In recent years, a category of cultural relics in China has been receiving increasing attention from the government, experts, scholars, and society at large. This category of relics is grotto temples. Like ancient Chinese architecture, grotto temples are immovable cultural relics. However, compared to traditional Chinese buildings, which were mainly constructed from bricks and wood, these stone caves and the statues, murals, cliff carvings, and other relics inside are more resistant to the ravages of time. As a result, they tend to survive longer and remain relatively well-preserved, retaining more important historical information. In 2021, the National Cultural Heritage Administration released the Archaeological Medium- and Long-Term Plan for Chinese Grotto Temples (2021-2035), which was incorporated into the major project "Archaeology China." The Xiangtangshan Grottoes in the Fengfeng Mining Area of Handan, Hebei, are one of the key projects in the compilation and publication of seven grotto temple archaeological reports, receiving great attention from all sectors of society.
Grotto temples are an important place for Buddhist practice and a unique form of art. Chinese Buddhism has achieved remarkable success in the creation of statues, paintings, and other art forms. The famous Longmen Grottoes, Yungang Grottoes, Dunhuang Mogao Caves, and Maijishan Grottoes are world-renowned cultural treasures. The various forms and exquisite designs of Buddha and Bodhisattva statues there provide visual feasts and spiritual shocks for audiences from around the world. This may lead many to believe that Buddhist statues have always been closely associated with the Buddha. But is that truly the case? When did the creation of Buddha statues in grotto temples begin?
In fact, in the early days of Buddhism, Buddha statues were not widely popular. According to archaeological discoveries, for a long period after the parinirvana (death) of Shakyamuni, Buddhists mainly used stupas, Buddha footprints, Buddha hair, the Bodhi tree, or the Dharma wheel to symbolize the Buddha. The earliest Buddha statues we can see today are from the Kushan Dynasty, around the 1st to 3rd centuries AD, in areas such as Gandhara. These statues have styles quite different from those we see in today's Chinese temples.
It was not until around the 2nd century AD, with the rise of Mahayana Buddhism, that the image of the Buddha began to gain popularity with large-scale statue creation activities. Buddha statues, like early stupas and Dharma wheels, were actually used as a means for later generations to remember and venerate the Buddha's merits. However, Buddha statues were more like "symbols" and did not represent the actual appearance of the Buddha. The "appearance" itself was not important; what mattered was understanding the "Dharma" that the Buddha taught. Therefore, the Diamond Sutra contains the phrase: "If one sees all forms as no forms, one sees the Tathagata." This means that in order to truly see the "Tathagata" (the Buddha), one must realize that all external forms are impermanent. Thus, we should not become attached to these forms, as attachment to and obsession with such external appearances is often the source of confusion, suffering, and even tragedy in life.
Furthermore, we also know that in Islam, the God worshiped by Muslims, Allah, has no image, but Allah is ever-present, everywhere. I dare to speculate that Allah's "formlessness" may have some similarities to the Buddhist concept of "no form in all forms"? I believe that faith should be a supreme, grand, and sacred aspect of our spiritual realm. It should inspire us to maintain reverence at all times, to adhere to the inner path, and to restrain ourselves with a mindset of walking on thin ice. This leads to a grounded, calm, and free state that others can hardly reach. The Buddha has never been just a cold idol; it is not only in the halls of temples or in the niches of grottoes, but also in our hearts.
Earlier, I mentioned that around the 2nd century AD, with the influence of Mahayana Buddhism, the practice of creating Buddha statues began to rise. We know that ancient India had a very hot climate. In order to meditate and visualize the Buddha during their practice, Buddhists would dig caves in the mountains and place Buddha statues and stupas inside. They also painted murals in these caves, and this is how grotto temples came into being. Grottoes are a combination of architecture, sculpture, and murals, all centered around the themes of the Buddha's life story, Buddhist teachings, and transformation stories. Initially, the statues and murals were only used for meditation purposes, but over time, they evolved to serve the function of teaching through images. This led to the more splendid and magnificent construction of grotto temples, giving birth to the thousand-year-old art of grotto sculptures.
Buddhist culture was introduced to China via the Pamir Plateau and the Silk Road, probably during the Han Dynasty. It is generally believed that Buddhism was officially introduced to China during the reign of Emperor Ming of the Eastern Han. After Buddhism entered China, it experienced a convoluted yet glorious development process and underwent a process of "Sinicization." During this period, a series of grotto art treasures emerged, with the "Four Great Grottoes" (Longmen Grottoes, Yungang Grottoes, Dunhuang Mogao Caves, and Maijishan Grottoes) standing at the forefront.
Chinese Buddhist grottoes can be roughly divided into seven categories: the first is tower temple caves with central tower pillars; the second is Buddha hall caves without central pillars; the third is monastic caves for monks' daily living and meditation; the fourth is large statue caves in tower temples and Buddha halls, where large Buddha statues are carved; the fifth is Buddha altar caves, where Buddha statues are placed on altars within Buddha halls; the sixth is small meditation caves designed for monastic practice in monastic caves; and the seventh is groups of small meditation caves. Chinese grotto statues are distributed across four major regions: Xinjiang, the North Central Plain, the Sichuan Basin, and Tibet. Though these statues share common religious and cultural features, they display significant regional characteristics due to differences in the economic conditions, cultural traditions, and life customs of each region.
Looking at the history of grotto development, the Northern Wei and Tang dynasties were two peak periods for the construction of grottoes in China. Along the ancient Silk Road and river routes, the tradition of grotto carving spread gradually from the ancient Western Regions (now Xinjiang) to the Hexi Corridor in Gansu, the Central Plain along the Yellow River, and the Sichuan region. One of the main features of the long historical evolution of Chinese grottoes is the integration and mutual influence of various cultures. Grotto art continuously absorbed local culture and Confucian and Taoist thought, forming unique styles and connotations in different historical periods. The early grottoes, represented by the Yungang Grottoes from the Wei-Jin period, were clearly influenced by Indian Gandhara and other art forms. The statues often presented a "foreign appearance" but integrated with the "Yungang style" and "slim, elegant images" that influenced the Central Plains and even spread back to the Hexi Corridor. The Longmen Grottoes and later Sui-Tang grottoes show a blend of Indian and Chinese cultural features, marking the peak period for grotto construction. The An'Yue and Dazu carvings from the late Tang and Song dynasties drew on earlier grotto art and were rooted in the rich cultural traditions of the Sichuan region, forming distinct local and secular features, marking the third peak in the development of Chinese grottoes.
From India to the Western Regions and then to the Central Plains, Buddhist grottoes evolved from places of austere practice to places of worship, from meditation on Nirvana to contemplation of reality, and from an exploration of the bitter truth of life to the pursuit of human welfare. Grotto culture became an integral part of Chinese society, influencing various aspects of people's lives and providing a spiritual foundation. Over time, this cultural phenomenon became more localized and intertwined with daily life. The diversity, richness, and unique religious cultural content of Chinese Buddhist grottoes have greatly enriched the world's treasure trove of grotto art.
In the public account content from January last year, I once took my readers on a journey to the famous historical and cultural city in southern Hebei — Handan, and devoted two issues to interpreting the mysterious building named "Wahuang Palace" on Zhonghuang Mountain in Shexian County, Handan. I believe many of you still remember it vividly. In fact, Handan, an ancient city with a history of over 2,000 years, is home to an exceptionally rich cultural heritage. On this ancient and legendary land in southern Hebei, there are countless cultural relics and historical sites worth exploring. Among them, the Ringing church Grottoes, located in the Fengfeng Mining District of Handan, stand out as one of the most dazzling cultural treasures of Handan. The Ringing church Grottoes were not only one of the first batch of national key cultural heritage sites announced by the State Council in 1961, but they are also known as one of China's "Three Royal Grottoes," alongside the Yungang Grottoes in Datong and the Longmen Grottoes in Luoyang. They are a valuable cultural heritage and spiritual wealth left by the short-lived Northern Qi Dynasty.
Located about 60 kilometers southwest of Handan in the Fengfeng Mining District, in the transitional zone from the Taihang Mountains to the southern Hebei plain, there is a mountain with an almost musical resonance. This mountain is about 20 kilometers long from north to south and about 5 kilometers wide from east to west. Whether walking, chatting, or waving a sleeve, you can hear a loud echo throughout the mountain, so it is called "Ringing church."
Ringing church is divided into the North Ringing church and the South Ringing church. The South Ringing church was originally called Fushan, and the North Ringing church was originally called Gushan. Both mountains are branches of the Taihang Mountain Range. To the west, they connect to the Taihang Mountains, to the east they face the southern Hebei plain, to the south the Zhanghe River winds around, and to the north the Ming River meanders. The Fuyang River originates from these mountains, and it has long been a popular scenic spot. Located on Ringing church is the Ringing church Grottoes, also known as the Xiangtang Temple Grottoes. It is the largest grotto complex discovered in Hebei Province, and is one of the "Three Royal Grottoes of China," alongside the Longmen Grottoes and Yungang Grottoes. It is now a national scenic spot, a key cultural heritage site under state protection, and a 4A-level tourist attraction.
The Ringing church Grottoes are primarily divided into two main sites: the South Xiangtang Grottoes and the North Xiangtang Grottoes, which are about 15 kilometers apart. Additionally, there are several smaller caves, including the Shuiyushi Grottoes, known as the "Little Xiangtang Grottoes." The Ringing church Grottoes were first carved during the Eastern Wei and Northern Qi periods, with additions made during the Sui, Tang, Song, Yuan, and Ming dynasties. According to statistics, there are currently 16 grottoes remaining on the mountain, with over 450 niches containing more than 5,000 statues, along with numerous inscriptions and carvings. The grottoes are carved into the finest stone cliffs on Ringing church, an area known for its picturesque natural environment. The name "Xiangtang" comes from the deep and resonant echoes that can be heard when people talk, laugh, or move in the caves.
The large-scale carving of the Ringing church Grottoes began during the Northern Qi period in the Southern and Northern Dynasties. At that time, the Northern Qi Dynasty had two political centers: one in the capital Ye (modern-day Linzhang, Handan) and the other in the secondary capital Jinyang (modern-day Taiyuan, Shanxi). Gushan, located at the strategic pass of the Taihang Mountains, was a key transit point between the two capitals. This area, with its clear waters, beautiful scenery, and excellent stone quality, was chosen by the Northern Qi Emperor Gao Yang, who made Buddhism the state religion, to carve caves, build temples, and create a palace garden. This place was used as a summer retreat, a leisure destination, and a religious site for him to travel between the two capitals. Today, the emperor's palace has long disappeared, and the temple lies in ruins, but the Buddha niches and statues carved into the rock walls have been preserved, becoming precious cultural relics for the study of Northern Qi history and Buddhist culture.
The North Ringing church Grottoes consist of nine caves, from left to right: Daye Cave, Kejing Cave, Erfo Cave, Shiying Cave, Jiajing Cave, Wuming Cave, Dafodong (Great Buddha Cave), and two unnamed caves. Among these, Dafodong is the largest and most elaborately decorated. The cave has a depth of 13.3 meters, a width of 13 meters, and a height of 11.4 meters. The central Buddha niche contains a seated statue of Sakyamuni, which is 5 meters tall. The statue is well-proportioned, solemn, and dignified, making it the largest figure in the Ringing church Grottoes. Its back is decorated with a relief of flames, with seven intertwined fire dragons adorned with honeysuckle patterns. The intricate carving and elaborate decoration represent the advanced artistic achievement of the Northern Qi. The Buddha statues from the Northern Qi period are characterized by solid and sturdy forms, reflecting the strength and vigor of the Northern Qi people.
As a royal grotto of the Northern Qi Dynasty, the Ringing church Grottoes are grand and exquisitely carved. Their unique and original artistic and cultural characteristics make them irreplaceable and unparalleled among China's famous grottoes. Unfortunately, throughout history, the Ringing church Grottoes have suffered from many calamities, especially before the founding of the People's Republic of China, when the grottoes were subjected to large-scale theft and destruction. Due to various reasons, the grottoes were once little known, and there were few visitors. One cannot help but feel a sense of regret and sadness for the fate of this magnificent national treasure, hidden in the southern Hebei mountains.
The Ringing church Grottoes are one of the most splendid cultural legacies left by the short-lived Northern Qi Dynasty. The unique "Northern Qi Iconography" plays an important role in the history of Chinese grotto art, bridging the past and the future. It also marks a milestone in the history of Chinese sculpture. In addition to the statues, the high artistic and cultural value of the Ringing church Grottoes is also reflected in the cliff inscriptions, murals, and ancient architecture, all of which form the various elements of the grottoes. The Ringing church Grottoes are thus a vast treasure trove for studying the history and culture of the Northern Qi, the sinicization of Buddhism, and Chinese sculpture, painting, calligraphy, and architectural art. For these reasons, in recent years, the Ringing church Grottoes have increasingly attracted the attention of the government, research institutions, scholars, and people from all walks of life.
Stepping into the Ringing church Scenic Area, starting from Bodhi Square, we walk step by step along the pilgrimage path, and gradually the restlessness and agitation within our hearts fade away. Listening to the sound of our footsteps beneath us, our hearts naturally become calm and serene. After climbing about a thousand steps, we finally reach the North Xiangtang Grottoes halfway up the mountain. Looking down upon the land of Yan and Zhao in early spring, everything seems full of vitality. The ancient and solemn Song Dynasty Pagoda stands in the ruins of Changle Temple at the foot of the mountain. The mottled traces of time on its surface speak more eloquently than words, as if silently narrating the rise and fall, glory and disgrace, and the changes of this place over the centuries. At this place, closer to the sky, we silently face the world of "great beauty that cannot be spoken" and allow ourselves to settle down. We listen to the music of nature and hear the deepest voice of our own hearts, reflecting on the most primal aspirations of our souls...
In front of the solemn and dignified seated statue of Sakyamuni in the North Xiangtang Great Buddha Cave, I made a wish. The world today is turbulent, and humanity once again stands at a crossroads in history. Nowadays, it is not easy for anyone. I sincerely hope that there will be more understanding and tolerance between individuals and countries. In Ringing church, let us all pray for the well-being of our family and country! May we bless the future of China, the future of the world, and the future of human civilization!
