Guanyin Hall of Shaolin Temple

Guanyin Hall of Shaolin Temple

Guanyin Hall of Shaolin Temple is a cultural tourism attraction.

Guanyin Hall was first built during the Qing Dynasty as a flush-gable roof structure with three bays. It is also known as Hammer Spectrum Hall. Inside the hall is enshrined a bronze statue of the White-Robed Great Being, sitting cross-legged with eyes slightly closed and hands pressed together in prayer, exuding grace and serenity. Flanking the statue are the God of Wealth and the Dragon Girl. The bronze statue of the White-Robed Great Being is unique to Shaolin Temple. Originally located in the White-Robed Hall in the temple’s southern garden outside the main complex, the statue was encased in mud and later moved here. Guanyin Hall is also called Hammer Spectrum Hall.

Goddess of Mercy (Guanyin)

The term “Bodhisattva” means “enlightened being,” “being on the path,” or “being with a compassionate heart.” It is also translated as “sage,” “great sage,” or “great being,” but is commonly referred to as “great being” in everyday language. In Buddhism, a Bodhisattva is second only to the Buddha. It is said that even before attaining Buddhahood, Siddhartha Gautama used the title of Bodhisattva. According to Buddhist scriptures, Bodhisattvas may wear monastic robes or secular attire. After Buddhism was introduced to China, depictions of Bodhisattvas in monastic dress became rare. The image and attire of Bodhisattvas began to take shape in the Tang Dynasty, typically featuring a female-like face.

However, Buddhist scriptures generally describe Bodhisattvas as male, who can manifest in female form when necessary to guide sentient beings. The Bodhisattva is often depicted with an oval, round face; long, curved greenish eyebrows; slightly opened phoenix-like eyes; a small cherry-like mouth; a high or hanging bun hairstyle, with extra strands of hair draping over the shoulders; wearing sleeved celestial garments, often with an exposed chest, adorned with a shawl, and having smooth, radiant, and fair skin. In short, the elaborate clothing represents the imagined attire of ancient South Asian nobility, mixed with the fashions of noblewomen from the Tang Dynasty—an unusual yet harmonious blend of the two. The strong and graceful facial features and physique are modeled entirely after noblewomen of the Tang Dynasty, especially female entertainers and artistes. Perhaps the female form feels more approachable, and since the Bodhisattva's mission is to guide all beings to enlightenment, descending from the lotus throne to the mortal realm to enlighten the ignorant, she is seen as more relatable than the abstract and lofty Buddha. That’s why the Goddess of Mercy is often depicted in female form.

Among the six famous Bodhisattvas in Chinese Buddhist scriptures, Maitreya has ascended to Buddhahood, and Mahasthamaprapta has not established an independent presence in China, lacking a “sphere of influence.” The others have each founded their own sacred sites, becoming China’s “Four Great Bodhisattvas,” among whom Guanyin has the greatest influence.

Murals in Guanyin Hall

The murals on the walls of Guanyin Hall are all related to Shaolin martial arts. These murals were painted in the late Qing Dynasty by anonymous folk artists.

The north wall depicts the scene of Lin Qing, a high-ranking official of the Qing Dynasty, inspecting Shaolin Temple and watching the monks perform barehanded martial arts. Upon returning, Lin reported to the imperial court, leading to the lifting of the ban on martial arts practice within the temple, thus revitalizing Shaolin martial arts.

The south wall shows the scene where the renowned Shaolin warrior monks Zhan Ju and Zhan Luo instructed other monks in armed combat. It is divided into fifteen groups, each demonstrating a specific technique—whether fist against fist, or using weapons such as knives, spears, swords, halberds, clubs, staffs, or whips in paired practice.

The east wall contains two sets of paintings: the northern section illustrates the story of the Thirteen Monk-Warriors Rescuing the Tang Emperor—the movie “Shaolin Temple” was based on this mural series. The southern section depicts the story of the Shaolin monk Jinnaluo resisting the Red Turban rebels at the end of the Yuan Dynasty.

On either side of the shrine are paintings of the Dragon Subduing and Tiger Taming motifs. The southeast and northeast corners of the hall feature images of “Manjushri Riding a Blue Lion” and “Samantabhadra Riding a White Elephant,” respectively. The content of the White-Robed Hall murals holds significant reference value for the study of Shaolin martial arts, the architectural layout of Shaolin Temple before the “Great Fire of 1828,” as well as historical legends.

Location

East side of Qianfo Hall in the Main Courtyard of Shaolin Temple, Henan