Nestled in the southeastern part of the Tibet Autonomous Region lies Mêdog, a town whose name translates to “hidden lotus” in Tibetan. Situated in the Nyingchi area, Mêdog finds its home in the lower reaches of the Yarlung Tsangpo River, nestled at the southern foothills of the eastern Himalayas. This picturesque town boasts breathtaking landscapes, abundant rainfall, and pristine ecology, making it a true hidden gem waiting to be explored.
Mêdog’s allure lies not only in its natural beauty but also in its remote location, which has preserved its untouched landscapes from excessive development and damage. With a relatively sparse population, Mêdog offers visitors a rare opportunity to experience unspoiled natural beauty and unravel the mysteries of nature.
One of the most striking features of Mêdog is the majestic Yarlung Tsangpo River, which winds its way around the towering Namcha Barwa Peak, standing at an impressive 7,782 meters. As the river meanders through the territory of Mêdog, it carves a deep gorge akin to a sharp sword, creating a mesmerizing sight that resembles the Milky Way cascading towards the sea.
Big Bend
The Yarlung Tsangpo Grand Canyon stretches from Dado Kar village in Milin County at an elevation of 2880 meters in the north to Baxika village in Motuo County at an elevation of 115 meters in the south. The canyon spans a length of 504.6 kilometers, with an average depth of 2268 meters and a maximum depth reaching 6009 meters. With an average elevation of over 3000 meters, it holds the distinction of being the world’s largest canyon.
The entire canyon region is characterized by a harsh environment, where glaciers, cliffs, steep slopes, mudslides, and the turbulent Yarlung Tsangpo River converge. Many areas remain untouched by human activity, making it one of the few remaining “last frontiers” on Earth and a relatively unexplored geological blank spot.
Some of the primary waterfalls within the canyon have drop heights ranging from 30 to 50 meters. The canyon features nine vertical natural zones, ranging from high mountain snow zones to low river valley tropical rainforests. This diversity creates a habitat for a variety of biological resources, including two-thirds of known higher plant species on the Qinghai-Tibet Plateau, half of known mammal species, four-fifths of known insect species, and three-fifths of known large fungi species in China.
The convergence of warm and humid oceanic air currents with the snowy plateau gives rise to a unique climatic phenomenon in Mêdog. With annual rainfall reaching around 2000 millimeters and an average temperature of 16°C, Mêdog boasts rare South Asian climatic characteristics at its latitude. Despite its Tibetan location, Mêdog is home to the northernmost tropical rainforest in China, thriving with lush vegetation and vibrant landscapes reminiscent of Jiangnan’s greenery.
Exploring Mêdog offers visitors a chance to witness the breathtaking scenery of the Yarlung Tsangpo Grand Canyon, hailed as one of China’s ten most beautiful canyons by “National Geographic.” Here, travelers can marvel at the grandeur of nature while appreciating the unique rattan bridges that adorn the landscape, crafted without a single nail or pier.
As one traverses the mountains of Mêdog, they are greeted with mist-shrouded landscapes that change hues with the seasons, each unveiling its unique beauty. From the dense foliage to the meandering streams, Mêdog presents a captivating panorama that unfolds like a charming scroll, inviting visitors to immerse themselves in its vibrant colors and tranquil ambiance.
In the age of dinosaurs, a plant often referred to as a “living fossil” – the tree fern, also known as the “cycad,” is a nationally protected plant at the second level. It is the only woody fern species.
Wild Banana
Tea Tree Farm
For those seeking respite from the hustle and bustle of city life, Mêdog offers a sanctuary of serenity and natural beauty. Whether it’s witnessing the grandeur of the Yarlung Tsangpo River or wandering through the lush rainforests, Mêdog promises an unforgettable journey filled with awe-inspiring moments and cherished memories.
In Mêdog, every step reveals a new wonder, every corner a hidden treasure. As visitors embark on this journey of exploration, they are reminded to approach nature with humility and appreciation, embracing its beauty with a calm heart and open mind. In Mêdog, the beauty of life reveals itself in every mist-covered peak and verdant valley, leaving an indelible mark on the soul of all who venture there.
Discovering the Hidden Gem of Tibet: Mêdog – Where Nature Unveils Its Mysteries
As we step into the Chinese New Year of 2024 (February 10th), ushering in the Year of the Dragon, we embark on a journey through the intricate tapestry of Chinese culture and folklore. Beyond the tangible creatures represented in the Chinese Zodiac, the dragon stands as a mystical symbol shrouded in enigma. Join us as we delve into the tales, traditions, and jubilations surrounding the Year of the Dragon, uncovering the profound significance of the Chinese Lunar New Year and its ancient lunar calendar.
The Chinese New Year, also known as the Spring Festival, is intricately linked with the Chinese Lunar Calendar, a timekeeping system rooted in the moon’s phases. Unlike the Gregorian calendar, the Chinese Lunar Calendar dates back over four millennia, its inception during the Xia Dynasty and refinement during the Shang Dynasty. It serves not only as a means to measure time but also reflects the Chinese people’s harmonious rapport with nature. Aligned with the agricultural cycle, the lunar calendar aids in agricultural endeavors, guiding farmers in sowing and reaping.
IVAN/GETTY IMAGES
More than a mere chronometer, the Chinese Lunar Calendar embodies a cultural legacy brimming with significance. Grounded in the principles of yin and yang, the five elements, and the Chinese zodiac, it offers a holistic understanding of existence. This venerable calendar not only demarcates the passage of time but also orchestrates cultural ceremonies, festivals, and customary observances.
In ancient China, the dragon reigned as a symbol synonymous with imperial authority. Emperors, considering themselves the “Sons of Heaven,” identified with the dragon, an emblem of celestial power. This perception permeated society, fostering a collective belief in the Chinese people’s lineage from dragons. Rooted in mythology, folklore, and cultural symbolism, dragons hold a special place in Chinese ethos, embodying myriad virtues and auspicious qualities.
Legends abound in Chinese mythology, recounting the exploits of the Four Dragon Kings, guardians of the seas in the cardinal directions. Revered for their prowess and rain-summoning abilities, these divine beings epitomize the grace and might associated with dragons. Similarly, the tale of Nezha and the Dragon Prince underscores the dragon’s dual role as a symbol of strength and wisdom, transcending conventional boundaries.
This mural depicting the Four Dragon Kings is preserved in Baiyun Temple, Beijing.
Ancient myths narrate the existence of the Nine Sons of the Dragon, each endowed with unique abilities shaping the natural world. From thunderous roars to water manipulation, these dragon progeny epitomize the elemental forces governing existence. The dragon’s omnipresence in imperial symbolism further underscores its significance, depicting the dragon as the epitome of majesty and sovereignty.
As the Chinese New Year approaches, customs and celebrations honoring the dragon come alive:
Dragon Dances: The iconic dragon dance involves a team of performers manipulating a long, undulating dragon puppet through the streets. This dynamic display is believed to bring good luck and drive away evil spirits.
KEVIN FRAYER/GETTY IMAGES
Dragon Boat Festival: While not directly related to the Chinese New Year, the Dragon Boat Festival is another celebration featuring dragon imagery. Races are held with elaborately decorated boats to commemorate the tragic death of the poet Qu Yuan.
Dragon Lanterns: During the Lantern Festival, which marks the end of the Chinese New Year celebrations, dragon-shaped lanterns light up the night sky, creating a mesmerizing spectacle.
H.H. Dorje Chang Buddha III, a vocal artist, many years ago, has even composed a unique masterpiece, the energetic and festive song “Chinese Dragon,” showcasing the dragon’s cultural significance.
The dragon, shrouded in myths and revered in Chinese culture, takes center stage as we welcome the Year of the Dragon. These captivating stories and customs not only enrich our understanding of Chinese folklore but also highlight the dragon’s enduring role as a symbol of power, wisdom, and good fortune. As the dragon dances through the streets and the Lunar New Year festivities unfold, let us embrace the magic of this mythical creature and wish for a year filled with prosperity and auspicious beginnings. May the dragon bring its legendary blessings to all in the Year of the Dragon!
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.
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.
The Harbin Ice and Snow World stands as one of the largest ice and snow theme parks globally, encompassing an expansive area of 600,000 square meters. It not only serves as an irreplaceable landmark for Harbin City but has also become a renowned international ice and snow tourism brand. Boasting over 2,000 ice sculptures, landscapes, ice castles, rides, and stage shows, this man-made winter wonderland is often referred to as the “Disneyland of Ice and Snow.”
Aligned with the International Ice and Snow Festival of Harbin, the Harbin Ice and Snow World recently celebrated its 20th consecutive year. Unlike traditional construction materials, the park is crafted entirely from ice each winter, featuring delicate and intricate ice and snow sculptures designed under different themes annually. The night view of the park, adorned with vibrant lights accentuating the sculptures, is a mesmerizing spectacle.
The winter experience in Harbin is not limited to visual delights; it encompasses various cultural activities and winter sports. For those seeking relief from summer heat, an indoor ice and snow paradise awaits exploration.
Entering the Ice and Snow World, visitors are greeted by awe-inspiring sculptures, some towering over three stories high, showcasing intricate designs. The park transforms into a magical realm at night, as multicolored lights embedded in the ground illuminate the ice structures, creating a surreal kaleidoscope of colors against the dark night sky.
The exhibition within the park is a display of international ice engraving competitions, ice and snow LED lighting competitions, photography shows, oil painting exhibitions, and other forms of art themed around ice and snow. Marvel at award-winning works and iconic structures, such as those depicting scenes from popular games like Arena of Valor.
A visit to Harbin Ice and Snow World offers not only a feast for the eyes with illuminated sculptures and performances but also a chance to partake in diverse cultural activities and winter sports. The recreation area, spanning over 200,000 square meters, provides more than 20 options, including ice sports like skating, curling, sleighing, ice biking, and the thrilling 320-meter long ice slide. Snow sports enthusiasts can engage in skiing, snow football, snow circling, and the classic snowman and snowball-making activities.
Families can enjoy quality time together in the Parent-kid Paradise, fostering close contact with nature. Furthermore, the dazzling shows presented by skilled actors, combining dancing, acrobatics, and various art forms themed around ice and snow, promise to leave a lasting impression. Don’t miss the opportunity to dance with the actors at the Dream Stage, adding an interactive element to your visit. The Harbin Ice and Snow World is not merely a destination; it’s an immersive experience that seamlessly blends artistic excellence and technological marvels for visitors of all ages.
Maijishan Grottoes, also known as Maiji Mountain Grottoes or Maijishan Caves, is situated in Maiji District, Tianshui City, Gansu Province, in northwest China. Alongside the Longmen Grottoes, Yungang Grottoes, and Dunhuang Grottoes, it holds the esteemed title of being one of the “Four Greatest Grottoes in China.”
If the Mogao Caves are likened to a vast mural museum, the Maijishan Caves undoubtedly resemble an expansive sculpture museum. Boasting 10,632 clay sculptures, Maijishan is hailed as “the Oriental Sculpture Art Exhibition Hall.”
Much like the Parthenon temple in ancient Greece, the stone and clay carvings at Maijishan have been remarkably preserved since ancient times, earning it the moniker of “China’s Parthenon Temple.”
In contrast to the exotic sculptures found in the Mogao Caves, the sculptures in Maijishan are characterized by a more secular, human, and distinctly Chinese quality.
Unlike the exotic sculptures in Mogao Caves, the sculptures in Maijishan Caves are more secularized, human, and more Chinese
The name Maiji in Chinese translates to “piled sheaves of wheat,” reflecting the mountain’s appearance and the origin of its name. The Maijishan Grottoes were initially constructed in A.D. 384-417 and underwent subsequent expansions in dynasties such as Northern Zhou (A.D. 557-581) and Tang (A.D. 618-907). The site currently comprises 221 caves, 10,632 clay sculptures, and over 1300 square meters of murals, earning global acclaim for its exquisite clay sculpture art and recognition as the “Oriental Sculpture Art Exhibition Hall.”
While Maijishan Grottoes may not be as renowned as the other three great grottoes, it stands out as the best-preserved among them. Carved into the steep cliff of the mountain, the caves were not easily accessible, thus escaping much of the destruction that plagued other sites throughout tumultuous periods in history. Today, visitors can marvel at Buddha sculptures and murals along a narrow path clinging to the cliff’s edge.
Located just a few miles south of the main road connecting China and Central Asia, Maijishan emerged as a hub of cross-cultural exchange, drawing hundreds of thousands of itinerants and serving as a historical canvas reflecting the art of 12 distinct dynasties. Indians, Mongols, Huns, Sogdians, Tibetans, Chinese, and others traversed its halls, leaving enduring imprints of their cultures in the form of art.
The mountain’s 194 grottoes stand as tangible evidence of this diverse influence, showcasing seven architectural variations, housing over 7,000 statues, and adorned with more than 100 square meters of murals. Everything within reflects a dedication to Buddhism, from depictions of Siddhartha’s birth to bodhisattvas engaged in meditation and scenes of new devotees arriving. While Maijishan’s physical features initially garnered attention, it is the heritage inscribed, painted, and sculpted onto the soft golden stone that solidified its place in the globalized consciousness of Buddhism, akin to Mount Sumeru, the sacred Buddhist mountain often considered the “mythical axis of the universe.”
The history of Maijishan, like the tales along ancient trade routes, commences with a journey. One account tells of the priest Hsüan-kao meditating at Maijishan, later joined by the shaman T’an-Hung. Together, they founded the mountain’s first monastic community, growing to nearly 300 people before their departure, marking a departure filled with religious fervor, and in T’an-Hung’s case, a morbidly poetic self-immolation in Cochin.
This semi-mythical origin, whether entirely factual or not, undeniably solidified Maijishan as a significant religious site for Chinese rulers. In the Fang-yü sheng-lan, a Sung Dynasty-era book, it is noted that Yao Hsing transformed the mountains, carving 1,000 cliffs and 10,000 images, transforming the cliffs into halls. A stele from 1222 attests to the site’s prominence, with 10,000 people praying there, empires granting land for farming, and seven kingdoms continuously contributing to its maintenance. Subsequent imperial decrees bestowed various names, including “Ching-nien ssu,” “Ying-chien kan ssu,” and “Jui-ying ssu,” before settling on the name Maijishan.
Examples of how brilliantly these works of art were once colored. Shizao, Wikimedia Commons
Differences between Maijishan’s Grottoes and Mogao’s
The Maijishan Grottoes and the Mogao Grottoes, both situated in Gansu Province along the Silk Road, offer distinct experiences, prompting consideration for visitors on a Silk Road journey. Despite being grottoes, they differ significantly, making a visit to both a worthwhile endeavor.
The Maijishan Grottoes are renowned for their clay sculptures, whereas the Mogao Grottoes impress with expansive and beautiful murals. The arid climate in Dunhuang aids mural preservation, while the Maiji Mountain area, with more rainfall and looser mountain rock (clay), is conducive to sculpture carving.
Sculptures in the Maijishan Caves are primarily plain clay pieces, while in the Mogao Caves, they are predominantly painted sculptures integrated with murals. Buddha statues in Maijishan exhibit a more secularized and daily-life-oriented character.
The surrounding natural landscapes vary. Maijishan Caves, located in the Maiji Mountain Reserve area, offer a summer retreat with lush trees and springs, providing opportunities to explore diverse wildlife. In contrast, the Mogao Grottoes are situated in the Gobi Desert, surrounded by wild desert scenery.
The Maiji Grottoes were carved into a steep 100-meter-high cliff face, requiring travelers to ascend the “floating plank road” for a more adventurous experience. In comparison, the Mogao Grottoes were carved into a 30-meter-high sandstone outcrop distributed over four floors.
The breathtaking Maiji Caves, carved into the steep cliffs of Maiji Mountain, stand about 100 meters (330 feet) above the ground, divided into East and West Cliffs. These caves, resembling honeycombs in hives, are interconnected by plank walkways suspended in the air from the cliff face.
Have you ever pondered how this feat was accomplished over a thousand years ago without modern machinery?
Legend has it that the Maijishan Grottoes were excavated at the expense of clearing all the woods near Maiji Mountain. Ancient people built wooden scaffolds from the mountain’s foot to the top, serving as precursors to the later generations’ “plank roads.”
During the Tang Dynasty (618–907), an earthquake divided Maiji Mountain into two cliffs, east and west. Over subsequent dynasties — Song, Yuan, Ming, and Qing — the Maijishan Grottoes underwent development, evolving into the cohesive complex seen today.
The Maijishan Caves stand as a testament to human wisdom and art along the Silk Road, embodying profound respect for Buddhism and an unending yearning for a better life.
Part of the Maiji Mountain Scenic Reserve area (including Xianren (‘Fairy’) Cliff, Shimen, Quxi, and Jieting Hot Spring), the Maijishan Grottoes boast diverse forests and a rich array of plants and animals.
While the Maijishan Grottoes can be visited year-round, the best time to explore the Maiji Mountain Scenic Reserve area is from July to October when the mountain, adorned with dense foliage, provides an ideal summer getaway.
Concrete gray cities have deeply absorbed people as if creation of the Earth had been as colorless and artificial from the very beginning. When the hands of a great artist touch the paintbrush, the spectra of his color feast cannot be counted. In a distance not too far, God’s tableaus can be seen with soul and heart.
One of the most amazing nature phenomenon in Iran is the Aladaglar mountains or Rainbow mountains which is in Zanjan province. The hills are so incredible that for a moment you might think you are walking on another planet.
Aladaglar Mountains date back to 15 million years ago. There are a variety of colors in this attractive place containing Red, Copper, Brown, Yellow, White, Green and blue in beauty different spectrum and especially Red, Copper, and Yellow in hot weather. As the setting sun casts golden rays and a lacework of shadows across the landscape, the visual effect becomes even more stunning.
’Ala’’ in Azeri Turkish language means colorful and ‘’Dag’’ means mountain. The Aladaglar rainbow mountains and hills are tucked into the northwest of Iran, 25 kilometers in the northeast of Tabriz between Ahar and Khajeh. Along the road of Ahar-Tabriz, the landscape begins to switch step by step. Passing the city of Tabriz, an eye-catching mountain chain of the Aladaglar appears. The distance between Tehran to the Aladaglar mountains is about 630 kilometers and takes approximately 7 hours via Qazvin-Zanjan road, Zanjan-Tabriz road, and Tabriz-Ahar road.
The golden and copper colors of these mountains get a maximum glow when the Sun shines with the right angle. These mountains provide a unique opportunity for eco-tourists who would like to do their own professional photography.
This work of art by mother nature, the Aladaglar Mountains, shares its name with a mountain range in Turkey, but the two should not be confused.
These painted mountains exist in a few places on earth, such as the Zhangye National Geopark in China, Hornocal mountain range in Argentina and Ausangate mountains in Peru. In China, these mountains are said to be the result of millions of years of minerals and sandstone being pressed together and oxidized. This is likely what happened elsewhere in the world, too, making these phenomenal mountains look like giant layer cakes. Everywhere of the Aladaglar Mountains has a unique form and color and type of stones are different.
Jiuzhaigou National Park is located in southwestern China in the north part of the Sichuan Province. The park covers an area of 280 square miles (720 sq km). It is a UNESCO World Heritage Site and a World Biosphere Reserve.
The elevation varies from 6,600 to 14,800 feet (2,000 to 4,500 m). The Jiuzhaigou valley falls within the Min Mountains and serves as the heart of the national park. The national park is renowned for its beautifully colored lakes, the numerous layered waterfalls, and peaks that are frequently snow-capped.
The autumn season in Jiuzhaigou is nothing short of a masterpiece, painted with a palette of vibrant colors. As mid-to-late October arrives, the transformation of the trees in Jiuzhaigou nears completion. The leaves change from a lush green to a brilliant gold, while others take on a stunning red hue that blankets the mountains.
The forest is ablaze with shades of red and yellow, creating a dazzling display that is reflected in the tranquil waters of the lake. The backdrop of a clear, clean blue sky enhances the refreshing atmosphere. Standing amidst this natural wonder, you can’t help but feel like you’ve stepped into a colorful paradise.
When autumn graces Jiuzhaigou, it feels as if you’ve entered a fairy tale world. The leaves compete in a brilliant display, reminiscent of flowers vying to bloom. But Jiuzhaigou is not just about the autumn leaves; it’s also about the countless streams that flow gracefully between the red and yellow leaves. These streams create a spectacular scene that is a rare sight to behold. In that moment, it feels as if all your worries and troubles simply melt away. In Jiuzhaigou, there is also the Five Flower Sea, which offers a 360-degree unobstructed view of breathtaking beauty.
Autumn in Jiuzhaigou is akin to a pot of warm and soothing wine that makes the earth’s cheeks blush and the eyes sparkle. As you stroll along the winding walkways, the warm sunlight bathes your face and body, gently warming your body and soul. The light dances through the valleys, casting a dazzling glow on the bright colors of the forest. The colorful mountains reflect in the calm water, creating a harmonious display of colors between the mountains and the water. It feels as if you’ve stepped into a dreamlike world. Every glance is met with stunning scenery, capturing your heart and leaving you in awe. The water’s surface, stirred by the autumn wind, shimmers with sparkling light and patchy colors, creating a captivating display of colorful rays of light cascading across the water.
If you wish to witness the sunrise in Jiuzhaigou during autumn, the best time is after 8:30 AM and before 5:00 PM for sunset. For those looking to capture the beauty of the “seas” (lakes) in Jiuzhaigou, the lighting is optimal during these times, ensuring that you can showcase the captivating colors of Jiuzhaigou’s “seas”.
Some ancient structures were purposely and skillfully constructed at the riskiest of locations or sometimes just had their appearance altered to reflect a sense of danger and awe. These ancient buildings are so remarkable that even modern scientists are amazed and astounded by them.
There are 10 most dangerous structures in the world, XuanKongSi Temple in China is one of them. Temples and monasteries were usually built on the ground, and if there was no money or it was necessary to hide from someone, then under the ground in caves. It seems impossible to think of anything else, but the temple tells us otherwise. It turns out that in one of the northern provinces of China, there is a so-called Hanging Temple which seems to be attached to the Rock at a height of 75 meters. It was built almost 1500 years ago in 491 during the northern Wei Dynasty. The Chinese call this Temple complex XuanKongSi.
The temple is located in Shanxi Province, 65 kilometers southeast of the city of Datang, it looks as if the entire Temple is held up on a steep Cliff by the power of Prayer. Perhaps prayers help because the temple is unique; it is the only Temple of three religions in China. It combines Buddhist, Taoist, and Confucian altars. It has everything that other temples have: the main gate, the bells, and drum Towers, the main and side Halls. The largest structure of the monastery is called sangana, and it stands on a stone ledge. There are also 40 halls in Pavilions, but they are smaller than the sangana. They are built on pallets that lie on beams hammered into the Rocks. The rock is used as the back wall of the rooms, and niches are made in it for statues. The larger the niches, the more statues they contain, and the larger they are.
Upon first glance, the temple’s buildings seem to have been partially swallowed by an expanding mountain rather than built onto and into it. Some of the pathways that connect the separate buildings are hewn into the mountain. Others feature the same design as the buildings themselves – parked atop seemingly impossibly-thin wooden poles.
It is composed of three main sections:
North Pavilion
This pavilion is three storeys tall, 4 metres (13 feet) wide and 7 metres (23 feet) in length. Wufo Hall, which is located on the lowest floor is dedicated to the Five Dhyani Buddhas. Above it is Guanyin Hall and on the top storey is Sanjiao Hall. Sanjiao Hall, or the Hall of the Three Religions is widely regarded as the most important room in the Hanging Temple, at least in terms of symbology. It contains large statues of Buddha Shakyamuni, Lao-Tze and Confucius standing together.
SanJiao Hall
Given that the Hanging Temple is the only surviving example of the concept of the Three Teachings Harmonious as One, the Hall of Three Religions is perhaps the most important of these chambers. The idea of Three Teachings Harmonious as One, which emphasises the complementary nature and unifying ideas of Buddhism, Taoism and Confucianism, flourished during the Ming and Qing Dynasties.
Accordingly, the hall features sculptures of deities of all three religions. Three large statues take centre stage here: Buddha Shakyamuni in the middle, flanked by Lao-Tze on his left and Confucius on his right.
GuanYin Hall
South Pavilion
Slightly larger than the North Pavilion, it is also three storeys tall and 4 metres wide but longer at 8 meters (26 feet). The North Pavilion contains Sanguan Hall. It is the biggest hall of the Hanging Temple and is home to a 2-metre tall clay sculpture, the largest in the complex. On the middle storey is Chunyang Palace, which is dedicated to Lü Dongbin, one of the Eight Immortals of Taoism. He is the most popular Taoist character in Chinese culture. Leiyin Hall, which is dedicated to Buddhist deities is on the top storey.
The Long Bridge
The top storeys of the two pavilions are linked by a 10-metre (30 feet) bridge (a stairway has been cut into the mountainside to link the lowest storeys). A small balcony for worshipping sits above the bridge.
However, as impressive as the Hanging Temple appears from the outside, the bulk of the builders’ efforts went into the portion of the complex that is ensconced within the rock. 40 halls and pavilions lie inside, covering an area of 125 m2.
The biggest and most prominent halls are the Hall of Three Religions, Guanyin (Avalokiteshvara) Hall, Hall of Shakyamuni, Qielan Hall (Hall of Sangharama), Sanguan Hall (Hall of the Three Officials) and Chunyang Hall.
Spread throughout the other halls are 78 sculptures made from stone, terracotta, copper and iron. They are remarkable for their vivid and detailed depiction of facial features and clothing.
Construction
Despite its precarious location and the logistical challenges construction must have presented, no design feature that is seen in other temples of the period has been spared. The two main buildings sport traditional multiple-roof designs, eaves and balconies with images of auspicious creatures like dragons common to Chinese holy structures.
Today, the part of the temple that extends beyond the face of the cliff is supported by poles made of oak. These poles have been inserted into holes chiselled out of the rock. From a distance, the brown oaken poles meld into the background, making the temple appear to float in the air.
Amazingly, the real support framework for the temple complex is hidden within the mountain and the structure itself. If these external vertical poles were removed, the hanging temple would continue to hang!
While it’s impossible to overlook the fact that the architecture disrupts the natural rock wall formation, a closer examination reveals something quite astounding. The way the roof, walls, and other structures seamlessly integrate with the rock pattern suggests that significant care and effort were put into minimizing any unnecessary destruction.
A unique mechanical theory guided the construction of the framework. Crossbeams were partially inserted into the rock as the foundation, while the rock in the back provided support. The Hanging Monastery seems to defy gravity, appearing to float in midair.
At certain points, a roof will abruptly end at an outcrop, only to resume on the other side, leaving the stone intact. This not only benefits the structural integrity of the building but also signifies a harmony with nature, a state to which all Buddhists aspire.
Construction experts from countries including Britain, Germany, and Italy have visited the monastery. In their opinion, the Hanging Monastery, which melds mechanics, aesthetics, and Buddhism, is a rarity. The monastery and everything it represents is a significant cultural achievement of the Chinese people.
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
Peace LiLy 
