to flourish from generation to generation.
In my eyes, Yunnan Province is the most beautiful province in China. Its mild climate throughout the four seasons and its unique geographical location give Yunnan breathtaking natural scenery. The numerous ethnic minorities in Yunnan add to its diverse cultural customs. Yunnan is both romantic and passionately exotic, yet also elegant and graceful. It is truly charming and enchanting. Jizu Mountain is one of my favorite places there.
Mount Jizu (Chicken-foot Mountain) is situated in Dali Prefecture. The mountain is located to the northeast of Erhai and forms the tripoint of three counties: Heqing, Binchuan, and Dali City. With three mountain ranges to the front and one range to the rear, it resembles a chicken’s foot, hence its common name is Mount Cock’s Foot or Mt. Cock’s Claw. Yet another name for this mountain is Nine Strata Cliffs.
Mount Jizu is a famed holy mountain in Buddhism. Its main peak, Tianzhu Peak, rises some 3,240 metres above sea level. The mountain is vegetated with dense forests and bamboo groves.
From it, visitors can see the sunrise in the east, floating clouds to the south, Cangshan Mountain to the west and Jade Dragon Snow Mountain in the north. They are described as the “four wonders seen from the mountain top.”
The best viewing spot for the four wonders of Jizu Mountain is at its highest point, the Golden Top Temple. The view from the temple is wide and open, with visibility for more than ten kilometers. Watching the sunrise in the east is the king of the four wonders. Early winter mornings are the best season to witness the sunrise, as the reduced moisture increases visibility.
Before dawn in winter, the stars in the sky gradually dim, and the eastern horizon begins to whiten. A hint of orange appears on the just-yellowing horizon. In just a few minutes, the orange-red sun leaps above the horizon, and its dazzling rays spread across the entire landscape. If there are rolling clouds, they turn into a dazzling orange-red color within seconds. The sun’s rays, like an arrow carrying a force of ten thousand pounds, fly straight at everyone. In an instant, a huge spark bursts open in one’s heart. The ruddy morning sun is so bright that it’s hard to keep one’s eyes open. However, once you get used to it, the earth has already begun to revive, welcoming a new day in the dawn.
The best season to view the silver Cangshan and jade Erhai from the west is still in winter and spring. In these two seasons, snow accumulates on the peaks of Cangshan. Looking west from Golden Top Temple, you’ll see the plateau’s pearl, Erhai Lake, which runs between the mountains and valleys, reflecting silver waves. It’s as if pearls are dancing on the water’s surface. At the place where the water meets the mountains, you’ll find the nineteen peaks of Cangshan neatly arranged. The pure white snow on the mountain peaks becomes even more noble silver under the sunlight. The mountains and the sea echo each other, with the mountains towering and magnificent, and the water soft and charming. This is a masterpiece of beauty that cannot be drawn!
The best time to view the colorful clouds from the south is in the evening when the sun is about to set. Try to choose a time when the clouds are most densely gathered. Standing at the Golden Top Temple and looking south, you’ll see the undulating mountains covered in mist, which either wraps around or disperses in clouds, drifting freely in the blue sky, transforming into various shapes. The afterglow of the setting sun is scattered among the light and leisurely drifting clouds, blooming with a burst of colorful brilliance!
Jade Dragon refers to the “Jade Dragon Snow Mountain,” whose peak is covered in snow all year round, so it can be viewed at any time. Looking north from the Golden Top Temple, the snow-capped mountains stretching for dozens of miles look like an outstretched dragon, crystal clear as jade, pure white and flawless, without a speck of dust.
There are some other scenic views of Jizu Mountain that appear at different times and moments, unique to Jizu Mountain. Every year in the summer and autumn rainy season, sudden storms suddenly stop, and the surrounding mountains are still in the mist, except for a part of the clouds above Jinding Temple which disperse and sunlight reappears. At this time, a circle of seven-colored light circles surrounds Jinding Temple, which is one of the Eight Scenic Views, known as “Tianzhu Buddha Light.” Similarly, during the summer and autumn rainy season, Jizu Mountain sometimes experiences strong winds, thunderous sounds, flashes of lightning, and heavy rain in the valleys. However, Huashou Gate, located under Tianzhu Peak and below the Sheshen Cliff, is still clear and sunny. The sound of thunder echoes here and lingers for a long time. This is the famous “Huashou Qing Lei.”
The most abundant trees on Jizu Mountain are “pine and oak.” These trees come together to form a vast forest.
Whether you look from a distance or up close, the “forest sea” of Jizu Mountain stretches for dozens of kilometers, from the mountain peak to the valley, casting shadows with its pine trees. The forest is deep and lush, and when the wind, whether gentle or strong, blows through, the leaves rustle, creating music reminiscent of the thunderous galloping of a thousand horses. Sitting in the mountain and quietly listening to this has a special charm. This landscape is known as “Wan He Song Tao”.
There are more beautiful scenic views waiting for you to explore.
Besides the beautiful scenery, Jizu mountain is a legendary buddhist holy place.
According to Buddhist scriptures, in ancient times, Shakyamuni Buddha demonstrated to the assembly at the Lingshan Meeting by holding up a flower, and everyone remained silent. Only Venerable Mahakasyapa deeply understood the Buddha’s intention and broke into a faint smile. The Buddha said, “I have the true Dharma eye treasury, the wondrous heart of Nirvana, which I entrust to you.” He also told Mahakasyapa that he would pass on the kasaya robe to him, which would then be transferred to Maitreya when he appears in the world. Venerable Mahakasyapa bowed to the Buddha’s feet and respectfully followed the Buddha’s intention. After the Buddha’s Nirvana, Venerable Mahakasyapa gathered the true Dharma three treasures in the city of Vaishali. He later entrusted the true Dharma three treasures to Ananda and went to Jizu Mountain alone, holding the kasaya robe given to him by the Buddha. He entered meditation at the Huashoumen.
Huashou Gate is 40 meters high, with a sheer cliff face as if cut with a knife. A large stone gate is embedded at the top, and a vertical crack in the middle divides the cliff into two panels, with a “stone lock” hanging in the middle. The stone gate is covered with Hada (ceremonial scarves), and there are prayer flags around it. With an altitude of nearly 3000 meters, the landscape is very similar to that of Tibet.
When Maitreya Buddha is born in this world, he will also climb Jizu Mountain and go to the place where Venerable Mahakasyapa meditated. With a snap of his fingers, the mountain peak will open, and Mahakasyapa will pass on the robe and say his farewell. After the respectful ceremony, he will ascend into the sky, display divine transformations, and enter nirvana.
From the Buddhist scriptures, it can be seen that Jizu Mountain is the place where Venerable Mahakasyapa meditated, and it is also the future place of Maitreya. Its connection with Buddhism will never be severed for billions and trillions of years.
Jizu Mountain’s religious story stretches back nearly 1,000 years. Beginning during the Three Kingdoms period, several nunneries were built upon its slopes. But it was not until the time of the Tang Dynasty, four hundred years later, that the first known Buddhist temple was completed.
Throughout the following centuries, the construction of many other shrines and sanctuaries continued. By the late seventeenth century, during the Qing Dynasty, Jizu Mountain’s religious importance reach its zenith. At that point, according to official historical accounts, there were 42 temples and monasteries, 65 separate nunneries and more than 5,000 religious devotees residing on the mountain.
The mountain enjoys great prestige in South Asia and Southeast Asia, and shares the same fame with Wutai Mountain, Ermei Mountain, Putuo Mountain and Jiuhua Mountain in China. The mountain is a birthplace for Zen Buddhism.
The main sacred sites of Jizu Mountain include: Zhusheng Temple, Huashou Gate, Jinding Temple, Bronze Buddha Hall, Mahakasyapa Hall, Xuyun Zen Temple, Biyun Temple, Huashou Fangguang Temple, etc.
Jinding Temple
Golden Hall at Jinding Temple and LengYan Pagoda
The front entrance of Jinding Temple is typical Baizhu architecture style
Mahakasyapa Hall
From a high vantage point, the Mahakasyapa (Jia Ye) Hall is hidden among the lush green pines and cypresses in the depths of white clouds.
The Mahakasyapa Hall’s main hall houses a statue of the venerable Mahakasyapa, which is carved from camphor wood
Nestled in the depths of Yanmen Mountain in Shanxi, the ancient Yanmenguan Pass stands as a solitary testament to history, dating back some 2,000 years. This once invincible guardian of the frontier, which served as a formidable defense along the boundary, now seems like a wise old man, eager to share tales of its storied past.
Located 12 miles (19 kilometers) north of Daixian County, in Shanxi Province, Yanmenguan Pass is one of the three notable passes of the Inner Great Wall, alongside Ningwu Pass and Pianguan Pass.
The region’s history can be traced back to the Spring and Autumn Period (770 BC – 476 BC), when King Wuling of Zhao State first established Yanmen County here. During the reign of Emperor Qin Shi Huang (259 – 210 BC), orders were given to construct Yanmen Pass as a fortification against the northern tribes, sparking centuries of fierce battles for control.
In the Northern Song Dynasty (960 – 1127), the famous Yang family warriors, including female members, were stationed at the pass to defend against invasions from the Qidan troops of the northern prairies. Statues of some of these legendary figures can be seen lining the entrance path of the scenic area.
The structure of the pass includes a pass city, a barbican, and an enclosing wall. Nestled between two rolling hills, the pass city stands at a height of 30 feet (nine meters) and spans a perimeter of 1,100 miles (1,006 meters). Extending from the east and west wings of the pass city, the enclosing wall measures over three miles (five kilometers) in length and is punctuated with beacon towers. The barbican was constructed outside the northern gate of the pass city.
A Uniquely Designed Military Stronghold
The northern gate of the pass, Di Li Gate, boasts a barbican that forms a double defense line. Unlike most barbicans, the entrance door is situated on the east wall instead of the front, exposing potential invaders from two sides. Another distinctive feature is that Tian Xi’an Gate, which opens to the central plain, is not directly aligned with Di Li Gate. It is located at the northeast corner of the pass, while the area directly opposite Di Li Gate is a false lead, leading to a secluded mountain area with no walkable path, only dense trees, knee-high grass, and wild beasts.
Behind Di Li Gate lies a large reservoir with military potential. In case of a breach, defenders could break the dam to flood the invading forces. Additionally, a pagoda stands on the northern slope of the enclosing wall, occupying the highest point of the area at an altitude of 5,968 feet (1,819 meters). This strategic location served as an ideal command post, offering a commanding view of the entire area.
Yanmenguan was renowned for its strategic significance and legendary wars, having witnessed over 1,000 skirmishes and 140 significant battles throughout history. Since the era of the Zhao State during the Warring States period, every dynasty has recognized the importance of Yanmenguan’s defensive position. It has always been a border gateway marked by fierce conflict and integration between farming and nomadic peoples.
However, amidst the echoes of past battles, a story of peace and kindness emerges through the figure of Wang Zhaojun, one of the “Four Great Beauties” of ancient China. Two thousand years ago, she passed through Yanmenguan as an envoy of peace between China and the Xiongnu.
In 33 B.C., after over a century of conflict with the Xiongnu in the north, the Han Dynasty had grown stronger under Emperor Yuan, while the southern Xiongnu had weakened. The people longed for stability, and to establish friendly relations with the Han Dynasty, Chanyu Huhanye, the Monarch of the Xiongnu, visited Chang’an to meet Emperor Yuan.
Wang Zhaojun, born in 51 BC near the beautiful Xiangxi River at the foot of Jingchu Mountain, traveled to the bustling capital Chang’an in 38 BC after being chosen as a maid for the Imperial Palace. Customarily, the Emperor selected maids based on their portraits, and Wang, likened to a phoenix, was so pure that she didn’t need to bribe the artist Mao Yanshou, unlike the other maids. Mao, however, deliberately created an unflattering portrait of her, relegating her to the role of an ordinary maid with chores in the palace’s corners. Despite the cold treatment and challenging tasks, this adversity served to strengthen her mentally and physically, perhaps as a divine preparation for her destiny.
As a court lady in waiting, Wang Zhaojun was chosen for the marriage. When the matron of the harem presented her unflattering portrait to the Emperor, he merely glanced at it and approved. But upon seeing her in person, her beauty and grace astonished the Emperor, the monarch, and the ministers. Huhanye was overjoyed and vowed to maintain peace along the frontier.
Wang Zhaojun followed the Emperor’s orders, becoming a symbol of peace through her marriage to the Xiongnu. She was honored with the title “Ninghu Yanzhi,” meaning queen who could bring peace to the Xiongnu. Subsequently, she devoted her life to maintaining stability along the Han-Xiongnu border and promoting Han culture.
Two thousand years ago, the Huns led a nomadic life in the harsh northern deserts, lagging behind the more advanced Han Dynasty. As Wang Zhaojun traveled to Xiongnu, she observed the stark contrast between the desolation of the north and the prosperity of Chang’an.
After crossing Yanmenguan, her hometown of Jingchu and the Han palace in Chang’an seemed far away, leading to feelings of homesickness. Playing a sorrowful melody on her pipa (Chinese lute), she captured the attention of a flock of geese flying overhead. So captivated were they by the beautiful music and the sight of the graceful woman on horseback that they forgot to flap their wings and fell to the ground. This incident gave rise to the saying that Wang Zhaojun’s beauty was so captivating that it made geese fall to the ground. Wang Zhaojun’s role in fostering harmony through her marriage and contributing to a peaceful border region exemplifies the traditional Chinese cultural value of “harmony.”
After arriving in Xiongnu, Zhaojun faced a challenging living environment and vastly different customs. Nevertheless, she steadfastly adhered to her mission, set aside her homesickness, and courageously, persistently, and compassionately integrated into the Hun’s lifestyle. She transformed from an ordinary Han palace maid to a virtuous and kind Queen of the Xiongnu, assisting the monarch across two generations.
She urged the monarch to cease hostilities and introduced Han’s advanced cultural etiquette system to the Hun people. Moreover, she taught them to cultivate millet and hemp, rear domestic animals, weave cloth, and dig wells. Consequently, the beacons and wars along the frontier ceased, and a scene of “wind blowing through the grass and cattle and sheep grazing” emerged, allowing the people to live peaceful and prosperous lives.
Wang Zhaojun’s role in fostering harmony through her marriage and contributing to a peaceful border region exemplifies the traditional Chinese cultural value of “harmony.” The ethereal Wang Zhaojun lived up to the expectations of the Han Dynasty, resolved the conflict between the Han Dynasty and the Xiongnu, and propagated Han culture. Her accomplishments have become beacons of inspiration for future generations.
Instrumental in establishing peace and prosperity along the Han-Xiongnu border for half a century, she earned the love and respect of the people of her time and those of future generations. In her honor, the Huns constructed ‘The Tomb of Wang Zhaojun’ near the bank of the Big Black River. In the northern desert, she was revered as a Goddess sent by Heaven to assist the Xiongnu. It was said that there would be plentiful water and lush grass wherever she passed.
(Image: Yaliga Ba via Dreamstime)
Today, as I reflect on this beautiful and strong woman, I can’t help but feel deeply moved. In the present world, we have extremely advanced technology, but it seems that people’s moral standards and the level of civilization have not been correspondingly enhanced. I earnestly hope that modern people can resolve national, racial, and regional contradictions and conflicts through peaceful means, and avoid resorting to war, violence, and terror, as these can only bring disaster and trauma to humanity and the planet.
“The Story of the Nine-Colored Deer King” is the main theme of the murals in Cave 257 of the Mogao Caves. It unfolds in a long horizontal scroll, narrating many stories from the past life of the founder of Buddhism, Siddhartha Gautama.
Legend has it that long ago, on the banks of the Ganges River in India, there lived a beautiful and kind nine-colored deer king (the previous incarnation of Siddhartha Gautama)…
One day, as the nine-colored deer king was leisurely strolling by the river, he suddenly heard a pitiful cry from the water. Without hesitation, the brave nine-colored deer leaped into the river, risking its own safety, and rescued the drowning person. The saved individual, overwhelmed with gratitude for a second chance at life, repeatedly bowed in thanks to the nine-colored deer.
The nine-colored deer king said, “No need for thanks; just go on your way. My only request is that you do not reveal my whereabouts to anyone.” The drowning person solemnly swore, “Kind benefactor, rest assured. If I ever betray this promise, may my body be covered in sores and my mouth emit a foul odor.” With that, the person departed.
Before long, the queen of that country dreamt of a deer—one with nine colors and silver-like antlers. She told the king about her dream and requested that he order the capture of such a deer. She had a strong desire to use its colorful hide for clothing and its antlers for earrings. Consequently, the king issued a proclamation and offered a substantial reward.
Upon seeing the proclamation, the person who had been saved reported to the king, leading soldiers to the mountain to hunt down the nine-colored deer.
When the nine-colored deer was surrounded by the king’s troops… it spotted the person it had rescued from drowning, tears of sorrow welled up in its eyes…
The nine-colored deer leaped in front of the king and recounted the story of how it had saved the person from drowning and how that person had broken his promise. The king and the soldiers were deeply moved by the deer’s account. The king ordered the soldiers to clear a path, allowing the nine-colored deer to regain its freedom. He also issued a decree: “From now on, people are not allowed to shoot deer.”
As for the person who had broken his promise, in an instant, sores covered his body, and a foul odor emanated from his mouth. From that moment on, he was despised and reviled by the people.
The story of the nine-colored deer is vividly portrayed in Cave 257 of the Dunhuang Grottoes, which is what we now see as “The Story of the Nine-Colored Deer King.” While the mural is not particularly large in size, it holds significant importance in Chinese art history.
This artwork takes the form of a horizontal scroll with the story unfolding from both ends and converging in the middle. It consists of multiple scenes depicting various stages of the story, such as its origin, development, climax, and conclusion, all seamlessly connected to create a cohesive narrative.
“The Story of the Nine-Colored Deer King” is composed of nine panels, illustrating five key plot points: the person drowning, the nine-colored deer rescuing the drowning person, the drowning person expressing gratitude to the deer, the queen’s desire to capture the deer, the informant revealing the deer’s whereabouts to the king, and the confrontation between the king and the deer.
The story progresses from both ends of the mural towards the center, placing the pivotal conversation between the king and the deer in the middle. This unique composition style captures the essence of continuous horizontal scroll art from the Wei and Jin dynasties, showcasing the distinctive historical aesthetics of the era.
In the artwork, the depiction of mountains, rocks, and rivers occupies a significant portion. The rendering of the landscape primarily serves to fill the space and delineate the composition, providing a brief description of the specific environment, thereby enhancing the visual impact of the artwork and its storytelling function.
“The Story of the Nine-Colored Deer King” places the climax of the story—the moment when the nine-colored deer recounts the events—at the center of the composition. At the same time, both nine-colored deer on the left and right sides turn their bodies toward the center, serving as visual guides.
This is precisely the turning point in the storyline of the nine-colored deer, where the drowning person’s affliction receives its retribution. It places the Buddhist concept of rewarding goodness and punishing evil at the visual forefront, narrating the sequence of events step by step to gradually reveal the story’s progression to the viewer.
The entire process is rhythmic, marked by the ebb and flow of the narrative, skillfully aligning the chronological order with the spatial arrangement, showcasing the artist’s unique conceptualization of the composition.
In terms of color usage, “The Story of the Nine-Colored Deer King” appears to be very vibrant, but in reality, it uses a limited color palette, consisting of only six colors. The earthy red color dominates the entire painting, which is a prominent color characteristic of the Wei, Jin, Northern and Southern Dynasties period.
Complementing this are touches of stone blue and stone green, along with the harmonious blending of black, white, and gray. This blending softens the strong contrast between earthy red and stone green and blue, achieving a harmonious contrast of warm and cool tones. At the same time, it also accentuates the brightness of contrasting colors.
The introduction of Buddhism had a significant impact on the development of portraiture in China, introducing a set of strict conventions for Buddhist iconography. During the Northern Wei dynasty, the Dunhuang murals began to emphasize body proportions and adopted more attention to three-dimensionality after incorporating color shading techniques.
In “The Story of the Nine-Colored Deer King,” most of the figures on the canvas have slender bodies, with their clothing belts fluttering in the wind. Their gestures and movements exude a graceful dance-like elegance, evoking the style of figures that “float like wandering dragons and are delicate as startled swans.”
In the murals of the Northern Wei period in Dunhuang, Jataka stories are an important theme. Jataka stories refer to the countless events and experiences in the past lives of Siddhartha Gautama, who would later become the founder of Buddhism. In history, there are numerous Jataka stories related to Siddhartha Gautama.
Within Buddhist art themes, there are many Jataka story paintings, and “The Story of the Nine-Colored Deer King” is just one of them. Story paintings are used to promote the Buddhist concept of karmic retribution and to praise the spirit of self-sacrifice displayed by the Nine-Colored Deer King.
In reality, all Jataka paintings ultimately convey one message: that by performing good deeds, selflessly giving, and enduring hardships, one can achieve positive outcomes, whereas engaging in wrongful actions will lead to self-destruction.
As a cradle of Chinese culture, Shanxi is renowned for its abundance of cultural and historical treasures. While some iconic historical relics and monuments like the Great Wall, which stretches across the province, the Yungang Grottoes in Datong, and the Sakyamuni Pagoda in Yingxian, are at the top of tourists’ itineraries, there are also lesser-known “hidden gems” in terms of historical significance that are well worth exploring.
One such hidden gem is the Guangsheng Buddhist Temple, located in the Zhaocheng township of Hongtong county. The Guangsheng Temple is actually a complex that encompasses the upper monastery, the lower monastery, and the Water God Temple, situated on the slopes and foothills of Huoshan Mountain in Zhaocheng.
Founded in the first year (147) of the Jianhe reign of the Eastern Han Dynasty (25-220), the temple originally bore the name Julushe Temple. It later acquired its present name during the Tang Dynasty (618-907). While it suffered damage during an earthquake in the 7th year (1303) of the Dade reign of the Yuan Dynasty (1271-1368), subsequent restoration efforts took place over the years, preserving much of the architectural style from the Yuan Dynasty. Nestled against the mountains and overlooking a river, the temple is surrounded by ancient trees and boasts the Huoquan Spring gushing beneath the rocks at the foot of Huoshan Mountain, creating a serene and picturesque environment. The temple can be divided into three main sections: the upper temple, the lower temple, and the Water God Temple.
The upper temple, perched atop Huoshan Mountain amidst lush pine trees, is graced with ancient towers and adorned with colored glaze components, radiating magnificence and splendor. The lower temple, situated at the base of Huoshan Mountain, harmoniously blends with the mountain’s natural contours, creating an intriguing landscape with varying elevations. Adjacent to the lower temple is the Water God Temple, with connected walls. Here, one can find the Statue of Ying, an emperor of the Ming Dynasty, and renowned frescoes depicting Yuan Dramas, both of which are celebrated locally and internationally.
The upper temple complex comprises the temple gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Temple Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
Behind the tower lies the Amitabha Hall, a 5-bay wide, 4-bay long structure with a single-eaved gable and hip roof. Inside, the hall features three exquisite statues: Amitabha Buddha, Manjusri Bodhisattva, and Vajrapani Bodhisattva. These statues, masterpieces of the Ming Dynasty, are accompanied by frescoes adorning the eastern wall and screen wall. Additionally, the temple once housed 4,000 volumes of the Pingshui version of the Tripitaka during the Huangtong reign of the Jin Dynasty (1115-1234). These valuable volumes are now preserved in the Beijing Library and serve as a rare source for studying the history of Chinese printing.
The Great Hall, characterized by a 5-bay width, a single-eaved gable, and a hip roof, features three niches within for wooden statues of Sakyamuni, Manjusri, and Samantabhadra. These statues are meticulously crafted, possessing well-proportioned forms, a plump appearance, and an air of perfect serenity. In the Qing Dynasty, the hall was adorned with eighteen iron arhats along its two sides, along with statues of Kwan-yin and Amitabha Buddha on the rear niche wall.
The Vairochana Hall, spanning 5 bays in width with a hip roof, boasts an architectural style typical of the Yuan Dynasty, with two gables supported by substantial crawling beams. The altar within the hall features statues of three Buddhas and four Bodhisattvas, surrounded by wooden niches containing 35 iron statues. Notably, the back wall of the hall showcases frescoes depicting Sakyamuni and twelve Bodhisattvas of Perfect Enlightenment, regarded as exceptional examples of this art form.
The lower temple complex comprises the temple gate, front hall, back hall, the buttress hall, and other buildings, all constructed during the Yuan Dynasty. The temple gate stands impressively tall, measuring 3 bays in width and 3 bays in length, featuring a single-eaved gable and a hip roof. Canopies have been added to both the front and back eaves, lending it the appearance of a pavilion with double eaves. The front hall spans five bays in width and is supported by only two pillars that bear the weight of the entire structure. The back hall, dating back to the second year (1309) of the Zhida reign in the Yuan Dynasty, stretches 7 bays in width, featuring 9 purlins, 8 rafters, and a single-eaved overhanging gable roof. Within the hall, you’ll find the main statues of Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva, all crafted during the Yuan Dynasty. Sadly, the once-present frescoes on the walls were stolen and smuggled to other countries in 1928, and they are currently housed in the Naerson Museum in Texas, US. Notably, the fresco on the south wall documented the performances of Yuan Drama, serving as rare reference material for the study of Chinese dramas.
The lower temple complex photo from：Beijing Transportation University ancient architectureThe lower temple complex photo from: Beijing Transportation University ancient architecture
The Water God Temple comprises two courtyards: the front yard and the back yard, featuring key structures like the Temple Gate, the Door of Amenity, the Ming Ying King Hall, and wing-rooms of cave dwellings. The Ming Ying King Hall, measuring 5 bays in width and 5 bays in length, is enveloped by a cloister and crowned with a double-eaved gable hip roof. The interior beams follow a conventional style. Within the hall, you’ll find statues of Water God Ming Ying King and his eleven attendants. Their facial features, attire, and postures are all reflective of the Yuan style. The hall’s walls are adorned with frescoes depicting scenes of people praying for rain and other historical narratives, covering an area of 197 square meters. Notably, the eastern end of the south wall features vivid depictions of a comprehensive set of stage properties used by performers, including costumes, stage instruments, musical instruments, makeup, curtains, and the stage itself. The artwork is meticulously arranged, with a simple yet profound color palette, and the dramatis personae are depicted with great expressiveness. This fresco offers an authentic glimpse into the heyday of Yuan Drama and stands as a rare and outstanding example of Yuan fresco art in China.
Peace LiLy 
