Ganzhou Tongtianyan Scenic Area

Ganzhou Tongtianyan Scenic Area

The Ganzhou Tongtianyan Scenic Area is a National AAAA-level Tourist Attraction.

The Tongtianyan Scenic Area is a National Key Cultural Relics Protection Unit, a National AAAA-level Tourist Attraction, and a Provincial-level Scenic Spot. Located 6.8 kilometers northwest of Ganzhou City, the area covers a total of 6 square kilometers. It is easily accessible via National Highway 105, offering convenient transportation. Here, red cliffs stand timelessly, and the mountains and waters are picturesque, characterized by four major features: "unique Danxia landforms, profound grotto culture, numerous historical relics, and pleasant ecological scenery."

The main scenic area, the Tongtianyan Grottoes, were carved during the Tang Dynasty, flourished in the Northern Song Dynasty, and still preserve 359 stone niche statues from the Tang to the Song Dynasties, as well as 128 cliff inscriptions from the Song Dynasty to the Republic of China. It is the largest grotto temple in the southern Yangtze River region and also the southernmost grotto in China, earning it the expert title of "The No.1 Grotto in the South of the Yangtze." Representative landscape sites include Wangui Rock, Guanxin Rock, Longhu Rock, Tongtian Rock, and Cuiwei Rock. Over the centuries, famous figures such as Su Dongpo, Wang Yangming, and Chiang Ching-kuo have visited, making Tongtianyan renowned both at home and abroad.

The newly developed scenic area from the late 20th century is closely connected to the Tongtianyan Grottoes, embodying a perfect blend of history and modernity, as well as harmony between nature and culture. The new area adds six functional zones: the Stone Carving Zone, Qingyuan (Love Garden), Longfeng Garden, the Twelve Zodiac Garden, the Life Showcase Garden, and the Water Amusement Park, making it an ideal leisure destination. Major attractions include a 23.66-meter-long reclining Buddha on red cliffs, a 9.99-meter-tall white marble Water-Dripping Guanyin, statues of historical figures from Ganzhou, the Thousand Buddha Cave, and the God of Wealth Temple.

Tongtianyan is located in the northwest suburbs of Ganzhou City, about 10 kilometers from the city center. It is a National Key Cultural Relics Protection Unit, composed of andesite rock hills with many natural caves. One cave has a small hole in its roof, which legend says leads to the heavens—hence the name. Major attractions include Tongtianyan, Cuiwei Rock, Tongxin Rock, Wangui Rock, Guangfu Temple, Jade Water Pond, One Drop Spring, Jade Rock Pavilion, Xichun Pavilion, and Qunyu Pavilion. Tongtianyan is one of the ancient art treasuries of southern China, famed for having the largest collection of stone niche statues in Jiangxi. There are 279 stone niches and 359 stone-carved statues, all depicting Buddhist deities, mostly from the Tang and Song Dynasties. These statues, with their diverse expressions, exquisite beauty, and lifelike forms, are treasures of ancient stone carving art. The site preserves 128 ancient inscriptions, the most among famous mountains and scenic spots in the province. The inscriptions feature rich calligraphy styles and exquisite craftsmanship, representing rare gems of ancient stone carving calligraphy. With its deep valleys, murmuring springs, towering ancient trees, and a climate that is warm in winter and cool in summer, it is a popular summer retreat and tourist destination in southern Jiangxi.

Historical Background

Since the Tang Dynasty, the scenic Tongtianyan has been developed as a grotto temple. By the Northern Song Dynasty, the creation of grotto statues at Tongtianyan reached its peak. Although compared to many other grottoes in China, the distribution range, niche size, number of niches, and scale of the statues at Tongtianyan are not the largest, it remains the largest grotto in southern China and also the southernmost cluster of grottoes in the country. Hence, it is honored as "The No.1 Grotto in the South of the Yangtze." Today, it preserves 358 cliff statues from the Tang and Song Dynasties, along with 128 inscriptions from the Northern Song to the Republic of China, making it a precious treasure trove of grotto art.

Scenic Content

The Tongtianyan Scenic Area consists of two parts: the Ancient Stone Carving Zone and the Modern Leisure Zone. The Ancient Stone Carving Zone is the core and essence of the area, mainly comprising five caves: Guanxin Rock, Wangui Rock, Longhu Rock, Tongtian Rock, and Cuiwei Rock.

Upon entering the scenic area’s mountain gate and walking along a stone path paved with flagstones, stepping across stone slabs, circling a mountain pond, climbing stone steps, and passing through a quiet valley, you’ll suddenly come upon a secluded cave. Lush with vegetation and rugged in paths, this was where the famous Ming Dynasty philosopher Wang Yangming lectured. Moreover, the large cave contains smaller ones. Inside the smaller cave, Master Yangming taught his disciples Chen Jiuchuan and Zou Shouyi his philosophy of “extension of innate knowledge,” emphasizing self-cultivation and asserting that “the principles of all things are none other than those within our hearts” and “clarity of mind is the Way of Heaven.” Thus, later generations called his lecture site “Guanxin Rock.” Wang Yangming, also known as Wang Shouren, was a native of Yuyao, Zhejiang, and a renowned Neo-Confucian scholar of the Ming Dynasty. In the 11th year of the Zhengde era (1516 AD), he served as the Pacification Commissioner of Southern Jiangxi in Ganzhou and later rose to become the Minister of War of the Nanjing Military Commission. At that time, Wang Yangming quelled the “Chen Hao Rebellion” in southern Jiangxi. In his spare time, he built a hut at Guanxin Rock to teach, taking on 23 disciples including Zou Shouyi. His teachings in Ganzhou laid the theoretical foundation for the development of Song-Ming Neo-Confucianism.

Walking up the stone steps, halfway up the mountain there is a Danxia erosion-formed cave. In the peak of summer, visitors feel a refreshing breeze here, instantly relieving fatigue and making them reluctant to leave—thus it’s named “Wangui Rock” (Rock of Unwillingness to Leave).

Qingyuan (Love Garden)

Human emotions—brotherhood, marital love, camaraderie, affection, and romance—all intertwine. Let’s step into the next attraction, “Qingyuan.” Look at the wind-blown stone archway—where movement of wind, stone, heart, and action dramatizes the spectrum of human feelings in Tongtianyan’s Qingyuan. Surrounded by blue skies, white clouds, and fragrant grass, lie down on the lawn and fully enjoy nature’s beauty. A series of vibrant botanical art pieces such as “Mandarin Ducks Playing in Water,” “Hearts United,” “Cupid’s Arrow,” and “First Love” offer delightful reflections for you to savor, unwind, and let your imagination roam. Additionally, atop Qingyuan’s green lawn stands a 9.99-meter-tall Water-Dripping Guanyin, receiving prayers from people everywhere.

Longfeng Garden (Dragon and Phoenix Garden)

Adjacent to Qingyuan is Longfeng Garden, a Neolithic site where archaeologists have unearthed stone axes, adzes, arrowheads, a large number of processed stone fragments, and pottery shards with decorative patterns such as basket weave and cord marks. This proves that human activity existed in Tongtianyan over four thousand years ago.

On the high ground of Longfeng Garden stands a 12.99-meter-tall Ruyi Pagoda, engraved with the four characters “Feng Tiao Yu Shun” (Good Weather and Prosperity). With the development of tourism, the Tongtianyan Scenic Area has added a series of recreational spots: an ecological maze, cascading fountains, splash fountains, the Life Showcase Garden, Tongtian Osmanthus, a hundred-meter corridor, and the Twelve Zodiac Garden.

When you’re about to end your day’s journey and return to Wangui Rock, you’ll surely feel that unwillingness to leave. The refreshing breeze sweeps away the fatigue of the trip, leaving you with a heart reluctant to depart, making you marvel at the perfect combination of ancient history and modern garden design.

Today, Tongtianyan attracts visitors from all over the world with its beautiful pastoral landscapes, unique Danxia landform scenery, and its distinctive historical and cultural charm.

Strolling here, whether you are worshiping Buddha, admiring ancient inscriptions, boating on Tongtian Lake nestled in tree-lined valleys, or ascending to Qunyu Pavilion at the mountaintop to gaze at the Gan River, you can appreciate the elegant charm of this southern grotto and feel the rich cultural atmosphere of the Song City.

Travel Details

Key Attractions: Overview — Guanxin Rock — Wangui Rock — Longhu Rock — Tongtian Rock — Guangfu Temple — Cuiwei Rock — Modern Leisure Zone

Guanxin Rock

Upon entering the scenic area’s mountain gate and walking along a bluestone-paved path, stepping across stone slabs, circling a water pond, climbing stone steps, and passing through a quiet valley, you’ll suddenly come upon a secluded cave. Lush with vegetation and rugged in paths, this was where the famous Ming Dynasty philosopher Wang Yangming lectured. The site features a large cave enclosing smaller ones. Inside the smaller cave, Master Yangming taught his disciples Chen Jiuchuan and Zou Shouyi his philosophy of “extension of innate knowledge,” emphasizing self-cultivation and asserting that “the principles of all things are none other than those within our hearts” and “clarity of mind is the Way of Heaven.” Thus, later generations called his lecture site “Guanxin Rock.” Wang Yangming, also known as Wang Shouren, was a native of Yuyao, Zhejiang, and a renowned Neo-Confucian scholar of the Ming Dynasty. In the 11th year of the Zhengde era (1516 AD), he served as the Pacification Commissioner of Southern Jiangxi in Ganzhou and later rose to become the Minister of War of the Nanjing Military Commission. At that time, Wang Shouren was quelling the “Chen Hao Rebellion” in southern Jiangxi. In his spare time, he built a hut at Guanxin Rock to teach, taking on 23 disciples including Zou Shouyi. His teachings in Ganzhou laid the theoretical foundation for the development of Song-Ming Neo-Confucianism.

Wangui Rock

Walking up the stone steps, halfway up the mountain there is a Danxia erosion-formed cave. In the peak of summer, visitors feel a refreshing breeze here, instantly relieving fatigue and making them reluctant to leave—thus it’s named “Wangui Rock.” Regarding this Danxia cave, there is a beautiful and touching legend.

Since ancient times, Ganzhou City has been a place of beautiful mountains and waters, yet it never produced any particularly famous individuals. According to feng shui beliefs, this is because the downstream outlet of the Gan River is too large, allowing good fortune to flow away northward with the river. As a result, nearby regions like Ji’an downstream have produced many notable figures. In ancient times, a celestial being tried to preserve Ganzhou’s good feng shui by selecting two exquisitely beautiful immortal mountains from the Penglai fairyland, intending to place them alongside existing mountains on the east and west banks of Chuzhou to lock the waterway. But when the immortal was carrying the mountains near Tongtianyan, he was spotted by the local earth god. Seeing the two stunning immortal mountains, the earth god thought, why not keep them here? So he crowed like a rooster. Immortals cannot work during the day for fear of being seen by mortals and unable to return to the heavens. Hearing the rooster crow, the immortal thought dawn had arrived and hastily dropped the mountains before fleeing. Ever since, the two immortal mountains remained at Tongtianyan. To this day, Wangui Rock and Lifoyan (Buddha-Worship Rock) in the scenic area each have a through-cave, said to be formed by the bamboo poles the immortal used to carry the mountains.

Legends aside, in fact, tens of thousands of years ago this was a seabed. Later, due to tectonic uplift, the land rose and the sea receded. After weathering and erosion, it became what it is today. Looking up, the layered strata are traces left by seawater erosion. See how, in the red bedrock valleys, dense forests thrive—vibrant with life. This is a typical representation of Danxia landform.

On the steep cliff to the left of Wangui Rock, there is a massive inscription. This inscription stands 3.5 meters tall and 2.3 meters wide, featuring six characters in total literary style, created by Li Dazheng of the Southern Song Dynasty. It exudes a majestic aura, as if the sun and moon are traversing the sky. Li Dazheng was from Jian’ou, Fujian, during the Southern Song Dynasty, and had a close relationship with Xin Qiji. He once served as the Dianti Kengzhi official (in charge of minting coins) in Ganzhou. At that time, Ganzhou was one of the national centers for coin minting, which indicates that over eight hundred years ago, Ganzhou already had a prosperous economy and a well-developed metallurgical industry. Take a look—on the upper side of this inscription, there is a statue of an arhat. It is said that Li Dazheng paid to have this arhat specially commissioned to guard the inscription. With unwavering focus, he appears extremely diligent and responsible, and the depiction is remarkably lifelike!

Among all the inscriptions at Wangui Rock, the five-character poem by the Ming Dynasty Neo-Confucian scholar Wang Yangming is considered the most valuable. The poem reads: “Green hills are lovely wherever they stand, why must one’s homeland be best? As long as one’s heart is free, even the dusty world can be like Penglai. The western woods darken at dusk, why does the bright moon arrive so soon? Drunk, I lie on the cool stone bed, autumn cave clouds yet to be swept away.” It both depicts the scenery and expresses Wang Yangming’s complex psychological state. The phrase “cool stone bed” refers to the stone beds on either side of this cave, provided for visitors to rest. This poem had a significant influence for over four hundred years afterward, and many literati who visited here, out of admiration for Master Yangming, often composed poems in harmony with his rhyme.

Passing through Wangui Rock, a sudden expanse of green comes into view, filling your vision. Looking up, you see cliffs soaring into the sky. Within these steep cliffs, there are 18 preserved inscriptions and six statues of the Eighteen Arhats. Look at this statue of the “Child-Giving Arhat” from the Northern Song Dynasty. With his left hand supporting his head and his right hand holding a qilin placed on his lower abdomen, he sits with his left leg crossed and right leg bent—a figure believed to bring joy and celebration.

Since some unknown year, the people of Ganzhou have developed a custom: married women of childbearing age stand with their backs to this arhat and throw small stones backward. If a stone hits the arhat’s genital area, it is believed they will surely give birth to a chubby son. According to elders, this practice of throwing stones at the arhat to pray for a child is very efficacious. For hundreds of years, although this arhat has not enjoyed any offerings, he has endured countless stones and is now covered in scars, barely recognizable. Some customs are superstitious. Nowadays, people’s attitudes have changed—since families are only allowed one child, whether boy or girl, every life is equally precious, a continuation of life and a beloved treasure. Few people throw stones here anymore. Awareness of protecting cultural relics and the environment has greatly increased. Our society should advocate for such positive values. I hope everyone starts today, starts now, and together we can cherish every plant and cultural relic here!

As we walk along, we admire these exquisitely crafted arhat statues, each with unique expressions. Some have been eroded by wind, others damaged. That arhat with hands clasped together and a string of Buddhist beads around his neck is the Bead-Rubbing Arhat. He is the best-preserved among the Eighteen Arhats, thanks to the local people. During the Cultural Revolution, they covered the entire statue with mud, which kept it completely intact.

Moving forward, the building you see is the earliest dance hall in southern Jiangxi, built by Mr. Chiang Ching-kuo when he served as the Inspector of the Fourth Administrative District of Jiangxi Province in Ganzhou. In 1939, Chiang Ching-kuo came to southern Jiangxi and promoted the New Life Movement. Tongtianyan is not far from Ganzhou city and boasts beautiful scenery, so he had a dance hall built here. Every weekend, he would bring his subordinates here to dance, considering it part of his New Life initiatives. There is also a summer mountain retreat nearby. On the stone next to the dance hall, the six large characters “First Grotto in the South of the Yangtze” were inscribed by Yuan Qingyi, Chiang Ching-kuo’s secretary at the time. Yuan did not go to Taiwan; after liberation, he worked at a gearbox factory and is still alive today, often teaching children calligraphy.

Dragon-Tiger Rock

Walking along the tree-lined path, you enter Dragon-Tiger Rock. This is a Danxia cave about a hundred meters long, named for its golden dragon and twin tiger stone carvings. This statue is called the Dragon Tree King, the founder of the Madhyamaka school of Mahayana Buddhism, with the golden dragon and twin tigers as his guardian deities. To his left is carved a golden dragon, its rear body hidden in the rock, its front claws spread as if strolling leisurely. On the right are two white tiger stone carvings, playfully frolicking beside the Dragon Tree King. The entire sculpture forms a vivid “Dragon and Tiger Leisurely Frolic” scene. On the adjacent rock of this group of statues is inscribed the three characters “Tongxin Rock” (Heart-Unifying Rock), written by Liu Zhaowen of the Ming Dynasty. When he visited Tongtianyan and saw this group of statues, he was deeply moved and inscribed “Tongxin Rock” on the rock to express his concern for the nation and its people, hoping that the court would not engage in “dragon-tiger strife” but instead cooperate harmoniously to govern the country well. Additionally, the two statues of the Dragon-Subduing and Tiger-Taming Arhats on the mountain rock also belong to the series of Eighteen Arhats along the Wangui Rock route, both dating from the Song Dynasty. Dragon-Tiger Rock also houses the most cliff inscriptions in the Tongtianyan scenic area, with a total of 39 inscriptions from various dynasties. These include inscriptions in the forms of signatures, records, poems, statue inscriptions, and auspicious texts, covering politics, history, religion, culture, and more. They are invaluable materials for studying China’s calligraphic stone carving art and local history. One of the travelogues here is the longest inscription in Tongtianyan, spanning 406 characters. Among these many inscriptions, the one by Chen Shixiong of the Song Dynasty holds high historical value. This travelogue was written during the Shaoxing period of the Southern Song Dynasty. At that time, peasant uprisings frequently occurred in the southern Jiangxi mountains, and the first part of this travelogue documents the imperial army’s suppression of an uprising in Dayu County, with precise details of time, location, and figures. It serves as a rare historical source for the study of peasant war history and the local history of southern Jiangxi.

Tang Bangzuo of the Ming Dynasty’s Wanli era left three pieces of poetry and prose at Tongtianyan, demonstrating exceptional calligraphic artistry. His handwriting is considered a fine art among the cliff inscriptions at Tongtianyan. His calligraphy features powerful and vigorous strokes, with a flowing and unrestrained spirit, blending the strengths of various masters. Whether in brushwork, structure, or composition, his work is uniquely distinctive. Tang Bangzuo was from Lanxi, Zhejiang, a successful imperial examination candidate who was demoted to serve as a Tongpan (a low-ranking advisory official akin to a consultant) in Ganzhou due to offending powerful officials—an idle position. Although immensely talented, he had a bad habit of considering himself unappreciated and looking down on everyone. When engraving his works, he often placed them next to those of officials of higher rank and even defaced earlier inscriptions to vent his frustration. This naturally drew criticism from later generations.

Tongtianyan

Moving forward, you reach the central scenic area of the grottoes—Tongtianyan, a natural circular cliff wall.

On the steep cliffs of Tongtianyan, there are eight Tang Dynasty statues, the earliest works in the Tongtianyan grottoes. Look at this Guanyin statue with hands clasped together—she wears a precious crown, has a round and full face, with hair hanging over her shoulders, beaded tassels hanging down, adorned with necklaces and arm bracelets, short beaded pendants, and skirt ribbons threaded through rings hanging from her waist. She stands on a lotus pedestal. Despite a thousand years of weathering, she remains vividly lifelike. Mr. Shen Congwen called her “priceless.” In 1991, after inspecting the Tongtianyan cliff niches, expert Su Bai from the Chinese Academy of Sciences wrote a poem: “Early carved bodhisattva statues, later added arhat groups, founded in the late Tang, shining through the ages above the Gan River.”

Among the steep cliffs, there is a group of cliff niche statues. The Buddha Vairocana (also known as Mahavairocana) sits in meditation, with Manjushri riding a lion on the left and Samantabhadra riding an elephant on the right. Their faces are square and round, with solemn expressions. Extending to both sides of this group of statues along the cliff are layered reliefs of the Five Hundred Arhats, with natural postures and varied expressions, forming a protective formation with a grand momentum—this is a work from the mid-Northern Song Dynasty. Here, the essence of the Buddhist realm is gathered, making it a sacred site for Buddhist devotees to worship.

Hu Ju, Minister of Works of the Southern Song Dynasty (then serving as the military governor of Ganzhou), wrote in his poem “Visiting Tongtianyan”: “Ten thousand niches of stone Buddhas sit in contemplation, why build a Buddhist temple on the cliff? Even if thunder and wind block the cave, my heart is naturally connected to the heavens.” This shows that as early as the Tang and Song Dynasties, Tongtianyan was already covered with Buddha niches and bustling with pilgrims.

Regarding this magnificent scene of ten thousand Buddha niches, there is such a story: The monks and nuns of Guangfu Chanlin in Tongtianyan resided in a secluded temple, meditating and chanting the Buddha’s name. Over time, they all shared a common wish—to personally see the Buddha and hear his teachings. So, after their daily prayers, they would silently express their wishes facing west. As the saying goes, sincerity moves the divine. The monks’ and nuns’ devotion moved the Buddha, and one day, the Buddha, accompanied by various bodhisattvas, the Eighteen Arhats, and Five Hundred Bhikkhus, descended to Tongtianyan to personally preach the Dharma to them. Personally seeing the Buddha was the happiest moment of the monks’ and nuns’ lives. To forever remember this unforgettable day, the monks and nuns went out to practice asceticism, widely soliciting donations, and raised substantial funds. They hired the best craftsmen to carve the scene of the Buddha’s visit to Tongtianyan. The Buddha commanded Manjushri and Samantabhadra’s mounts—the divine lion and divine elephant—to guard the entrance to Tongtianyan. For thousands of years, these two divine beasts faithfully fulfilled their duties and eventually transformed into two mountains. These are the Eastern Rock (Lion-Shaped Mountain) and Western Rock (Elephant-Trunk Mountain) we see today.

Guangfu Chanlin

In this central scenic area of Tongtianyan, there are also the mountain-built “Guangfu Chanlin,” the “Shuanggui Hall” where Chiang Kai-shek planned to imprison General Zhang Xueliang, the “Yanggong Ancestral Hall” marking the meeting site of Su Dongpo and Yang Xiaoben, and the “Chiang Ching-kuo Summer Retreat.” Inside Guangfu Temple, there is a natural rice-leaking hole in the cave ceiling. Legend has it that in ancient times, this hole would leak a small amount of white rice each day—just enough for the abbot and visiting worshippers for the day. If more worshippers came, more rice would leak; if fewer came, less would leak. One day, a kitchen monk thought that if the hole were enlarged, more rice would leak, which could be exchanged for money, eliminating the need to chop wood or farm. So, the greedy monk actually enlarged the hole significantly. But from then on, not a single grain of rice leaked—only husks leaked for three days and nights, and then nothing at all. This gave rise to a local Ganzhou proverb: “The greedy monk ends up with husks,” warning people not to be greedy. Look—the axe marks left by the monk back then are still clearly visible.

Today, Guangfu Chanlin is bustling with worshippers, with a continuous stream of people coming to pray and make wishes.

To the west of Guangfu Chanlin is the “Yanggong Ancestral Hall,” originally a meditation room of Guangfu Temple, established as an ancestral hall to commemorate the local celebrity Yang Xiaoben.

During the Northern Song Dynasty, the learned and virtuous Yang Xiaoben, unwilling to serve as an official, lived in seclusion at Tongtianyan for over twenty years. In the first year of Shaosheng (1094 AD), when Su Dongpo passed through Ganzhou, he specifically visited Yang Xiaoben at Tongtianyan. The two hit it off immediately, enjoyed each other’s company, traveled together during the day, and engaged in deep conversations at night, becoming close friends. Su Dongpo even wrote a poem for Yang Xiaoben: “The room is empty, filled only with the joy of the Dharma; the mind is serene, allowing spiritual wandering. Mojie was never ill, and a Srotapanna does not fall into the stream. Disliking the search for straightness, sitting and waiting for the autumn of the field. Though not listed in the Qilin Pavilion, having escaped the Parrot Isle. Wine winds stir the bamboo, dreams end as the moon peeks through the tower. All say he is Yuan Dexiu, yet he calls himself Yang Daozhou. Uprooting the sunflower to serve Lu, drifting freely without ties.” The Yanggong Ancestral Hall was built to commemorate this famous meeting between Su and Yang. It has also become a gathering place for later literati to compose poetry and paintings. On the hillside near Cuiwei Rock in the Tongtianyan grottoes, there is a cave tomb. After Yang Xiaoben’s burial, his tomb was later moved to Huangjin Village, and during the Chunxi period of the Southern Song Dynasty, it was reburied in its original site at Tongtianyan. Yang Xiaoben’s tomb is one of the most important relics in the Tongtianyan grottoes.

The building to the east of Guangfu Chanlin is called Shuanggui Hall, originally the abbot’s quarters. In 1946, Chiang Ching-kuo accompanied Chiang Kai-shek on a visit to Tongtianyan. At that time, Chiang Kai-shek noticed that this place was surrounded by mountains on three sides, with a highly strategic and inconspicuous location, and secretly ordered Wang Lingji, chairman of Jiangxi Provincial Government, to convert the original abbot’s quarters, Shuanggui Hall, into a two-story Western-style house, planning to imprison the patriotic general Zhang Xueliang there. The building included four sections: bedrooms for Zhang Xueliang and Miss Zhao, a guard room, a bathroom, and a changing room. Access to both floors required passing through a cave within the temple, with the guard room located at the cave entrance. However, by the time the small Western-style house was completed, the Liberation Army had already advanced into the south, and General Zhang Xueliang never stayed there. Thus, this is a “general’s building that never housed a general.”

Behind the temple are several caves that once served as scripture storage rooms. Now equipped with lights, you can go inside to take a look. Exiting the cave entrance, the pool you see is Guangfu Temple’s release pond. Below the cliff are several cliffside rooms—that is Chiang Ching-kuo’s former summer retreat.

Cuiwei Rock

Adjacent to Tongtianyan is Cuiwei Rock, where the three characters “Tongtianyan” were inscribed by Li Dazheng of the Song Dynasty. Beneath the rock cave, it is said to be the hermitage site of the Song Dynasty recluse Yang Xiaoben. On the cave walls are poems composed in response by Lin Yan, prefect of Qianzhou (Ganzhou), Prime Minister Bo Zongmeng, and Yang Xiaoben during the Song Dynasty. There is also the earliest inscription at Tongtianyan, carved in the sixth year of Xining (1073 AD), over nine hundred years ago. The large-bellied Maitreya Buddha statue on Cuiwei Rock, with its unique theme, was completed in the Southern Song Dynasty and serves as the finale of the Tongtianyan cliff statues.

Here, we conclude our tour of the ancient stone carvings. Let us summarize this ancient grotto art. The cliff statues of Tongtianyan can be divided into four groups: The first group consists of eight statues from the late Tang Dynasty, located at the junction of Tongtianyan and Cuiwei Rock, marking the beginning of Tongtianyan’s cliff carvings. The second group is the mid-Northern Song Dynasty group of Five Hundred Arhats surrounding Vairocana on the upper part of Tongtianyan’s mountain cliffs—grand in scale and momentum, though now only faint traces remain. The third group is the late Northern Song Dynasty single-niche Eighteen Arhats primarily commissioned by Monk Mingjian, distributed along the line of Wangui Rock, Dragon-Tiger Rock, Tongtianyan, and Cuiwei Rock, representing the essence of Tongtianyan’s cliff statues. The fourth group is the large-bellied Maitreya Buddha statue commissioned by a resident of Ganzhou City, the Zhu family, in the early Southern Song Dynasty. The cliff inscriptions span from the Northern Song to the Republic of China, uninterrupted for over 900 years. The earliest is the central inscription on the upper part of Cuiwei Rock, dated 1073, reading: “Pu Yang’s Chen Jinzhi led Wen Tang’s Lin Anjie, Yang Zichang, Xiao Ruxi, and Zeng Baochen, arriving together on the twenty-sixth day of the first month of Xining, Gui Chou.” The latest is the two characters “Ke Gui” (Return Home) on the front of Wangui Rock, dated 1948.

From here, there are two paths ahead: one leads up the mountain to the east, toward Wangjiang Pavilion. The other continues straight west to the modern leisure area. The mountain-top Wangjiang Pavilion was called “Yuanwu Hall” (commonly known as “Leigong Hall”) during the Ming Dynasty. When rebuilt in 1963, it was transformed into a three-story pavilion modeled after the Temple of Heaven. In 1964, the famous Chinese dramatist Tian Han visited Ganzhou and inscribed it as “Qunyu Pavilion.” Visitors ascending the pavilion can gaze into the distance to see “the Gan River like a belt, the mountains like melons, vines trailing smoke, and the atmosphere hazy and profound”—a breathtaking panorama of mountain and river scenery. Later, if you’re interested, you can also climb up from Wangui Rock. Now, let’s head to the modern leisure area.

Modern Leisure Area

A few hundred meters west of Cuiwei Rock, along a shaded path, you’ll see a 23.66-meter-long reclining Buddha carved on red Danxia rock, with a serene expression and a peaceful sleeping posture that makes one admire the transcendent detachment of Buddhism. This Buddha is another massive statue at Tongtianyan since the Southern Song Dynasty, carved in 1998. Ahead of the reclining Buddha is the newly developed modern celebrity statue area. These celebrity statues depict figures who made outstanding contributions or had significant influence in Ganzhou’s history, ranging from the Western Han Dynasty to the Qing Dynasty. From Han Dynasty’s Guan Ying building the city, Jin Dynasty’s Gao Yan relocating the city, to Tang Dynasty’s Lu Guangchou expanding the city, Tang Dynasty Buddhist Zen master Mazu, Chinese feng shui master Yang Yunsong, the only royal figure in history to visit Ganzhou—Empress Dowager Longhu, Northern Song literary giant Su Dongpo, the Northern Song celebrity Yang Xiaoben who lived in seclusion at Tongtianyan for over twenty years, the author of the famous prose “Ode to the Lotus” Zhou Dunyi, Southern Song anti-Jin general Yue Fei, Ganzhou-born top scholar Chi Mengli, Ming Dynasty Neo-Confucian master Wang Shouren, the author of “Bodhisattva Mantra” Xin Qiji, the author of “Crossing the Lonely Ocean” Wen Tianxiang… Numerous lifelike statues come into view, as if telling the history of Ganzhou’s evolution, deepening your love for your hometown!

Along this path, you can also see artificial landscapes such as the Thousand Buddha Cave, Ksitigarbha Hall, and the God of Wealth Temple. At Ksitigarbha Hall, you can also taste Hakka Lei Cha (pounded tea) made with water from the Eight Immortals Spring.

Human emotions—brotherly love, marital affection, comradery, romance, love—all blend together as we step into the next attraction, “Emotion Garden.” Look, the Wind-Moving Stone gate tower, from the moving wind, moving stone, to moving heart and action, dramatizes all kinds of human emotions in Tongtianyan’s Emotion Garden. Lying on the grass under the blue sky, white clouds, and fragrant flowers, enjoy the beauty of nature to your heart’s content. Groups of vibrant plant art sculptures such as “Mandarin Ducks Playing in Water,” “Hearts Intertwined,” “Cupid’s Arrow,” and “First Love” offer you delightful reflections to savor, indulge in, and let your imagination wander. Additionally, on the lush green grass of Emotion Garden, the 9.99-meter-tall Water-Dripping Guanyin receives the prayers of all beings.

The scenic spot connected to Qingyuan Garden is Longfeng Garden, a Neolithic Age site where archaeologists have collected stone axes, adzes, a large number of raw stones, discarded stone fragments from flaked stone blanks, as well as pottery shards with decorative patterns such as basket weaves and rope designs. This proves that human activity existed in Tongtianyan over four thousand years ago.

At the high point of Longfeng Garden stands the 12.99-meter-tall Ruyi Pagoda, which features carvings of the Four Heavenly Kings symbolizing "favorable weather and abundant harvests."

With the development of tourism, the Tongtianyan Scenic Area has added a series of recreational and leisure attractions, including an ecological maze, a cascading fountain, a splash play dry fountain, the Garden of Life Highlights, the Tongtian Pillar, a hundred-meter corridor, and the Zodiac Garden.

As you prepare to conclude your day’s journey and return to Wanggui Rock, you will surely experience a feeling of not wanting to leave. The refreshing breeze sweeps away the fatigue of the trip, leaving you with a heart reluctant to depart and a sense of wonder at the perfect blend of ancient history and modern garden design.

Today, Tongtianyan attracts visitors from all over the world with its beautiful landscape of mountains, rivers, and countryside, its unique Danxia landform, and its captivating historical and cultural heritage.

Whether you come here to meditate and worship Buddha, admire ancient inscriptions, paddle on Tongtian Lake nestled among valleys, or climb to Qunyu Pavilion atop the peak to gaze upon the Gan River, you can appreciate the outstanding charm of this southern grotto art site and immerse yourself in the rich cultural ambiance of the Song Dynasty city.

Location of the Scenic Spot

Tongtianyan Village, Shuixi Town, Zhanggong District, Ganzhou City, Jiangxi Province, Township Road 001

Shuixi Town: Located in the northwest of Zhanggong District, Ganzhou City, Shuixi Town covers a total area of 63.20 square kilometers. To the south, it borders the urban area across the Zhang River; to the north, it connects with Wuyun Town in Gan County; to the west, it neighbors Hubian Town; and to the east, it faces Shuidong Town and Chutang Town in Gan County across the Gan River. The terrain is mainly hilly, with a slight incline from west to east. National Highway 105 runs through the town for 12 kilometers, serving as a vital transportation route connecting the south to Guangdong and the north to Nanchang, Beijing, and beyond. The area is home to Tongtianyan, known as the No. 1 Grotto in the South and China’s National 4A-level Scenic Spot, famed for its cliff inscriptions, as well as Ganzhou Baohulu Agritainment Farm, a model ecological agriculture tourism destination in Jiangxi Province. …… More details about Shuixi Town++