Wuan Qingyan Temple

Wuan Qingyan Temple

Wuan Qingyan Temple is a cultural tourism attraction.

Also known as the Fahua Cave Grottoes, Qingyan Temple is located one kilometer east of Qingyan Temple Village in Shidong Township, Wuan, Hebei. Here, the mountains are tranquil, the forests lush, and the air free from the dust of carriages and horses — "a fitting abode for immortals, a sacred site for buddhas." Ascend the stone steps to reach the temple. In front of the temple lies a small cypress grove, where the occasional echo of temple bells lingers. Amidst the reverberating chimes, the fatigue and vexation of the climb seem to melt away long before you arrive. At the sound of the bells, you may suddenly sense that the silence of the ancient mountain temple is perhaps a form of profound stillness. The village takes its name from the temple, and the township is named after the stone cave.

The temple is built against the mountain, which is called Fahua Mountain, hence the grottoes are also referred to as Fahua Cave. The original structures within the temple have been lost due to years of neglect. The compound still retains remnants such as grottoes, stone statues, stone offering tables, stone steles, and stone pillars.

The grotto is carved into the eastern cliff on the left side of the temple courtyard, facing west. In front of the cave is a small wooden porch built in modern times. The cave entrance has partially collapsed, with a relatively large window above the door.

Inside the cave is an irregularly shaped rectangular structure. Due to weathering and fracturing of the rock, the walls and ceiling have suffered varying degrees of damage and displacement, and none of the surfaces are smooth. On either side of the disciple statues, two seated bodhisattva statues are placed near the left and right walls. The left bodhisattva is seated in half-lotus posture on a four-tiered inverted lotus square base, with a full and well-proportioned figure. She wears a necklace, a shawl-style robe leaving her chest and abdomen exposed, holds a vase in her left hand and a willow branch in her right — she is likely Guanyin (the Goddess of Mercy). The right bodhisattva is also seated in half-lotus posture on a square base, with bare feet, a slightly flattened upper body, and ornate attire, her hands held in prayer. On the outer sides of the two bodhisattvas are two guardian warrior statues, clad in armor, with sturdy, muscular, and valiant builds.

The left wall of the cave is the most exquisitely carved section, mainly divided into three groups. The upper parts of the left and right walls feature a Thousand-Armed and Thousand-Eyed Guanyin, while the lower parts depict a scene of monks making offerings, and the eastern side shows a group of arhat figures. Though the wall is cracked and damaged due to rock fragmentation, the Thousand-Armed and Thousand-Eyed Guanyin image remains well preserved. At the center, the deity sits in full lotus posture on a lotus base, wearing a seven-treasure crown with a tiny Buddha image embedded. Her face is round and serene, with delicately carved features. Her hands are clasped in front, while countless arms extend from both sides of her body, each palm bearing an eye and holding various ritual implements in diverse gestures — including ***, bows and arrows, vases, jewels, prayer beads, willow branches, vermilion birds, black tortoises, banners, coins, the Buddha, sutras, Buddhist scriptures, and treasure mountains. Behind the high-relief arms, the deity’s halo is densely covered with layered palms, too numerous to count. Flanking the Thousand-Armed and Thousand-Eyed Guanyin are two guardian figures, standing in a drawing-bow posture, with mountain-shaped hairstyles, tense and solemn expressions, and crossed hands with fingers pointed like swords. They are framed by cloud-patterned halos and circular head halos, behind which three more upper-body-only guardians appear, with round faces, tall crowns, and hands clasped in prayer.

Below the Thousand-Armed and Thousand-Eyed Guanyin is a carving depicting a scene of monks making offerings. This scene includes six statues, with the central monk figure slightly taller and leaning slightly to the left. His left hand hangs naturally at his side, resting on his robe, while his right arm is bent in front of his chest in a single-handed gesture. Behind him is a plain boat-shaped halo and a circular head halo, with an upright, wordless plaque on his left shoulder. Behind him are three shorter monk figures, all facing west — some with hands clasped, others holding square basins or flowers. To the left of the main monk figure is an inscription reading “Disciple Yonghai, who chanted scriptures,” possibly added later. In front of the main monk are two additional figures holding objects, though their legs are missing.

Below the monk offering scene are three tiers of arhat statues, all seated in full lotus posture, wearing shawl-style robes, with varied hand gestures. The eastern part of the left wall is covered from top to bottom with arhat figures, mostly in meditation posture and of varying sizes. The main wall of the cave is heavily weathered, but the remaining rock surface is also filled with seated arhats. The right wall is similarly covered with arhat figures, generally larger in size and with diverse postures. Many bear inscriptions from patrons. Notably, the right-wall arhats include “Han Ya of Xingcao Village” and “Hao Yu of Yiquan Village, who commissioned one arhat.”

At the base of the cave’s inner walls, there are four standalone round sculptures of buddhas or bodhisattvas, mostly fragmentary. Their original positions are unknown, but their style suggests they were carved during the Song Dynasty.

The cave ceiling features a protruding, hanging rock with a relatively flat surface, inscribed vertically and read from right to left: “... Hui Chao, having heard of the revered Wangshi Ancient Temple’s Guanyin, vowed to contribute to the construction of a stone hall. Carved in the 7th year of the Taiping Xingguo era (982), on the 19th day, later adding 500 arhats along with Guanyin, the Dharma Light, and the Great Compassion, completed by the 2nd day of the 2nd month in the 2nd year of the Yongxi era (985). Donor: Fahua Li Hui Chao.” Below this inscription is another: “— Merit Mountain Donor Zhijian, — Merit Offering Donor Foyin, stele created in the 2nd year of the Wanli era for mountain offerings...”

Within the Qingyan Temple courtyard, three stone steles, a Ming Dynasty stone offering table, a stone elephant, and a stone pillar are preserved. The pillar is carved with five arhat figures and bears the inscription “Work commenced on the 3rd day of the 3rd month in the 47th year of the Wanli era.” The stone offering table is engraved with dragons, phoenixes, lions, and qilin motifs.

Transportation Guide

Location: Northeast of Qingyan Temple Village, Shidong Township, Wuan City, Hebei Province

Getting There: Take a bus from Wuan to Shidong Township, get off at the Gucheng Overpass, then transfer to a minibus to Qingyan Temple Village.