Jiuhua Mountain Qiyuan Temple

Jiuhua Mountain Qiyuan Temple

Jiuhua Mountain Qiyuan Temple is a National Key Cultural Relics Protection Unit.

Qiyuan Temple is located east of Yingxian Bridge on the western foothills of Jiuhua Mountain's eastern cliff and is the foremost among the Four Great Monasteries of Jiuhua Mountain (Qiyuan, Dongya, Baishou, and Ganlu). It was originally built during the Jiajing era of the Ming Dynasty (1522–1566) and was initially named "Qishu Nunnery."

During the Kangxi era of the Qing Dynasty (1662–1722), it served as the eastern wing dormitory of Huacheng Temple. In the Jiaqing era (1796–1820), Qiyuan Temple lacked an abbot, and the nunnery was in disrepair. The senior monks decided to invite Master Longshan (1757–1841), who had meditated in the Tiger-Taming Cave for over twenty years, to serve as the abbot. Master Longshan, along with his disciple Dageng and others, gathered followers, preached teachings, held ordination ceremonies, and undertook major construction to rebuild the temple complex. The scale of the reconstruction surpassed all other temples on the mountain, transforming the once-deserted ancient temple into a "Monastery Open to All Directions," hence its current name. During the Tongzhi era (1862–1874), Abbot Dageng further rebuilt the temple, adding an ordination shelter and accommodating more monks. In 1904, during the Guangxu era, Abbot Kuan Yang raised funds to build the Mahavira Hall, establishing Qiyuan Temple as the foremost among the Four Great Monasteries of Jiuhua Mountain.

In 1956, the Qingyang County People's Government allocated funds for the Buddhist community to renovate Qiyuan Temple. It suffered damage during the ten-year Cultural Revolution but was gradually restored after 1982. In 1983, it was designated by the State Council as a National Key Buddhist Temple in Han Chinese Regions. In 1984, the monastic system was reinstated under Abbot Rende.

The temple complex consists of nine individual structures: the Lingguan Hall, Maitreya Hall, Mahavira Hall, Guest Hall, Ordination Hall, Monastic Storehouse, Retired Monks' Quarters, Abbot’s Quarters, and Guangming Lecture Hall. The total floor area is 5,175 square meters. Except for the Maitreya Hall and Mahavira Hall, which feature palace-style architecture, the rest are designed in residential style. The temple's halls are layered and intricately arranged, showcasing exquisite craftsmanship and a majestic atmosphere. The most distinctive is the Lingguan Hall, symbolizing the fusion of Buddhism and Taoism in Chinese culture, evident in its architectural design. The first hall of the temple is not the Heavenly King Hall but the Lingguan Hall. Inside the shrine stands the Lingguan deity, clad in golden armor, with a red face, fiery beard, wide eyes, and an open mouth. Above the forehead is a third eye, said to “see all under heaven.” The right hand holds a steel whip aloft, while the left clenches into a fist, posing in a martial stance—its image is both imposing and fierce. Flanking the shrine are the Heng and Ha Generals, both depicted as stern and muscular warriors ready for battle. The presence of the Lingguan statue in a Buddhist temple likely emerged after the Jin and Yuan dynasties. During that period, Wang Chongyang, the founder of Quanzhen Taoism, advocated the unity of Confucianism, Buddhism, and Taoism. He stated, “The three teachings share one origin,” and, “Buddhism and Taoism are one family, differing only in form but not in principle.” This explains why a Taoist deity guards the entrance of a Buddhist temple.

Qiyuan Temple features a lotus-petal-patterned stone path, paved with over a hundred rectangular stone slabs. Each slab is engraved with three identical relief patterns: two rows of round ancient coins on the sides, resembling strings of money when viewed vertically, and a square pattern in the middle, resembling a small painting. Every three steps, there is a blooming lotus. Other carvings include lotus emerging from water, dragonflies playing on leaves, and frogs hiding under stems—vivid and charming. Lotus decorations are common in Buddhist architecture, reflecting monks’ aspiration for the “Seven-Treasure Lotus Pond” and the Pure Land. Stone money paving is rare in temples. This unique feature originates from a Buddhist story: when the Buddha preached in Magadha, a wealthy elder named Sudatta from Shravasti converted to Buddhism. He planned to invite the Buddha to his hometown and built a monastery. The finest garden belonged to Prince Jeta, son of King Prasenajit, but the prince demanded the ground be paved with gold. Sudatta purchased it at great cost. Later, Prince Jeta also converted and donated the garden to the Buddha. Thus, the garden became known as “Jetavana Grove,” combining the names of both benefactors. The gold coin carvings on Qiyuan Temple’s path symbolize the sacred traces of the Buddha.

The temple gate is five bays wide and three bays high. The top features three layers of eaves covered with golden-glazed tiles. The upturned eaves are adorned with dragon heads on the corners, their tongues outstretched as if riding the clouds. The beams and pillars are elaborately carved and painted, depicting mythological stories such as Xuanzang’s Journey to the West, the Monkey King Flooding the Golden Mountain, and Jiang Ziya Fishing by the Wei River. The plaque above the gate bears the temple name “Qiyuan Chan Temple” in blue-and-white porcelain on a white background. The entire temple complex is built across four levels of terraces. The first terrace, five meters high, houses the Lingguan Hall, Maitreya Hall, Guest Hall, Dining Hall, and Retired Monks’ Quarters. Among them is the Heavenly King Hall. The central shrine enshrines the Maitreya Buddha, depicted with a laughing expression and a big belly. His two verses read: “A bowl of rice from a thousand homes, a solitary journey of ten thousand miles.” Flanking him are the Four Heavenly Kings.

The second terrace, two meters high, hosts the Mahavira Hall. The Mahavira Hall is 35 meters tall, 25 meters wide, and 19 meters deep. The eaves bear the characters “Mahavira Hall,” and the lower eaves also display the same name in gold, inscribed by Yu Youren in 1933 when the hall was completed. During the Cultural Revolution, the characters “Yu Youren” were scraped off, leaving only the signature “Retired Abbot Kuan Ci.” The golden-glazed roof is adorned with relief ceramics of Heavenly Kings, Arhats, lions, and mythical beasts along the main ridge and water spouts. The ridge ends are capped with blue-and-white fish-dragon ornaments. Eight pairs of hollow flower baskets hang from the eaves, and 17 carved brackets enhance the hall’s grandeur.

Inside the Mahavira Hall, the central focus is a triad of Tathagatas—Shakyamuni, Amitabha, and Bhaisajyaguru—each about 12 meters tall. Behind them are flame-like halos with mirrors that shimmer brightly. The statues sit atop green lotus thrones resting on Sumeru pedestals, intricately carved. Below are a pair of ancient blue-and-white porcelain vases and eight-foot-tall candlesticks made of tin and inlaid with gold. The altar is decorated with dragon-claw motifs, and the front features a large relief carving of the “Journey to the West,” protected by glass. Edges are adorned with phoenix motifs and golden nine-dragon designs. The hall also houses a bronze bell weighing about 400 pounds, a massive drum, and an eight-sided dragon-phoenix glass lantern hanging at the center, known as the Ever-Burning Lamp. The floor is paved with square blue bricks. In front of the Buddha statues is a stone platform for monks to kneel during ceremonies, intricately carved with floral borders, lotus flowers, lotus leaves, lotus roots, and rippling water patterns. The Buddha’s crown is not a monk’s hat but a “topknot,” representing the matted hair from his ascetic practice in the snowy mountains. The red bump on the forehead, called the “ushnisha,” symbolizes wisdom and is said to satisfy even the greedy Garuda bird.

Extending from the back wall of the hall are golden statues of Manjushri, Samantabhadra, and the Eighteen Arhats. Manjushri, seated on a blue lion symbolizing majesty and wisdom, holds a sword representing the “sword of wisdom.” Samantabhadra rides a white elephant, holding a ruyi scepter and a lotus, symbolizing “perfect understanding of doctrine.” The Eighteen Arhats, also known as the “Eighteen Venerables,” include sixteen disciples of Shakyamuni and two additional figures: the author of the *Faju Ji* (Fa Zhu Ji) and Xuanzang. Their expressions vary—from wrathful and dynamic to serene and contemplative—each vividly rendered.

Behind the triad of Tathagatas is a 30-meter-wide and 7-meter-high group sculpture depicting undulating mountains and surging seas, known as the “Oceanic Island.” It features various figures and animals. At the center stands Guanyin barefoot on the head of a giant turtle, flanked by the Jade Maiden on the left and the Golden Boy on the right. Nearby is a small boat, and above the “Dragon Palace” are depictions of Skanda holding a vajra, the God of the Monastery holding a sword, and General Li Jing holding a pagoda. At the highest point sits a thin, bare-shouldered figure crouching in meditation—Shakyamuni during his six years of ascetic practice in the snowy mountains. Hundreds of smaller figures, mainly from the “Fifty-Three Encounters” story, depict diverse characters: old monks, children in colorful clothes, people wrapped in animal skins, and figures in various poses—meditating, running, or looking around.

The third terrace, six meters high, houses the Abbot’s Quarters and Monastic Storehouse. The fourth terrace, three meters high, features the two-story Guangming Lecture Hall. The entire complex follows the mountain’s contours, with compact and well-organized layouts. Surrounded by cliffs, pine forests, and streams, the temple enjoys a picturesque setting.

Protected Area: East to the mountain forest wall, south to the South Wall of the Shangke Tang Hotel, west to Jiuhua Street Road, north to the Shangbaishou Palace Stone Stairway.

Construction Control Zone: 100 meters east of the protected area to the mountain forest, south to the South Wall of the Shangke Tang Hotel, west to the road, and 100 meters north beyond the Shangbaishou Palace Stone Stairway.

Source: Jiuhua Mountain Scenic Area Management Committee

Further Reading:

· Seventh Batch of National Key Cultural Relics Protection Units

Jiuhua Mountain

Jiuzi Rock

Jiuhua Mountain Huacheng Temple

Zhantan Forest

Tiantai Temple

Dragon Nunnery

Changshou Nunnery

Diaqiao Nunnery

Jiuhua Mountain Baishou Palace

Jiuhua Mountain Tianzhu Peak Scenic Area

Huixiang Pavilion

Little Terrace

Tianchi Nunnery

Huatian Temple

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