Baba Temple

Baba Temple

Baba Temple is a National Key Cultural Relics Protection Unit.

Baba Temple, located at the southern foot of Panlong Mountain, is the tomb of Huazhe Abdurrahis (also known as "Xilai Shangren"), the first missionary of the Qadiriyyah order of Islam to come to China. "Baba" means "ancestor" or "master" in Arabic.

In the 23rd year of the Kangxi reign (1684), Huazhe Abdurrahis, the 29th-generation descendant of Muhammad from Mecca, Saudi Arabia, came to Langzhong from Gansu and Shaanxi to preach. Ma Ziyun, the commander-general of Chuanbei Town in northern Sichuan, treated him as a teacher and allowed him to settle at Iron Pagoda Temple (north of the eastern gate of the ancient city). This “Xilai Shangren” was dignified and vigorous in appearance, almost immortal-like. He “possessed the scriptures of three teachings without fame in literature, and mastered rare skills of a hundred schools without recognition in craft.” His speech was witty, he was skilled in horseback riding and archery, and especially excelled in poetry. He often wandered Panlong Mountain with Ma Ziyun and, noticing that the southern foot lay at the head of the mountain’s dragon vein, selected a pond site for his future tomb. In March of the 28th year of Kangxi, Abdurrahis passed away. His top disciple Qi Jingyi, along with Ma Ziyun, built a “Gongbei” (tomb pavilion) on the spot previously chosen as his burial ground. After draining the site and filling it in, they buried him inside and named the structure “Jiuzhao Pavilion,” commonly known as Baba Temple, covering an area of 20 mu with a construction area of 1,800 square meters.

The main gate of Baba Temple is a wooden and stone structure, inscribed with “Jiuzhao Pavilion,” along with a gilded lintel reading “Zhen Yi Huan Zhen” (True One Returns to True). To the west upon entering, there is a large screen wall made of water-milled blue bricks dating from the Qianlong period, approximately 10 meters long and 8 meters tall. The front of the screen wall features carved openwork landscape art in a freehand style, while the back shows strong pines and bamboo with flower motifs, inspired by the artistry of Tang Dynasty's Zhang Zao and Ming Dynasty's Tang Yin. The carving boasts beautiful lines and a strong three-dimensional effect. The screen wall is seated on a Sumeru pedestal and topped with a five-ridged roof adorned with flying rafters and openwork details, all exquisitely crafted. The Jiuzhao Pavilion main hall is a triple-eaved helmet-style four-ridged structure. Its outer form is square, while the interior caisson ceiling is octagonal—hence the saying “square outside, octagonal within.” Hallway eaves, doors, and windows extend to the floor, with upper sections featuring rare double-layer window grilles with gold borders, gilded and colorfully finished. These are harmonized with surrounding dragon-patterned brick walls, lending the area an aura of solemnity and grandeur. The main hall is divided into inner and outer chambers. The outer chamber is veiled with embroidered curtains, adorned with hanging plaques, and paved with high-quality water-milled floors covered in silk prayer mats for worshippers. The inner chamber houses the tomb of the Xilai Shangren. Its dome-shaped ceiling is fitted with two golden plaques, one inscribed with the character “Qingxiu” (Pure Cultivation) handwritten by Duo Luo Beizheng, the Right Clan Commander Prince of the Qing imperial clan, bearing a dragon-seal impression. The chamber also holds a hollow, movable incense burner shaped like a precious tripod, over two feet tall, finely carved and considered a true artistic treasure. In front of the main hall stands a complexly structured, exquisitely carved wooden memorial archway with four posts, three bays, and three levels. Its upturned eaves, overlapping bracket arms, and tightly interwoven layers fit seamlessly without a single dowel or wedge, making it a prime example of wood architecture. The front plaque of the archway bears the inscription “Yangzhi,” erected in the 24th year of the Daoguang reign (year of Jiachen) during the Qing Dynasty.

Between the archway and the screen wall lies a brick-and-wood imitation hanging-flower gate, with suspended pillars, beaded ornaments, and dense railings adorned with exquisite carvings.

Behind the Jiuzhao Pavilion lies a rear courtyard comprising a stele corridor, a Qianhua (Hidden Flower) Hall, and a prayer room, alongside accommodations for visiting pilgrims. The hall features plaques such as the “Qingzhen Liuguang” (Radiance of Pure Faith) calligraphy written by the Qing-era martial arts top scholar, Ha Panlong. It also displays famous artworks including landscape paintings by Ming Dynasty artists Lü Ji and Lan Ying, as well as ink bamboo works by Qing Dynasty’s Zheng Banqiao. The rear garden serves as living quarters, including a well pavilion whose waters are clear and sweet—part of the nine wells of Panlong.

Baba Temple is a place where the temple exists within woods, where the woods contain gardens, and the gardens feature pavilions and kiosks. Baba Temple is not only an Islamic holy site but also a gem of Islamic architectural artistry and distinctive brick carvings.

Protected Area: Bounded by Panlong Road (Provincial Road 302) outside the main gate to the east and south, and by the enclosing wall to the west and north.

Construction Control Zone: Extends 30 meters outward from the boundary of the protected area to the east and south, and 50 meters outward to the west and north.

Further Reading:

· Seventh Batch of National Key Cultural Relics Protection Units