Huiju Temple

Huiju Temple

Huiju Temple is a cultural heritage site protected by Anhui Province.

Originally named "Huiqing Nunnery," Huiju Temple is located on the mountainside of Tiantai Peak in Jiuhua Mountain. It was first built during the Qing Dynasty. In the late Qing period, the then abbot, Monk Renlin, expanded the temple. In 1938, Abbot Puming raised funds to rebuild the main hall, enlarge the monks’ quarters, accommodate more monks, and establish the temple as a full-scale monastic complex. It was then renamed “Huiju Chan Temple.” During the Anti-Japanese War, Qingyang Middle School was relocated here. From 1943 to 1953, Guole, Guokuan, and Likong successively served as abbots. The temple buildings were renovated in 1982, and all Buddha statues were gilded in 1984. The temple covers a construction area of 541 square meters. It is recognized by the State Council as a key Buddhist temple in Han Chinese regions.

Ascending from Mianyuan to Tiantai, you can reach Huiju Temple after walking about a mile up ancient stone steps through a sea of bamboo. Here, you’ll find the temple described as having “dense trees hiding golden splendor, empty mountains echoing temple bells.” Unlike many temples, Huiju lacks auxiliary structures such as a mountain gate, with its Mahavira Hall directly facing visitors, giving it a less imposing ceremonial feel. In fact, when the temple was initially constructed, the mountain gate, front hall, and side chambers had already been planned and materials such as timber, stone, bricks, and tiles gathered. However, just before construction began, the Japanese invasion forced the suspension of the expansion project.

The Mahavira Hall is about 10 meters high, 15 meters wide, and 10 meters deep. On the north side is a corner gate for entry and exit; nearby are monks’ quarters for those managing the hall. The main hall enshrines three tall statues of the “Three Buddhas of the Three Ages”—Shakyamuni, Bhaisajyaguru (Medicine Buddha), and Amitabha—along with statues of Manjushri and Samantabhadra Bodhisattvas. On either side are exquisitely crafted and lifelike statues of the Eighteen Arhats seated in meditation. All the statues are made using the dry-lacquer and hemp technique. The hall also has a complete set of ritual instruments including a bell and a drum. There are two couplets inside the hall: one beside the Buddha statues reads, “In the three directions and three realms, sages and mortals intermingle; amid ninety peaks, the temple's fame echoes across the southeast.” The other, inside the hall’s entrance, reads, “Here the Yangtze cuts like an immortal ravine, amidst misty seas where wind-borne tower chants drift; true Buddhist land of Jiuhua, with towering shrines where daily incense smoke drifts from divine ridges.” The golden characters of the couplets and plaques shine brilliantly alongside the golden Buddha statues, creating a dazzling sight.

Behind the main hall’s Buddha statues is a rear door. Exiting and walking about six meters down a corridor, then ascending a few stone steps, you’ll enter the rear hall. This hall is a two-story pavilion. The lower level is the Ksitigarbha Hall, while the upper level is the Guanyin Hall, both housing gilded statues protected by glass cases. Behind and beside the altars, movable wooden paneling divides the space into rooms. These panels are detachable and can be configured into larger or smaller spaces as needed for different Buddhist activities. Normally, with the panels installed, the rooms serve as monks’ quarters for accommodating wandering monks. The design shows thoughtful planning. The Ksitigarbha Hall enshrines a golden statue of Ksitigarbha. The Guanyin Hall houses a statue of Guanyin in the form of the “Water-Moon Guanyin,” holding a vase of pure water and willow branches, sprinkling sweet dew. This particular depiction of Guanyin is unique among the many Guanyin images in Jiuhua Mountain. It represents the female form of Guanyin. It is said that the female image of Guanyin began in the Northern and Southern Dynasties and became popular after the Tang Dynasty. Buddhism describes Guanyin as a bodhisattva of “great compassion and mercy, who saves beings from suffering,” able to “hear their cries and come to their aid,” manifesting in various forms across the mortal world.

To the north of the hall is a two-story structure that connects the front and rear halls. These two floors function as auxiliary buildings of a large monastery, designated for use as guest halls, meditation rooms, or side chapels. In the 1930s, when Abbot Puming undertook a major expansion, he placed Taoist deities in the upstairs side chambers. This reflected the abbot’s belief in the unity of Buddhism and Taoism. However, with the outbreak of the Anti-Japanese War, the decoration and consecration of these Taoist figures were never completed. Taoism is a traditional Chinese religion with a long history and deep influence in Jiuhua Mountain. As a result, many temples here feature Taoist figures, reflecting the historical blending and mutual influence of Buddhism and Taoism.

The temple is surrounded by numerous scenic spots. From the platform in front of the hall, you can look down into the valley—nearby stretches of green forests, and in the distance, mist-covered peaks hidden in the clouds. Turning back, you’ll see the surrounding peaks in the back of the temple, with Golden Peak, Beauty Peak, Lion Peak, Crowned Peak, and Vase Peak all in full view.