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Longmen Grottoes

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Splendid Night Scene of Longmen Grottoes, By Jack Sparrow

The Longmen Grottoes, a Buddhist cave complex located 13 kilometers south of Luoyang in China’s Henan province, form some of the most significant and exquisite representations of ancient Chinese stone art. Created over the course of approximately five centuries beginning in 493 CE, these grottoes, along with the statues and inscriptions carved within, provide a window into the political, cultural, and artistic circumstances of the late Northern Wei and Tang periods. The caves were carved into the steep limestone cliffs of Mount Longmen and Mount Xiang which face one another along a one kilometer stretch, forming a valley through which the Yi River flows. This site, with its appearance of a natural gate, was historically referred to as Yique or “Gate of the Yi River.” After Emperor Yang of the Sui Dynasty built an imperial palace in Luoyang at the beginning of the 7th century CE with its southern gate aligned to the cliffs of the site, the name Longmen or “Dragon’s Gate” came into use (the dragon served as an emblem of the power of the emperor).

LAYOUT

Mt. Longmen as seen from Manshui Bridge to the southeast

In total, more than 2,300 grottoes and niches, 100,000 Buddhist statues, ranging in size from several centimeters to over 17 meters, and over 2,800 inscriptions were carved into the cliffs at the site, making it the largest such complex in China. A majority of the caves were carved into the face of Mount Longmen, on the west side of the Yi River. Such is the density of grottoes and niches there that they give the cliff face an incredible, honeycomb-like appearance when viewed at a distance. Whereas those grottoes on the west side were used for ceremonies which honored the dead, the caves carved on Mount Xiang to the east were home to a large community of Buddhist monks of various sects.

View of the West Hill Grottoes from the east bank of the Yi River. Charlie – Own work

2,300 GROTTOES & NICHES, 100,000 BUDDHIST STATUES, & OVER 2,800 INSCRIPTIONS WERE CARVED INTO THE CLIFFS AT THE SITE.

REFLECTION OF SOCIETY

The carving of grottoes into remote mountainsides to serve as Buddhist temples was a practice which originated in India c. 3rd century BCE. Buddhism, along with the practice of grotto carving, passed to China along the silk road, influencing the creation of Buddhist grottoes at Yungang near Pingcheng (modern day Datong), the capital of the Northern Wei Dynasty, in the middle of the 5th century CE. When Emperor Xiaowen, who contributed to the carving of the Yungang Grottoes, moved the capital from Pingcheng to Luoyang in 493 CE, he shifted his energy to beginning grotto construction at Longmen.

Many of the statues within the oldest grotto carved there, Guyang Cave, were ones which members of the royalty, who followed Emperor Xiaowen to Luoyang, vowed to build. Over 1,000 niches and 800 inscriptions are contained within the cave, making it one of the richest at Longmen and significant as a reflection of the late Northern Wei style of both sculpting and writing. The central statues of Sakyamuni Buddha and two Bodhisattvas (those on the path to enlightenment) each take on a somber appearance and a slender silhouette, contrasting the earlier, broad-shouldered style found at Yungang. Inscriptions attached to statues within Guyang Cave include 19 of the 20 inscriptions designated as exemplary forms of Northern Wei calligraphy and are critical in helping to identify the origins of each work.

Sakyamuni Buddha and two Bodhisattvas at Guyang Cave

Fengxian, or Feng Xian Si (奉先寺), or Li Zhi cave is the Ancestor Worshipping Cave, which is the largest of all caves carved on the west hill built between 672 and 676 for Empress Wu Zetian. The carvings are claimed to be the ultimate in architectural perfection of the Tang dynasty. The shrine inside the cave measures 39 m x35m. It has the largest Buddha statue at the Longmen Grottoes. Of the nine huge carved statues, the highly impressive image of Vairocana Buddha is sculpted on the back wall of the Fengxian. The image is 17.14m high and has 2 m long ears.An inscription at the base of this figure gives 676 as the year of carving. The Bodhisattva on the left of the main image of Buddha is decorated with a crown and pearls. Also shown is a divine person trampling an evil spirit. The main Vairocana image’s features are plumpish and of peaceful and natural expression. Each of the other large statues are carved with expressions matching their representative roles. These were carved at the orders of Empress Wu Zetian, and are considered uniquely representative of the Tang dynasty’s “vigorous, elegant and realistic style.” The huge Vairocana statue is considered as “the quintessence of Buddhist sculpture in China.”

Attendants at FengxiaSi Cave Uploaded by Benjamin Oswald

The Vairocana statue also provides at its base the names of the artisans who worked here, the name of the Emperor Gaozong, who was the donor, and also honors Wu Zetian. It is said that Wu Zetian donated “twenty-thousand strings of her rouge and powder money” to complete this edifice. Hence, it is conjectured that the Vairocana Buddha was carved to resemble the Empress herself and termed a “Chinese Mona Lisa, Venus or as the Mother of China”. All the images here, which remain undamaged, project character and animation. Statues of Kasyapa and Ananda, the two principal disciples of Vairocana, and of two Bodhisattvas with crowns flank the main statue, in addition to numerous images of “lokapalas (guardians or heavenly kings), dvarapalas (temple guards), flying devas and numerous other figures.

The Big Vairocana of Longmen Buddha Grottoes
Vairocana (Lu SheNa) Buddha, By Anagoria – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=49649630

NOTABLE CAVES

In addition to Guyang and Fengxiansi Caves, several others are particularly worthy of mention. The set of three Binyang Caves (North, Middle, South), carved shortly after the Northern Wei capital was moved to Luoyang, was donated by Emperor Xuanwu in honor of his father, Emperor Xiaowen, and mother, Empress Wenzhao. Unlike figures in Guyang Cave, those in the Binyang Caves are of an earlier Northern Wei style, closer to that found at Yungang Grottoes. Work began on Yaofang Cave in the intervening period between the Northern Wei and Tang dynasties and came to include the engraving of 140 Tang era medical prescriptions – practical remedies to ailments ranging from cholera to hysteria. These treatments, which spread to Japan in the 10th century CE, reveal the degree to which medical science advanced during the Tang Dynasty.

Offering Procession of the Empress as Donor with Her Court, Chinese, from Longmen, Binyang Central Cave, Henan Province, ca. 522 C.E., Northern Wei Dynasty

This Offering Procession of the Empress as Donor with Her Court, was taken off from the original place for reasons. And now you can see it in the Nelson-Atkins Museum of Art  in Kansas City, US. The Nelson-Atkins Museum of Art is a much-loved institution. Many americas may not know, though, is that the Nelson also has a world-renowned reputation among artists and scholars of Asian art. With more than 7,000 works spanning 5,000 years, the museum boasts one of the most celebrated collections of Asian art in the West.

Wanfo Cave, which was completed shortly after the completion of Fengxiansi Cave, was created in honor of Emperor Gaozong and Empress Wu Zetian and purportedly contains 15,000 small, sitting Buddha figures carved within the vast grids of tiny niches which blanket several walls. Prominent patrons of the cave included a female court official and a palace chapel nun. The largest grotto on the east side, Kanjingsi Cave, unlike many other large caves, lacks the grouping of large, carved Buddhist statues. In their place is a procession of life-sized Arhats (those far advanced along the path to enlightenment) stretching around the perimeter of the cave, each with a unique expression, carved in relief in the evocative and highly-detailed style found at other Tang era grottoes.

Wanfo Cave, part of the Longmen Grottoes, containing 15,000 Buddha figures, Uploaded by Benjamin Oswald, published on 21 August 2017

PRESERVATION

One can only imagine the splendor of the grottoes at Longmen during the Tang Dynasty, with thousands of recently completed carvings painted in a brilliant array of colors. Unfortunately, a number of natural and human forces have detracted from, although in many cases by no means destroyed, the intention of the original artists. Among the natural causes of damage are corrosion due to acid rain, wear from wind exposure, and naturally occurring fissures of the limestone, exacerbated by plant growth and water seepage.

The caves, stone statues, steles and inscriptions scattered in the East Hill and West Hill at Longmen have been well preserved. The property area and buffer zone retain their natural landscapes and the ecological environment that have existed since the late 5th century. The works of humans and nature have been harmoniously unified and the landscapes possess high integrity.

In the continuous evolution of Longmen Grottoes, the aesthetic elements and features of the Chinese cave temples’ art, including the layout, material, function, traditional technique and location, and the intrinsic link between the layout and the various elements have been preserved and passed on. Great efforts have been made to maintain the historical appearance of the caves and preserve and pass on the original Buddhist culture and its spiritual and aesthetic functions, while always adhering to the principle of “Retaining the historic condition”.

As with pilgrims of ages past, who visited Longmen to worship or to gain merit through the dedication of a Buddhist image, these grottoes afford modern visitors the chance to take a step closer to the lives of people from a different era, and to stand in wonder at the ability and determination of humankind.

Longmen Grottoes

Link:https://peacelilysite.com/2023/05/05/longmen-grottoes/

#Travel #ChineseCulture #LongmenGrottoes #BuddhistStatues #Art #Carvings #AsianArt

Source: https://en.wikipedia.org/wiki/Longmen_Grottoes, https://www.worldhistory.org/Longmen_Grottoes/, https://www.travelchinaguide.com/attraction/henan/luoyang/longmen.htm

Yungang Grottoes

linda changLeave a comment

The Yungang Buddhist grottoes, a massive complex comprising 252 caves and niches with 51,000 statues carved into an area of 18,000 square meters, are a remarkable achievement of Buddhist cave art in China. Constructed from the mid-5th to early-6th century AD, the grottoes were influenced by Buddhist cave art from South and Central Asia but also incorporated distinct Chinese elements and local spirit. They played a crucial role among early Oriental Buddhist grottoes and had a far-reaching impact on Buddhist cave art in China and East Asia.

The five caves of Tanyao and their imperial patronage 

The construction of Yungang began with five cave-temples, known today as caves 16 to 20, at the west end of the cliff. These caves were imperial commissions of the Northern Wei dynasty in around 460 C.E. The Northern Wei rulers, who belonged to the Tuoba clan from northern China, had recently unified northern China after centuries of political turmoil and established Buddhism as the state religion. The dynasty’s capital, Pingcheng, became a significant center for Buddhist religious and artistic expression.

The five caves of Tanyao, created by Tan Yao, are classical masterpieces of the first peak of Chinese art, displaying a strict unity of layout and design. These caves each contain a colossal Buddha as the central icon, with Cave 20 housing a gigantic seated Buddha in a meditation posture and a standing attendant Buddha on one side. Another attendant Buddha likely existed on the other side, but it has been lost along with the cave’s exterior wall. The imperial patronage of these caves reflects the Northern Wei dynasty’s fusion of state power and religious devotion.

Buddha, Cave 20 at Yungang, Datong, China (photo: xiquinhosilva, CC BY 2.0)

The main Buddha measures roughly 13 meters in height. He has plump cheeks, a thick neck, elongated eyes, a sharply cut nose, slightly smiling lips, and broad shoulders, all of which produce a solemn appearance.

The well-preserved halo behind the main Buddha is composed of an outer band of flame patterns and two inner bands decorated with seven seated Buddhas of miniature size. The robe features zigzag patterns on the edge. The right shoulder of the main Buddha is left exposed, whereas the standing attendant Buddha on the east wall wears a robe that covers both shoulders with a high neckline. 

Historical records recount that Tanyao, a renowned monk cleric with official ranks, advised Emperor Wencheng to undertake construction of five cave-temples (Caves 16–20) to commemorate the five founding emperors of the Northern Wei dynasty. Claiming that the emperor of Northern Wei was the living Buddha, this project declared the emperor’s political and spiritual legitimacy, and strengthened the rule of the imperial family.

Buddha (left) and attendant Buddha (right), Cave 20 at Yungang (photo: xiquinhosilva, CC BY 2.0)

The statues housed in the caves and niches are in good condition and all of the caves and statues have not suffered major damage from vandalism and/or natural disasters. Restoration and repair had been made on deficient parts of some statues in the past. All the necessary attributes demonstrating the Outstanding Universal Value of Yungang Grottoes are contained within the boundary of the property area. The buffer zone provides a necessary safe area for the conservation of the Grottoes, the setting and the historic environment. These measures have enabled the Yungang Grottoes to serve as one of the greatest ancient stone carving art treasure houses in the world.

The location, caves and statues of the Yungang Grottoes have retained their historic appearance. The eaves of wooden pavilions of the caves and the related historical remains have kept the distinctive character of the times when they were constructed. The daily maintenance and conservation intervention have been conducted following the conservation principle of minimal intervention in design, materials, methodology, techniques and craftsmanship.

The cross-legged Bodhisattva Maitreya, on the east wall of the antechamber of Cave 9, phase II, Yungang Grottoes, Datong, China (photo: G41rn8, CC BY-SA 4.0)

The paired caves and the major development at Yungang

Beginning roughly a decade after the initial commission, the imperial projects at Yungang advanced to a second phase that lasted from c. 470s until 494 C.E. In contrast to the monumental Buddha found in Cave 20, the interior of the second-phase cave-temples are decorated with reliefs that depict Buddhas, bodhisattvas, and other divine figures in various scales and configurations.

One of the most distinctive features developed in the second phase of construction are paired caves—two adjacent caves featuring a similar architectural plan and pictorial program. The paired cave-temple layout is understood to symbolically represent the reign of two coincident rulers: Emperor Xiaowen (471–499 C.E.) and Empress Dowager Wenming (442–490 C.E.). The use of paired cave-temples became another means to demonstrate the dynasty’s imperial power.  

The paired Caves 5 and 6 are among the most lavishly decorated cave-temples at Yungang. Cave 6 has an antechamber and a square main chamber supported by a central pillar (see the full cave 6 in 3D). A square clerestory (window) is opened right above the passageway to the main chamber to let in light (although it is hard to see in photos or the 3D image).

In the main chamber of Cave 6, the east, south, and west walls are divided vertically into three main registers that include complex pictorial programs (the north wall features a large niche housing a trinity of Buddhas that are later repairs). We find seated Buddha figures and scenes from the Buddha’s life throughout the chamber. Depictions of the historical Buddha, who was believed to live in the Ganges River basin during the 6th century B.C.E., derived largely from Buddhist texts. The Buddha’s biography details the course of his life from birth to enlightenment, and eventually to nirvana, the final extinction. The life of the Buddha was among the most popular themes for artistic representation throughout the Buddhist world. 

The First Sermon of the Buddha at Deer Park, Cave 6, Yungang, Datong, China

One scene from the Buddha’s life (at the southern end of the east wall) shows the First Sermon of the Buddha at Deer Park, identifiable by the depiction of a pair of deer on the Buddha’s throne. We see a canopied standing Buddha flanked by two standing bodhisattvas and a myriad of worshippers in the background. Just below the standing Buddha niche, a seated Buddha with his right hand raised (the fearless gesture) can be seen in a trapezoidal-shaped niche flanked by two five-story pagodas (just visible at the edges of the scene in the photograph). Worshippers either kneel in front of the throne or stand facing the Buddha on his two sides.   

Rock-cut cave-temples

Rock-cut cave-temples first appeared in western India in the 1st century B.C.E. There are two basic types: apsidal-shaped (semicircular) chaitya (sanctuary, temple, or prayer hall in Indian religions) and vihāra caves where monks resided—both of which we find at places like the caves of Ajanta, India. Both types were transmitted eastwards to Central Asia up to the 5th century with modifications of the structures. At Yungang, the sanctuary type was further adapted into a square shape that houses a central pillar in the middle, as we find in Cave 6. At the same time, a number of architectural features find their precedents in Goguryeo tombs from present-day northeastern China and North Korea. 

But what facilitated these different traditions coming together at Yungang?

Ajanta, Cave 26, (photo: Arian Zwegers, CC: BY 2.0)

Transmissions and transformations of artistic styles

Yungang was a hub where multiple artistic traditions of South Asia, Central Asia, and pre-Buddhist China synthesized into something new. This was made possible by the Silk Road, a network of ancient trade routes linking East Asia with the rest of Eurasia. Goods and ideas have been exchanged along the Silk Road since at least the second century B.C.E. Central to the economic, cultural, and religious interactions between different parts of Eurasia, the Silk Road tied the Northern Wei territory to the sacred heartland of Buddhism in South Asia, and to Central Asian kingdoms that promoted Buddhist teachings. 

A primary factor facilitating the encounter of these varied traditions was the gathering of human resources and materials from different regions. In the 430s and 440s, the Northern Wei court issued decrees that relocated artisans and monks from its conquered lands to the capital city of Pingcheng. The concentration of people and craftsmanship in the capital led to the artistic flourishing of well-executed Buddhist monasteries, cave-temples, sculptures, and murals. Eminent monks who were active in Pingcheng had also engaged with religious activities in other urban centers such as Chang’an and Wuwei, and maintained close ties with Central Asian Buddhist communities.

Just as the form of the rock-cut cave-temples was adapted from earlier traditions in South Asia, statues and reliefs at Yungang exhibit strong stylistic and iconographic affinities with earlier Buddhist art traditions from northwestern India and Central Asia. For instance, the main colossal Buddha images in Caves 16 to 20 feature a round face, with a gentle, calm expression that creates an impression of sanctity, and a robe style that clings tightly to the body yet is rendered with schematic patterns. All of these features echo the aesthetics found in previous traditions, especially the Buddhist sculptures in Gandhara, a Buddhist center located in present-day northwest India and Pakistan. 

Yungang art exerted influence, in turn, on Central Asian cave-temples starting in the later 6th century, such as Dunhuang, indicating that a dynamic exchange took place among the major cultural centers along the Silk Road. 

An iconic form of the Buddha, 2nd–3rd century C.E., Kushan period, Gandhara, schist, 19.76 x 16.49 x 4.56 inches (The British Museum)

Sinicization reforms under the reign of Emperor Xiaowen

One of the new developments shown at Yungang that would have a long-lasting effect on Chinese Buddhist art was Sinicization, a process of adapting non-Chinese traditions into Han Chinese culture. In Cave 1, between the canopy of the central pillar and the ceiling we find intertwined dragons surrounding mountains that represent Mount Meru (the sacred mountain considered to be the center of the universe in Buddhist cosmology). The design shows strong influence of the pre-Buddhist Chinese tradition in two aspects. First, the dragons are depicted with typical Chinese conventions—a snake-like curving body with four legs. Mount Meru was not related to dragons in pre-Chinese Buddhist art traditions. The incorporation of dragons in the design reveals an integration of the motif’s symbolic reference to a spiritual life force in traditional Chinese beliefs.

Central pillar in Cave 1, c. 480s, Northern Wei, Yungang (photo: Zhangzhugang, CC BY-SA 3.0)

In Cave 6, we also see Sinicized traits in a new style of the Buddha’s monastic robe, which features loose drapery that falls around the body and clothes the Buddha entirely instead of the earlier style that clings closely to a partly exposed body. The new style finds parallel in the contemporary dress of court officials.

Overall, these new styles and motifs were a response to the political reform of Sinicization promoted by Emperor Xiaowen and Dowager Wenming during their reign in the Taihe era (477–499 C.E.). The reform aimed at legitimizing the Northern Wei regime, built by non-Chinese nomadic groups, as an imperial Chinese dynasty, and promoting a greater sense of conformity throughout the empire.

Buddha with Sinicized traits, Cave 6, Yungang, China (photo: Gisling, CC BY-SA 3.0)

The legacy of Yungang 

Despite the move of the capital to Luoyang in 494 C.E., constructions at Yungang continued for another three decades. Cave-temples of this phase are much smaller in size than at the earlier western end of the complex. Over half a millennium later in the 13th century when Yungang was the capital of the Liao Dynasty, Yungang witnessed another era of glory, with restorations of the caves and installation of wooden structures attached to their façades. Yet it was only a temporary phenomenon. The site later stayed silent for centuries until its early 20th-century rediscovery along with other major cave-temples by foreigners on expeditions.

Modern scholarship about the history and the art of Yungang Cave-temples has continued to provide new information about the site. The most recent archaeological excavations at Yungang unearthed the remains of a monastery dated to the Northern Wei dynasty above the western section of the cliff. The well-preserved foundations of courtyards, the central stupa (a sepulchral monument that refers to the Buddha), residential cells for monks, and objects continue to enrich our understanding of the site as a significant religious center from the 5th century. 

Yungang Grottoes

Link: https://peacelilysite.com/2023/03/31/yungang-grottoes/

#BuddhistArt #YungangGrottoes #BuddhaStatus #Buddhist #SilkRoad #TravelChina #BuddhistHistory #Cave-Temples #Religion

Source: smarthistory.org/yungang-grottoes

THE MYSTERY OF THE LONGYOU CAVES

linda changLeave a comment

Longyou Caves are known as the ninth wonder of the ancient world. Source: Zhangzhugang / CC BY-SA 4.0

LONGYOU CAVES IS A COMPLEX OF 24 ARTIFICIAL CAVES, CONSTRUCTED INTO THE SANDSTONE GEOLOGY OF FENGHUANG HILL IN THE ZHEJIANG PROVINCE OF CHINA.

The caves were discovered by accident in 1992, when local farmers drained several ponds revealing five large manmade caverns and 19 smaller caves.

The five caverns, independent from each other measure between 18-34 metres, reaching heights of up to 20 metres with supporting pillars and distinctive shapes remarkably curved with shaking imprints across the cavern walls and ceilings.

After news of the discovery spread across China, it was first proposed that the caves were an obscure natural wonder, as the design and formation was completely distinct from other ancient caves, quarries, mines, or ceremonial caverns constructed in china throughout antiquity to draw a comparison.

Image Credit : Zhangzhugang – CC BY-SA 3.0

Upon further study, it was found that each complete cavern has only one portal, associated with a vertical shaft with a carved stairwell that allows rainfall and surface runoff to enter the caverns. To manage the water intake, a system of drainage troughs, some drainage channels, and a water trap was carved into the cavern base to collect the water.

The caverns are also aligned along a south to southwest orientation, maximising the use of sunlight to illuminate the interior, with inclined sidewalls that reduces the stress on the cave ceilings preventing collapse.

It is highly possible that the cavern was formed by carving rock stones from top to bottom and layer by layer using short chisels with different sizes (based on several short chisels made from steel, discovered in one of the larger caves).

Image Credit : Zhangzhugang – CC BY-SA 3.0

Only one of the caves has been opened for tourism, chosen because of the stone carvings found inside which depict a horse, fish and bird. The Longyou Caves of Zhejiang province in China truly are an enigma and it has ten enduring mysteries that remain unresolved, despite more than two decades of research.

1. How Were the Longyou Caves Constructed?

A rough estimation of the workload involved in building the Longyou Caves is awe-inspiring. The quantity of rock that would have been removed in the overall excavation of the grottoes is estimated to be nearly 1,000,000 cubic meters (35,314,666 cu ft). Taking into account the average digging rate per day per person, scientists have calculated that it would take 1,000 people working day and night for six years to complete.

These calculations are based purely on hard labor, but what they haven’t taken into account is the incredible care and precision of the sculptors, meaning that the actual workload would far surpass the theoretical estimation. As for how they were constructed and what tools were used, it is still unknown. No tools have been found in the area, and, as we will explore later, scientists still don’t know how they achieved such symmetry, precision, and similarity between the different caves.

2. No Traces of Construction

Despite their size and the effort involved in creating them, so far no trace of their construction, or even their existence, has been located archival sources. Although the overall excavation involved almost a million cubic meters of stone, there is no archaeological evidence revealing where that quantity of stone went, and no evidence of the work. Moreover, there is not a single historic document that refers to them, which is highly unusual considering the sheer scale of the project. The origin of the Longyou Caves is a complete and utter mystery.

Experts wonder why the walls at the Longyou Caves in China are covered in chiseled parallel lines. (Zhangzhugang / CC BY-SA 4.0 )

3. Why Were the Walls Chiseled?

Every single one of the Longyou Caves is covered, from floor to ceiling, in parallel lines that have been chiseled into virtually every surface. The effect is a uniform pattern throughout the caves, which would have required immense manpower and endless hours to create. The question is why? Was such labor-intensive work purely for decoration? Are the lines or patterns symbolic in some way? All that is currently known is that the markings are similar to those found on pottery housed in a nearby museum, which is dated between 500 and 800 BC.

4. Lack of Fish in the Longyou Caves

When the caves were first discovered, they were filled with water, which presumably had been there for a long period of time. They had to be pumped out in order to realize that these were not just like the other “bottomless ponds” found within the area, but rather man-made structures. Most villages in southern China contain very deep ponds, which have been called “bottomless ponds” by generations of villagers. These ponds teem with fish, which are easily caught. However, after the first cave was pumped dry, not a single fish was to be seen, or any other sign of life.

5. How Did the Longyou Caves Remain So Well Preserved?

One of the most interesting and challenging questions is how the Longyou Caves have been able to keep their structural integrity for more than 2,000 years. There are no signs of collapse, no piles of rubble, and no damage despite the fact that in some areas the walls are only 50 centimeters (20 in) thick. Over the centuries, the area has gone through numerous floods, calamities and wars, the mountains have changed their appearance and exposed stones have been weathered, but inside the Longyou Caves, the form, patterns and markings are still clear and precise – it is as though they were built yesterday.

6. How Did the Builders Work in the Dark?

Due to the great depths of the caves, some areas at the bottom, which are not exposed to the opening above, are pitch-black. Yet even those dark areas are decorated with thousands of parallel lines on the walls, columns, and ceiling. So how did ancient people work in the dark? 

According to Jia Gang, a Tongji University professor specializing in civil engineering: “There should be lamps, because the cave’s mouth is very small, and the sunbeam could only shine in the cave at a certain angle during a certain period of time. As one goes deeper into the cave, the light becomes dimmer. At the cave’s bottom, which is usually dozen of meters from the mouth, one could hardly see anything.” However, this was at least two millennia ago and nothing that could have been used for lighting has been found.

7. Were the Longyou Caves Meant to be Connected?

All of the Longyou Caves are distributed across an area of only one square kilometer (0.38 sq mi). Considering such a high density, one cannot help asking whether some grottoes were meant to be connected. What would be the purpose of making so many separate caves in such a tight area without connecting them? In many areas, the walls between the caves are very thin, only 50 centimeters (20 in), but they were never linked so it appears they were intentionally kept apart. What’s more, many of the Longyou Caves are almost identical to each other.

8. Who Built the Longyou Caves?

Nobody has any idea who built the caves. Some scientists have claimed that it was not possible or logical for such as mammoth job to have been undertaken by regular village people. Only the emperor and the leaders could have organized such a huge project, like the construction of the Great Wall , which was built to defend against invasion from the outside world. But if it was commissioned by an Emperor, why are there no historical records of its construction?

9. How Did They Achieve Such Precision?

The scale of the Longyou Caves is magnificent and momentous, the design was delicate and scientific, the construction was sophisticated, and the precision is indicative of superior craftsmanship. The model, pattern and style of each cave is extremely similar. Every grotto is like a grand hall. One side is steep and another side is 45% inclined. The four walls are straight; the edges and corners are clearly demarcated. The chiseling marks within the Longyou Caves are uniform and precise.

“At the bottom of each cave, the ancient [builders] wouldn’t be able to see what the others were doing in the next grotto,” explained Yang Hongxun, an expert at the Archaeological Institute of Chinese Academy of Social Sciences. Nevertheless, “the inside of each cave had to be parallel with that of the other, or else the wall would be holed through. Thus the measure apparatus should have been very advanced. There must have been some layout about the sizes, locations, and the distances between the caves beforehand.”

With the help of modern equipment and methods, the investigators measured the sizes of the walls, and surprisingly found that the overall construction is extremely accurate. The walls between the caves are of the same thickness in different sections. So how did they achieve this precision? What were their methods?

Stairs leading down into one of the once-submerged Longyou Caves. (Zhangzhugang / CC BY-SA 4.0 )

10. What Were the Longyou Caves Used for?

Following extensive investigations and study, scientists and scholars have attempted to put forward explanations for the grottoes, but none so far provide a convincing explanation for why they were built and what they were used for.

Some archaeologists have suggested that the grottoes were the tombs of old emperors, emperor halls, or places for storage. But this interpretation is far-fetched. No funeral objects or tombs have been found and no artifacts left behind. If it were used like an emperor’s palace, the caves surely would have been designed differently, with separate rooms for different purposes like entertaining, meeting, and sleeping. But no evidence can be found of this and no traces of habitation have been found.

Another hypothesis is that the Longyou Caves were used for mining and extracting some type of mineral resource. However, mining operations would have required equipment and apparatus to extract the rocks and transport them. Again, no traces of this have been found, nor any evidence of where the rocks were taken. And of course, if the caves were just for mining, why create such intricate decorations on the walls, columns and ceilings?

Finally, some have suggested that these caves were the places for troops to be stationed and that an emperor of the past wanted to keep his soldiers out of view in order to keep his war preparations secret. However, these caves could not have been built in a short period of time. They would have taken many, many years to build so it is unlikely to have been done in preparation for war, which tends to come about much more quickly. Furthermore, there are no signs of people having stayed in the caves.

Despite decades of research, very few answers have emerged to explain the enigma of the Longyou Caves . Our ancient ancestors have achieved many wondrous things throughout history, but this discovery from China is truly an unsolved mystery which has yet to be cracked.

THE MYSTERY OF THE LONGYOU CAVES

Link: https://peacelilysite.com/2023/03/24/the-mystery-of-the-longyou-caves/

#Travel #TravelChina #LongyouCaves #Mistery

Source: https://www.ancient-origins.net/ancient-places-asia/longyou-caves-001248, https://www.heritagedaily.com/2020/08/the-mystery-of-the-longyou-caves/134874

Zhangjiajie National Forest Park

linda changLeave a comment

A Natural Wonderland of Pillar Rock Formations and Majestic Scenery

Nestled in the central-eastern region of China lies the Zhangjiajie National Park, a sprawling park that is part of the Wulingyuan Scenic Area, featuring several protected areas that boast breathtaking natural wonders. The park, covering an area of 18.59 square miles (48.15 sq km), has been recognized as a GANP (Global Geoparks Network) Ambassador Park, and it is no surprise why it has earned such an honor. The park is home to the Zhangjiajie National Forest Park, which served as the inspiration for the film Avatar, making it a must-see destination for tourists and nature lovers alike.

One of the most remarkable features of the park is its dense forests, deep ravines, deep canyons, unusual peaks, caves, and pillar-like rock formations that are scattered throughout the area. These pillar rock formations, which are made of quartz-sandstone and formed by physical erosion caused by the abundant rains, are the park’s most renowned attraction. They are not typical limestone-eroded pillars and are unique to the Zhangjiajie National Park.

The mountainous terrain, the lush forests, and the rolling clouds combine to create breathtaking scenery that inspires various forms of artwork, from literature to paintings, and even films. The landscapes created by the mountains and the pillar-like rock formations are the epitome of Chinese landscapes.

The door to the Heaven, Tianmen Mountain

Visitors to the park have the opportunity to experience the splendor of the national park through various means, including hiking, biking, and taking a cable car or elevator. Two record-holding features in the park that help visitors experience the splendor of the national park are the Bailong Elevator and the Zhangjiajie Grand Canyon Glass Bridge.

The Bailong Elevator, affectionately known as the “hundred dragons sky lift,” is the world’s tallest outdoor lift, and it carries around 50 people at a time up 1,070 feet (326 m) in less than two minutes. From the top, visitors can enjoy stunning views of the surrounding mountains and forests.

The Zhangjiajie Grand Canyon Glass Bridge is the longest and highest pedestrian glass bridge in the world, stretching across 1,410 feet (430 m) at a height of 980 feet (300 m). Walking across the bridge, visitors can experience the thrill of walking on glass while enjoying panoramic views of the canyon and the mountains beyond.

From: https://m.senseluxury.com/guides/Asia-China/article-11148
Bailong Elevator

Features

The five most spectacular sights are the unusual peaks, deep canyons, beautiful waters, thick forests, and mysterious caves.

The scenery of Zhangjiajie National Forest ParkThe scenery of Zhangjiajie National Forest Park

  • The peculiar peaks refer to the 3,000 or more mountain peaks made of quartz sandstones. The three representative peaks are Camel Peak, Drunk Stone Peak, and Five Finger Peak, which are elegant and magnificent.
  • The deep canyons refer to 32 canyons, each more than 2,000 meters in length. The most famous ones are Jinxi Canyon, Shentang Canyon, and 10-Li Gallery Canyon.
  • The beautiful water refers to the more than 800 waterscapes in the scenic area, including streams, springs, lakes, pools, and waterfalls.
  • Caves of different shapes can be found here. The most outstanding is Yellow Dragon Cave, which contains beautiful stalactites.
  • The rural landscapes also attract a lot of visitors. The local farmers are hospitable and you may visit their homes.

Zhangjiajie is picturesque to visit at any time of the year, but April to October is recommended, as winters are cold and the tourist areas are less accessible. But when is it best to go? It depends on the experience you’re looking for.  

For weather, September and October are the best times to go, when the weather is clear and comfortable. 

The national park is busy year-round except for winter from December to February. The peak season is from May to October.  

The short period from early-November to mid-November is considered to be the perfect time with good weather and without heavy crowds.  

Yuanjiajie (‘Yuan Family Territory’ 袁家界) contains “Avatar Hallelujah Mountain“. It is the most popular sight in Zhangjiajie. Yuanjiajie is a butte (steep-sided platform mountain), surrounded by higher peaks, grotesque rock pillars, and deep valleys. The highlights of Yuanjiajie include the First Bridge under Heaven, Avatar Hallelujah Mountain, and ‘Lost Souls Platform’.

The easiest way to get up to Yuanjiajie is by the famous Hundred Dragon Elevator (Bailong Elevator). But we don’t recommend it (unless you arrive before 7 am or descend before 4 pm) due to typical 2-hour lines for the 2-minute ride. A 1–1½-hour hike is a better way if you are fit. 

Tianzi Mountain (‘Heaven Son Mountain’ or ‘Emperor Mountain’ 天子山Tianzishan) offers the best chance of photographing a sea of clouds, mainly during spring or early autumn.

Don’t miss the cable car up to this area. The 30-minute ride will take you through the towering formations and give you the opportunity to take great fly-by photos. 

If your time permits, you can visit Ten-Mile Gallery where you can take a monorail train. After the train, you can hike up to Tianzi Mountain. 

Gold Whip Stream (Jinbian Xi 金鞭溪) is a brook at the foot of the towering mountains. It is about 7½ km (4½ miles) long, about two hours’ walk. 

 It is an easy and relaxing walk along the stream. It gets quieter as you walk farther from the shuttle bus stop. 

The 400-meter-high cliff by Gold Whip Stream is spectacular, especially at sunset. One thing to watch out for is the wild monkeys along the stream. 

Zhangjiajie National Park is an extraordinary destination that should be on every nature lover’s bucket list. It’s a place where visitors can connect with nature, experience the thrill of adventure, and marvel at the beauty of the world around them. Whether you’re a seasoned traveler or a first-time visitor to China, Zhangjiajie National Park is a must-see destination that will leave you breathless and in awe of the natural wonders of our world.

ZHANGJIAJIE China most Amazing National Forest Park (Avatar floating mountains). Best by drone 

A Natural Wonderland of Pillar Rock Formations and Majestic Scenery

Link: https://peacelilysite.com/2023/03/16/zhangjiajie-national-forest-park/

#Travel #TravelChina #ChineseCulture#ZHANGJIAJIE #AmazingNationalForestPark

Leshan Giant Buddha

linda chang1 Comment

Leshan Giant Buddha

Around a 2-hour drive from downtown Chengdu lies one of the most marvelous ancient wonders of China, the Leshan Giant Buddha, also known as Lingyun Giant Buddha. Carved into a cliff-face along a peaceful river, this imposing figure, at 71 meters (over 200 feet) in height, dates back over a thousand years and is the largest and tallest stone Buddha statue in the world.

Carved in the 8th century during the Tang Dynasty, the Leshan Giant Buddha was built during a peak period of Buddhist culture in ancient China. The sculpture depicts Maitreya, a very popular Buddha in the Tang Dynasty. The sutras say that when Maitreya comes into world, the world will be at peace. The female Chinese female sovereign Wu Zetian even proclaimed she was the reincarnation of Maitreya and was a strong advocate of Maitreya sculptures being built as a way to maintain her rule. People liked to carve Maitreya sculptures and believed that Maitreya would bring light and happiness into their lives in the future.

This remarkable historic site was listed as a UNESCO World Heritage Site since 1996. It is an amazing and immense religious relic that was built over a period of 90 years from 713 to 803 AD. The statue was constructed at the confluence of three rivers notorious for their turbulent waters; it was hoped that the Buddha’s presence would help calm the rivers’ waters.

Hai Tong’s Legacy

The Buddhist monk Hai Tong was concerned about the safety of the local people who earned their living around the three rivers. Many people traveling by boat in the area were killed by the turbulent waters each year before the Leshan Giant Buddha was created. Hai Tong decided to carve a statue of Buddha beside the river and believed that this sculpture would appease the river gods and keep the locals safe.

He had begged for over 20 years to accumulate enough money needed to build this statue. During this hard period in his life, he refused official help because the parties who offered it didn’t just want to help him but wanted to gain personal profits from the project. He even gouged out his eyeball in protest against the local authorities. These officials backed off after this behavior. Fortunately, Hai Tong’s disciples continued his work after he passed away and finally completed the sculpture in 803 AD after 90 years of hard work.

There is a cleverly designed drainage system behind the Buddha’s head and between his two ears. This important design aspect is the reason why the great Buddha of Leshan has not eroded despite having existed for thousands of years. The “spectacle”

Interestingly, there haven’t been any shipwrecks since the Buddha was built. Many stones were actually removed from the cliff and transferred to the rivers during construction, which made the waters calmer and safer than before. The project didn’t end after the Leshan Giant Buddha was finished.

Buddhism had been one of the most important religions in ancient China and many other people built statues around the giant Buddha to thank the gods . Numerous small Buddhas were carved around this huge statue. People even excavated the cliff tombs of the Han Dynasty around the Leshan Giant Buddha. Multiple historic sites make the Leshan Giant Buddha particularly important for archaeologists and researching people’s lifestyles in ancient times.

With the most sunny days and beautiful scenery, April and October are the best months of the year to travel to see the Leshan Giant Buddha.

There are two ways for visitors to see the Giant Buddha. One is to walk down from the top near the head and end at its feet. This involves some waiting in line, sometimes for hours on particularly busy days, and larger crowds, as well as many narrow and steep stairs, but offers you a more intimate perspective of the Buddha. This up-close view will allow you to appreciate the statue’s enormity; its shoulders spread over a width of 28 meters (as long as a basketball court!) and its pinky toe is large enough for a person to sit on.

The other option is to view the statue from a boat on the river immediately in front of it. The boat trip allows you to get the best and fullest front-facing view of the Buddha from a distance and is ideal for those who prefer not to wait in line and climb the stairs. The cruise takes around 30 minutes there and back, stopping for several minutes in front of the Buddha for visitors to appreciate the statue and take pictures. It’s best to sit on the right side of the boat, as the Buddha will end up being on that side once you arrive.

Leshan Giant Buddha

Link:https://peacelilysite.com/2023/02/23/leshan-giant-buddha/

#Travel#China#LeshanGiantBuddha#Buddhism#MarvelousAncientWonder

Source: https://www.trippest.com/chengdu-travel-guide/leshan-giant-buddha/ https://www.thechinaguide.com/sight/leshan-giant-buddha#:~:text=It’s%20best%20to%20sit%20on,worth%20seeing%20from%20both%20angles.

The Hanging Temple in China

linda changLeave a comment

By Charlie fong – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=82753942

The Hanging Temple in China

China have about a dozen of hanging temples. They are truly relics in Chinese architecture history. The most famous hanging Temple, is Hengshan Hanging Temple, Hanging Monastery or Xuankong Temple, is a unique and ancient structure located in Hunyuan County, Datong City, Shanxi Province, China. This temple is built into a cliff that stands 75 meters or 246 feet above the ground, near Mount Heng. The closest city, Datong, is located 64 kilometers or 40 miles to the northwest.

The Hanging Temple is one of the main tourist attractions and historical sites in the Datong area, along with the Yungang Grottoes. It is considered unique because it is the only existing temple that combines three Chinese traditional philosophies or religions: Buddhism, Taoism, and Confucianism. The structure is held in place with oak crossbeams that are fitted into holes chiseled into the cliffs, and the main supportive structure is hidden inside the bedrock.

The temple was built more than 1,500 years ago by a monk named Liaoran in 491 AD. Over the years, many repairs and extensions have been made to the temple, leading to its present-day scale. The temple comprises of 40 halls and pavilions that are all built on cliffs that are over 30 meters or 98 feet from the ground. The distance from north to south is longer than from east to west, and it becomes higher and higher as one moves from the south gate to the north along the mountain.

The temple’s layout includes the Qielan Hall (Hall of Sangharama), Sanguan Hall (Hall of Three Officials), Chunyang Hall, Hall of Sakyamuni, Hall of Three Religions, and Guanyin Hall. The Hall of Three Religions mainly enshrines Buddhist deities, as well as both Taoism and Confucianism. The statues of Sakyamuni (middle), Lao-Tze (left) and Confucius (right) are enshrined in the hall, reflecting the prevailing idea of “Three Teaching Harmonious as One” in the Ming and Qing dynasties (1368–1911).

By Zhangzhugang – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=32138611

The Hanging Temple is a unique and ancient structure that combines three Chinese traditional philosophies or religions, and is one of the main tourist attractions and historical sites in the Datong area. Its location on a sheer precipice and its history make it a must-see destination for anyone visiting China.

You can visit the Hanging Temple all year around, but considering the Datong weather, normally from April to October is the best period. Datong has a temperate continental climate with distinct seasons, low rainfall, a short summer, and a long freezing winter (November–March).

There are big temperature differences between morning and night, day to day, and mountain and valley, so please bring a warm jacket with you even if you travel in the summer time.

In order to protect the temple, the number of visitors is limited to 80 in the temple at a time. Therefore, it is recommended to visit the Hanging Temple early in the morning to avoid long waits especially in the high travel seasons (summer and holidays).

The Hanging Temple in China

link: https://peacelilysite.com/2023/01/27/the-hanging-temple-in-china/

#HangingTemple#Buddhism#Datongcity#TravelChina # Architecture #ChineseCulture#Travel #Temple

Source: https://www.chinahighlights.com/datong/attraction/hanging-monastery.htm, https://en.wikipedia.org/wiki/Hanging_Temple

Mount Xuedou and Maitreya Bodhisattva

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Mount Xuedou and Maitreya Bodhisattva

Located at around 8 kilometers north-west of Xikou Town, Fenghua City of Zhejiang Province, Xuedou Mountain is 800 meters above sea level, featuring graceful mountain ridges, unique cliffs, tempting waterfalls, and deep streams. The mountain has a milky peak, while on the peak there is a dou (meaning hollow or hole). Water flows out of the dou, and it is as white as milk, thus getting the name of the Milk Spring. It is well-known for its serenity, magnificent landscape, and an abundance of greenery. Mount Xuedou Scenic Area was known as “a fairyland on the sea” early in the Han Dynasty (206 BC-220 AD. However it was not popular until the previous president of National Party Jiang, Jieshi promoted it heartly. Xikou is the hometown for this important historical figure Jiang, Jieshi. His family had Buddhism tradition. So when he was young he often went to Xuedou Temple with his mother. He loved its picturesque sceneries, and believed it was the most beautiful place in the country. Later on he built a mansion in Mount Xuedou, he and his family lived there once a while. He even had a plan to promote Mount Xuedou as second Mount Lu, but the plan did not come true, since he left mainland China to Taiwan after the civil war. Therefore, this place becomes more mysterious and interesting for tourists from China and abroad to explore.

The charm of Mount Xuedou lies not only in its picturesque sceneries, it also has held a high status in Chinese Buddhism since ancient times. Located in a scenic site, the Xuedou Temple has a history of over 1600 years and has cultivated numerous eminent monks. It is also the place where Monk Maitreya practiced his Buddhism, thus a large number of eminent monks and pilgrims have been attracted to Mount Xuedou.

Maitreya Bodhisattva is a very popular Buddhist figure in China. Maitreya is a transcendent bodhisattva，he will be the next Buddha in the Saha world. Maitreya means “loving kindness.” In Mahayana Buddhism, Maitreya is the embodiment of all-encompassing love. Maitreya, in Buddhist tradition, presently resides in Tushita heaven.

With big belly and jolly smell, he is a symbol of enduring humiliation, optimism and compassion. In Buddhism teaching, disciples should be like the Buddhas and Bodhisattvas. All should have a broad mind, open heart, and great tolerance. The first priority for one who learns Buddhism and cultivates himself is to be patient and forbearing under insult.

In the historical record, there is an eminent Monk named Qichi (契此), who was the incarnation of Maitreya Bodhisattva. This monk lived at the end of WuDai period (right after the Tang Dynasty), and is most well known for his rather fat belly. Since he always carried a cloth bag, people began to call him the cloth bag monk. Unlike the stereotypical image of the strict and severe ascetic, Qichi was a jovial, good-humored man, but no less intelligent and thoughtful. He was loved and respected by all for these qualities. Often, others would ask him, “what is the true meaning of Buddhism?”, and in response, he would drop his bag to the ground. The deepest meaning of Buddhism is to lay down your burdens. Qichi took residence in Xuedou Temple, where he would spread the Buddhist Dharma to all those who came to him. To this day, Xuedou Mountain is regarded as the Holy Land of Maitreya. In honor of the cloth bag monk, statues of the Maitreya Bodhisattva are always depicted carrying a cloth bag.

Xuedou Temple

Xuedou Temple was originally founded in the Jin Dynasty. For thousands of years, it has been visited by many people, and has produced numerous eminent monks. It has a high status and is regarded by the Buddhist circle in China as one of the ten most famous Buddhist temples together with the other nine temples, such as Zhongtian, Zhutianning, Wanshou, the Yongzuo Temple of Hangzhou, and the Jiangshan Taiping Xingguo Temple of Nanjing.

During the Tang and Song dynasties, Xuedou Temple had received 41 imperial edicts from emperors of several generations. So far, the temple has stored 5,760 Confucian classics granted by emperors, jade seals, dragon robes, dragon pots and jade Buddhas.

In the temple, the constructions are magnificent and attractive. Outside the temple, ancient trees are towering up into the sky. Among them, two ginkgo trees from the Han Dynasty can be surrounded by about five people. With exuberant leaves, the ginkgoes rise above the clouds.

At the back peak of Xuedou Mount, the statue of Maitreya Buddha is the highest copper statue of its kind in the world. The Buddha body is 33 meters high, the lotus seat is 9 meters high, and the base is 14.74 meters high. It completed at 2008, with exquisite workmanship. Having this remarkable structure, Mount Xuedou was officially named as the fifth sacred Buddhist Site, dedicated to Maitreya Bodhisattva. Now, the temple covers a landscape area of over 20,000 sq meters and has perfectly combined natural landscapes and Buddhist culture. 

XueDou Temple Overview

Since Mount Xuedou is dedicated for Maitreya Bodhisattva, there is a Grand Maitreya Hall in the Temple. It is really magnificent and dignified.

Grand Maitreya Hall
Marvelous Maitreya Statue

Qianzhang Rock Waterfall

In front of Xuedou Temple, there is a waterfall called Xuedou Waterfall, also known as Qianzhang Rock Waterfall. The water head is in the valleys at the south and the north of Xuedou Temple. The water of the Milk Spring flows into Jinjing Pool (which is an ancient pool developed in the Southern Song Dynasty), crossing Guanshan Bridge and pouring out of the cliff mouth.

The waterfall pours down from Qianzhang Rock. From the top of the rock to the pool, it is as high as 186 meters. At the half-way point, there is a huge rock. In spring and autumn, the rain falls down in a deluge but it runs into the rock at the half-way point and splashes in all directions right away. It falls like pearls and jades, and also dances like snow. Under the sunlight, it forms a rainbow, which is quite splendid. Xuedou Waterfall was well known by the whole nation as early as in the Northern Song Dynasty.

Sanyin Pond Waterfall

Sanyin Pond Waterfall is situated at 5 li north-west of Xuedou Temple. The water flows from Dongao Village (on Xuedou Mountain, there is a village of alpine flowers. With a beautiful and clean environment, the village is an ocean of flowers and seedlings) to the cliff mouth, forming one waterfall; it continues running down the mountainside to the foot, forming three waterfalls. As a result, it is called Sanyin Pond.

With a length of more than 1,600 meters, the pond can be divided into Shangyin Pond, Zhongyin Pond and Xiayin Pond respectively from the highest to the lowest. Shangyin Pond is highlighted by its quietness and danger; Zhongyin Pond stands out for its delicacy and cleanness; Xiayin Pond is well known for its superb beauty. Despite the positions of the three ponds in remote mountains and deep valleys and the difficulty of visiting them, tourists still visit in great numbers.

Miaogao Platform

Miaogao Platform is also known as Miaogao Peak or Tianzhu Peak. It is the main scenic spot of the Xuedou landscapes. Although it is only 396 meters above sea level, it stands out against the mountain behind it. With the middle part bulging, three steep cliffs, and a gaping abyss down its side, the platform has a precipitous terrain.

In a narrow sense, Miaogao Platform refers to a platform of about 350 square meters. Standing at the front edge, you can look out on the natural sceneries of Tingxia Lake. On the periphery of Miaogao Platform, ancient trees and green bamboos are thriving so much that they keep the sunlight away. In addition, the clear breeze blows gently. It is an ideal summer resort.

Tingxia Lake

Located at the south of Xuedou, Tingxia Lake is 6 kilometers away from Xikou Town. It is a large artificial lake, with a surface area of 5.9 square kilometers, an equivalent of West Lake in Hangzhou. The water storage capacity is as much as 153 million cubic meters.

Tingxia Lake is a good place to enjoy the landscapes of lakes, mountains, steep peaks and deep valleys. Tingxia Lake is a huge reservoir famous for its position under Yushu Pavilion of Xuedou Mountain and its location at Tingxia Village.

Tingxia Lake has wonderful natural sceneries. On the basis of unique peaks, deep valleys, high mountains and water scenes, interesting and attractive landscapes of lakes and mountains come into being. With clean air and high quality water, the scenic spot is also rich in fish, fruit and forest resources. Tourists can sail on the lake, and can also go fishing, picnicking and camping.

Naturalists and photographers love to visit the Miaogao Platform, Qianzhang Rock, and Qianzhang Crag with its huge, scenic waterfall in the region spanning 85 square kilometers. Mount Xuedou is also a national forest park, a really great place worth of visiting.

Mount Xuedou and Maitreya Bodhisattva

Link: https://peacelilysite.com/2022/08/10/mount-xuedou-and-maitreya-bodhisattva/

 #Buddhism#ClothBagMonk #Buddhist #XuedouTemple#MountXuedou#MaitreyaBodhisattva#Compassion#TravelChina

Source: https://www.trip.com/travel-guide/attraction/ningbo/xuedou-mountain-90600/， https://www.chinahighlights.com/ningbo/attraction/xuedou-mountain.htm

Mount Putuo: Wonders and Thoughts

linda chang1 Comment

From trip.com

Mount Putuo: Wonders and Thoughts

By Xuming Bao August 9, 2021

It was late January, just a few weeks before Chinese New Year, when we headed to Zhoushan in Zhejiang Province. It was bitterly cold and traveling to Mount Putuo (普陀) for a two-day visit was not good timing. COVID-19 was—and still is—running rampant around the world. Any kind of travel required constant and painstaking vigilance, including full compliance with stringent prevention measures in China. Nevertheless, our destination  looked as beautiful as ever, a glimmering island in the great ocean, celebrated as the “Buddha-land in the sea.” (Haitian fogou 海天佛國)

Mount Putuo is very environmentally friendly. Except for public buses, no vehicles are allowed, so we had to leave our car at the wharf. Most residents simply cycle around for their daily errands, and even said bicycles are under a quota control. For visitors to move about, you can take a bus, cycle, or simply walk. Roads and pathways are well maintained, and there is a long road that connects all the temples on the island, big or small, affording a pleasant journey at one’s own pace.

It was warm and sunny with a gentle breeze by the time we reached the island in the early afternoon. As there were very few visitors, we could stroll around at our leisure, enjoying the sunlight’s embrace. “You are so lucky,” commented our trip’s docent. “It was so windy in the morning that the ferry service was about to be suspended. In a week, the entire mountain might be closed to prevent the chance of further infections, no matter how sporadic.” We were blessed with the good fortune of a joyful excursion.

Mount Putuo is classified by the Chinese government as an “AAAAA Grade Scenic Resort and Historic Site,” attracting about 10 million visitors each year under normal circumstances. Visitation, though down 40 per cent during the pandemic in 2020, has rebounded sharply; as of April, 2.8 million people had visited Mount Putuo, a fivefold increase. The effort to attract visitors is ongoing: the Putuo Mountain College of the Buddhist Academy of China was recently completed, and Guanyin Dharma Park opened last November.

Putuo is a Chinese transliteration of the Sanskrit Potalaka, which is mentioned in several Buddhist scriptures, including the Gandavyuha Sutra (added as the final sutra in the Avatamsaka Sutra). Potalaka is described as the holy residence of Avalokiteshvara, the bodhisattva of compassion. According to Guang Xing, Mount Putuo was identified as the mythical Potalaka mountain by Buddhist monks and Chinese literati (Guang 2011: 1-22). It has been the pilgrimage site of Avalokiteshvara for about a millennium, honored as one of the four sacred Buddhist mountains in Chinese Buddhism. We speak here of Guanyin, the feminine form of Avalokiteshvara popularized in Chinese Buddhism. We will return to Guanyin below. For now, we simply need to know that Mount Putuo’s status matches that of Mount Wutai (五台) for Manjushri, Mount Jiuhua (九華) for Kshitigarbha, and Mount Emei (峨眉) for Samantabhadra.

There seem to be three main demographics for visitors to Mount Putuo: sightseers, pilgrims, and students of Buddhism. The majority of sightseers are visitors who do not have much knowledge of Buddhism, nor much interest in its history, sutras, or temples. Nevertheless, everyone, regardless of background, recognizes this place as one expecting reverence and respect for the buddhas and bodhisattvas. When we worship and make our wishes before the famous 33-meter statue of Nanhai Guanyin, we are also introspecting, contemplating, and reflecting on the vicissitudes and travails of our lives.

The town nearby is neat and chic, full of activity and interesting souvenirs for tourists to commemorate their visit. Even in the winter, Mount Putuo is generously covered with greenery and vegetation, with a multitude of species including ancient camphor trees and the rare wild plants of Carpinus putoensis (普陀鵝耳櫟). They are one of the major treasures on Mount Putuo and monoecious. There are red and yellow variations coexisting, but they do not mature at the same time, so the pollination rate is extremely low. When the Sun is shining, the leaves of many trees turn golden in the backdrop of the Prussian blue sky, surrounded by the various temples. It is truly a picturesque sight.

Carpinus Putoensis Cheng. From baidu

The beautiful scenery, unique to Mount Putuo, is reminiscent of places I have visited in Japan. The connection between Mount Putuo and Japan can be traced back to the Tang dynasty (618–907), when a Japanese Zen and Tendai monk-pilgrim named Egaku (Chinese: 慧鍔; Hui’E) wanted to bring a statue of Guanyin from Mount Wutai to Japan. However, his voyage back via Mount Putuo was hampered by storms and waves despite several attempts. One day, Egaku had a dream in which he realized that the statue of Guanyin did not want to leave. He decided to enshrine it and built a simple hut near the Tidal Sound Cave. Immediately, his ship sailed through and he was able to return to Japan. This is the story of Guanyin “bu ken qu” or “unwilling to go,” and is the source of many folktales surrounding the establishment of temples and monasteries on Mount Putuo. Exchanges between Mount Putuo and Japan continued over many centuries.

Guanyin is the real protagonist linking Japan and China, with Guanyin known as Kannon or Kanzeon in Japan. Belief in this personification of compassion and benevolence has a long history in China. First introduced from India in the Western Han dynasty (202 BCE–9 CE), Avalokiteshvara was adapted and amalgamated into Chinese culture, most famously through the female figuration and her unique 32 transformations (Guang 2011: 1-22). Beginning in the Song dynasty (960–1279), the Chinese transformed the bodhisattva into the Goddess of Mercy, depicted in the feminine. (Minneapolis Institute of Art)

Belief in Guanyin has flourished in China ever since, going beyond even religious boundaries in everyday life (Guang 2011: 1-22). She is not confined to monastic life, as it is said in the Universal Gate chapter of the Lotus Sutra that any worldly being in danger will be delivered instantly on calling her name. Therefore, Guanyin has been worshipped and revered by all classes of people. As she is a compassionate divinity with countless virtues and merits, she is endowed with transcendental power. She excels in skilful means, allowing her to appear in whatever form needed by sentient beings. And that, in my opinion, is probably the reason behind the 32 forms in the Chinese tradition, including Guanyin Yangzhi (楊枝), or Willow Branch Guanyin. The Guanyin Yangzhi is only one example among many of her history-rich gender transitions.

Willow Branch Guanyin. From online source

We were able to visit a 2.5-meter-high, 2.2-meter-wide monument of Guanyin Yangzhi at a nunnery of the same name. The nunnery, situated at the foot of Putuo’s Western Xiangwang Peak, was built in 1608. The artistic style was pioneered by Yan Liben (閻立本), a famous figure painter in the Tang dynasty, while the stele’s engravings appeared during the Ming dynasty (1368–1644). Holding a tender willow branch in her right hand and a clear water vase in the left, Guanyin is luxuriously crowned with pearls and precious stones, dressed in sumptuously embroidered garments, and adorned with agate, amber, and pearls. She spreads dewdrops to all the world’s quarters to dispel suffering and pain.

Guanyin is replete with the marks of beauty, dignity, and calm. Except for her face, there are not many traditionally female features shown. Indeed, she appears tall and somehow mighty and masculine, standing on her bare feet. Her belly bulges out slightly, and she has large hands and feet. While beholding her, I could not help but think of the mural of Padmapani, another manifestation of Avalokiteshvara, at Ajanta Cave No.1, in India. Painted during the sixth century BCE, the bearer of the blue lotus is a male figure with a slender body. Both forms of Avalokiteshvara are crowned and bejewelled, have physically beautiful features, and appear composed and graceful.

Padmapani, Ajanta Cave 1. From alamy.com

There are many temples on Mount Putuo, but the two most well known are Puji Temple (普濟寺) or the “front temple” (又稱前寺), and Huiji Temple (慧濟寺) on the peak of the mountain. They receive the most pilgrims, but Fayu Temple (法雨寺) is my personal favorite; when there is no pedestrian crowding, it has a gentle and soothing atmosphere. It is surrounded by towering ancient trees, suspending the visitor in time between past and present. From a distance, one can see that the gate to the monastery is unique, unlike those of other temples on Mount Putuo, which are painted in yellow ochre. Here it is light red in color: a soft, ambient hue that emphasizes an atmosphere of paradisical peace and bliss.

Upon entering and reaching the main hall of Nine Dragons, where a statue of Guanyin is enshrined, one feels a strong sense of sublime and resplendent majesty. Yuantong Hall of the Fayu Temple is renowned for its resplendent appearance and ingenious interior structure, with a large ball hanging from the ceiling of its dome surrounded by nine vertical rafters. Each rafter is carved with a dragon that rears its head in a scramble for the ball. This intricate layout is called the Bracket with Nine Coiling Dragons and is ascribed to Emperor Kangxi (康熙) (1654–1722), who used the materials of the former palace of the Ming dynasty in Nanjing to reconstruct an earlier monastery, Zhenhai Monastery, on Mount Putuo. 

Fayu Temple. From the author

What strikes me most, however, is not Fayu Temple’s imperial heritage, but rather two great minds that made their mark here. Venerable Yinguang (印光) (1861–1940) was the 13th patriarch of the Pure Land tradition and the abbot of Fayu Temple for decades. Meanwhile, Ven. Hongyi (弘一) (1880–1942) wrote in traditional calligraphy Fayu Temple’s nameplate of “heavenly flowers and Dharma rain”—first devised by Emperor Kangxi. Li Shu Tong (李叔同) was Hongyi’s secular name. A wealthy and rakish young man, he was also an eclectic and learned scholar of high culture. He relinquished what he possessed and committed to living a monastic life. Fully devoted to promulgating Buddhism, he rose to become an eminent monk.

At some point, the two monastics met each other. It is said that Master Hongyi admired Master Yinguang and asked him to be his teacher. Humble and modest, Master Yinguang refused, but invited him to stay as long as he wanted. The two spent seven days together, studying, practicing, and meditating without a single word exchanged. They simply were, as minds think alike, without verbal obstructions, thoughts traveling and flowing effortlessly. How wonderful it is to exist together beyond words. But in the era of the Internet, we are bombarded with so many words and so much information that we lose our sense of their meaning, let alone their authenticity.

If we wish to be heard, we need to be sincere, candid, and heartfelt. “Guanyin” in Chinese means the Perceiver of Sounds, or “Guanshiyin,” the Perceiver of World’s Sounds. As chanted in the Universal Gate chapter of the Lotus Sutra: “Perceiver of the World’s Sounds, heavenly voice, the voice of the sea’s tide—magnificent, rich and harmonious surpassing all worldly sounds.” If we keep Guanyin in our hearts and call on her sincerely, she will always respond.

Mount Putuo: Wonders and Thoughts

Link：https://peacelilysite.com/2022/07/17/mount-putuo-wonders-and-thoughts/

Source： https://www.buddhistdoor.net/features/mount-putuo-wonders-and-thoughts/

#Avalokiteshvara#Buddhism#BuddhistPilgrimage#ChineseBuddhism#compassion#Fayu temple#Guanyin#GuanShiYin

Taihang Grand Canyon

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Taihang Grand Canyon

Taihang Mountain Grand Canyon National Forest Park is located in the east of Huguan county area between the two provinces of Shanxi and Henan, north from Hugaun 30 kilometers from the county. And Taihang Mountain Grand Canyon has been rated as one of “China’s best ten grand canyons”.

Taihangshan Grand Valley

The Taihang Grand Canyon extends 50 km from north to south, 1.5 km wide from east to north, with an altitude from 800 to 1739 meters. Peaks upon peaks were formed billions of years ago during an active movement of Earth’s crust. Hundreds of peaks, cliffs, gorges, waterfalls and springs form a unique and fascinating world. The three famous scenic spots in the Canyon are Peach Blossom Valley, Taihang Sky Road, and Wangxiangyan (Royal Rock).

In the scenic spot, thousands of peaks contend for beauty, strange, unique topography and geomorphology, rare animals and plants resources made of Taihang Grand Canyon of the most wonderful natural scenery. With three gorges of Five Fingers Gorge, Longquan Gorge, Wangmang Gorge as the main line, there has opened up Purple Cloud Cave, and Yungai Temple, water demon Hole and Zhenze Palace four major scenic spots.

Waterfalls can be found throughout the canyon, thundering down from the high mountains, and gently washing down over one platform after another. The 346-meter-tall Peach Blossom Waterfall presents an amazing scene in the Peach Blossom Valley.

Peach Blossom Valley

The Taihang Sky Road is located in the summit of the Mount Taihang, with a total length of 30 km. It’s not only an essential part of the sightseeing, but also an excellent lookout for a bird’s eye view of the Taihang Mountain.

Taihang Sky Road

Deep in the Taihang Canyon, there are several small villages. The houses are all built with local materials – stones. You could see the stone streets, stone walls, stone roof, stone pillars and stairs everywhere.

Besides, the world-class international gliding base is Located 1,190 meters above sea level on the Mt Linlu of the Mount Taihang Range, and the landform here offers an ideal launch platform. Air currents rise along the cliffs to finally gather at the 60-angle peak. The peak covers an area of 16,000 square meters and can accommodate up to 30 gliders launching simultaneously. Gliding competitions have been held here annually since 1992.

The Grand Canyon Rafting, whole length is 4500 meters and the drop is 85 meters. The whole journey is located in the mountain forest belt. The trees on both sides of the river are lush and the scenery is picturesque, it is beautiful to drift on the water, as if in fairyland.

Taihang Grand Canyon

Taihang Grand Canyon

Link: https://peacelilysite.com/2022/06/21/taihang-grand-canyon/

Source: https://baike.baidu.com/reference/2373297/1b87s9e6DzyAaQY10dHt6excYlLZZMWW9ntYPHwKMPZXKqG0_K5Rws4RuLcw1VC63lj628he7NOEvdVP6jt_Fg, http://www.ecns.cn/experience/2014/11-02/141086.shtml

#Travel#TravelChina#TaihangGrandCanyon#PeachBlossomValley#TaihangSkyroad#Glidingbase#TaihangRafting#MountTaihangRange#HenanProvince