Shijian Cliff Carvings and Rock Reliefs

Shijian Cliff Carvings and Rock Reliefs

The Shijian Cliff Carvings and Rock Reliefs are designated as a Cultural Heritage Protection Unit of Hunan Province.

The Shijian Cliff Carvings and Rock Reliefs are among the ninth batch of Provincial-Level Cultural Heritage Protection Units in Hunan Province. They are situated on Xiong Mountain in Shijian Village, Taochuan Town, about 35 kilometers south of Jiangyong County, Yongzhou City, Hunan Province. The location is on the southern edge of the "Taochuan Dong", a vast, flat plain known for its fertile soil. The area features a subtropical monsoon climate and lies within the evergreen broadleaf forest red soil zone, characterized by lush greenery and an elegant environment. The region enjoys warm and humid weather year-round with abundant rainfall. The rainy season spans from April to August, with an annual precipitation of 1400–1800 mm. It is famous for nationally renowned produce such as fragrant pomelo, fragrant taro, and fragrant ginger. The area is rich in natural resources and benefits from convenient transportation. Historically, this region was part of the vital Xiang-Gui Ancient Road, serving as a major trade hub connecting the regions of Guangdong, Guangxi, and southwestern Hunan. There was even a saying, “Not even good birds can fly over Taochuan Dong,” illustrating its prosperity and abundance. The surrounding areas feature relatively good vegetation cover. The terrain is complex, with significant karst landforms, leading to the formation of many unique underground karst cave landscapes. These carvings and reliefs were created within such geological conditions, giving them distinctive research value. Moreover, due to the climate and soil conditions, which are not conducive to the long-term preservation of stone grotto Buddha statues, these relics are considered especially precious.

The scale of the Shijian Cliff Carvings and Rock Reliefs is larger than that of the Tongtianyan Grottoes, a national-level protected site in Ganzhou, Jiangxi. They are also better preserved, featuring exquisitely crafted statues arranged in a well-distributed layout. Furthermore, they represent the southernmost large-scale cliff carvings and rock reliefs in China. This makes them a highly valuable addition to the archaeological study of Buddhist statues in southern China, holding significant importance.

Research indicates that the Shijian Cliff Carvings and Rock Reliefs were carved during the Five Dynasties and Ten Kingdoms period. They were funded by a royal consort named "Zhou Jinlei" and carved into the cliffs of a majestic mountain approximately 40 meters high. Covering an area of 162.3 square meters, the site includes 13 caves and over 100 Buddha statues. According to inscriptions on the cliff, regular maintenance and repairs have allowed these carvings to survive to this day. However, during the Cultural Revolution in the last century, when the campaign to "Smash the Four Olds" took place, the site suffered varying degrees of damage. Currently, only 48 Buddha statues remain. The niches are arched in shape, with the centrally located and largest niche—featuring "one Buddha, two disciples, two bodhisattvas, and two guardians"—as the main focus. Smaller niches are symmetrically arranged on either side of the central one.

When the carving niches were first discovered by cultural heritage workers, the statues were noticeably adorned with gold gilding and colorful paintings, and the halos were quite bright. Later, due to poor drainage in a temple that villagers rebuilt themselves, the paint began to peel, and some of the gilding and coloration on the statues became less distinct.

The existing main Buddha niche has had parts of its left body and base partially destroyed by explosives. The main niche centers around the principal statue of Sakyamuni Buddha, flanked by the two disciples Ananda and Kasyapa, the two bodhisattvas Guanyin and Mahasthamaprapta, and two guardians. The principal statue sits on a lotus throne, standing 2.7 meters tall and 1.5 meters wide, with ears reaching to the shoulders. The figure is dignified, benevolent, and lifelike. Its draped robe features interlocking patterns and is adorned with gold gilding and colored paintings. Although the face, hands, and base have suffered some damage, it is clear that the right hand of the principal statue is raised in front of the chest in the Abhaya Mudra (fearlessness gesture), while the left hand rests on the knee in the Varada Mudra (wish-granting gesture). Ananda and Kasyapa both wear golden robes; Kasyapa holds his robe in front of his chest with both hands, while Ananda gestures with a single hand. The second figure to the right of the principal statue is Guanyin Bodhisattva, who has been blasted down into the grass. She is depicted holding a jade vase, wearing a shawl-like robe. Correspondingly, to the left, Mahasthamaprapta Bodhisattva has her hands crossed in front of her chest, with interlocking patterns draping down to her knees. Moving outward from the center, the two corresponding guardians are both shown standing atop lions, with rather fierce facial expressions.

Other statue groupings on the cliff differ somewhat from the main niche centered on the tallest principal statue. These consist of a "one Buddha, two bodhisattvas" arrangement. The central Buddha figures stand approximately 1–1.5 meters tall and are about 0.8–1.2 meters wide, with decorative motifs largely consistent with those of the principal statue.

On the right side of the main Buddha, there is a cliff inscription titled "Record of the Renovation of Xiongshan Temple," dated to the second year of the Jianyan era of the Southern Song Dynasty (1128 AD). It reads: “… During the Ma clan’s time, a woman from this area was chosen to be a palace maid. After returning, she studied Buddhism under the rock… and thus named the cave after the nun. She sold all her dowry belongings and commissioned workers to carve various Buddhas on the cliffs of Xiong Mountain to enshrine them. Hence, the temple was named after Xiong Mountain…” Based on the soft and full facial features of the remaining statues, experts estimate their origin to be from the late Tang to early Northern Song Dynasty. Additionally, the mention of “Ma clan” here may refer to the "Chu Ma clan" from the Five Dynasties and Ten Kingdoms period—Ma Yin.

On the left side of the main Buddha, there is another cliff inscription dated to the third year of the Zhiyuan era of the Yuan Dynasty (1343 AD), titled "Record of the Renovation of the Stone Buddha Xiongshan Temple." It states that the then-abbot of Xiongshan Temple, Yuejiao, raised funds through begging tours and presided over the second major renovation of the (Stone Buddha) Xiongshan Temple. In addition, the "Donation Stele for the Renovation of Xiongshan Temple" from the Tongzhi era of the Qing Dynasty (1862–1875 AD) records a major renovation undertaken during that period, led by abbot Miaoguang.

The records indicate that the builders and abbots of Xiongshan Temple, including the first abbot and those who oversaw renovations, all appear to have been female. Upon initial discovery, some scholars speculated that this was a “millennium-old nunnery” with an all-female lineage of abbots, and that many of the statues’ dignified and graceful appearances also suggested femininity. This attracted coverage from multiple domestic media outlets and websites. However, after on-site evaluations by experts such as Yang Hong, a researcher at the Institute of Archaeology of the Chinese Academy of Social Sciences and an expert of the National Cultural Relics Appraisal Committee, and officials from the provincial cultural relics bureau, it was concluded that the statues represent the Three Saints of the West in Buddhism and have no relation to female culture.

In addition to the 48 Buddha statues, the site also preserves 3 stone sculptures, 3 carved incense burners, 4 column bases, and 3 stone tablets, all in good condition. The stone sculptures were donated by Qing Dynasty devotees—two from the 10th year of the Qianlong era and one from the Jiaqing era. The three carved incense burners, due to their long history and extensive use, have turned black. The left burner, besides being decorated with patterns, also features a sword, while the right burner is adorned with a writing brush. These symbolize the pursuit of both literary and martial excellence. The middle burner is decorated with floral patterns such as orchids and bamboo, representing noble character. These elements reflect the values pursued by ancient people under the influence of Confucian culture.

Further Reading:

· Ninth Batch of Provincial-Level Cultural Heritage Protection Units in Hunan Province