Shikong Temple

Shikong Temple

Shikong Temple is a National Key Cultural Relics Protection Unit.

The Shikong Temple Grottoes were first carved during the Tang Dynasty. Historical records such as the *Longyou Epigraphy Record* and the *New Gazetteer of Gansu* state: “Shikong Temple derives its name from the temple, which was established in the Tang Dynasty. Caves were cut into the mountain, and the statues inside follow the Tang style.” It served as an important cultural and religious hub along the Silk Road during the Tang Dynasty. In 1961, it was designated as a Key Cultural Relics Protection Unit by the regional government.

The grotto complex consists of 13 caves, arranged from west to east: the Flame Light Cave, Ten Thousand Buddhas Cave, Child-bearing Guanyin Cave, Laojun Cave, Three Pure Ones Cave, Jade Emperor Cave, Boundless Cave, Nine-Bay Beamless Cave, God of Wealth Cave, Medicine King Cave, Goddess Cave, Dragon King Cave, and Reclining Buddha Cave. Among these, the Nine-Bay Beamless Cave is the most grandiose and serves as the central focus of the grotto complex. It is 25 meters high, 15 meters deep, and 13 meters wide, housing 88 Buddha statues, plus Bodhisattvas, Arhats, and worshippers, totaling over 360 figures. The front features three large niches; the central one contains a five-figure ensemble, with the main seated Buddha standing five meters tall, crafted from clay over a stone core. It has spiral curls, a round face, long eyebrows, large eyes, hands resting on its shoulders, a bare chest, crossed legs, and wears a red kasaya. Its dignified and gentle demeanor is striking. The attendant Bodhisattvas wear floral crowns, bejeweled necklaces, bare chests and shoulders, bangles on their wrists, form-fitting long skirts with colorful waistbands, have plump, round faces, slightly raised noses, a subtle curved line under the brow, and red lucky dots between the brows—exuding classic late Tang elegance. The background wall displays a flaming halo. The niche sides feature colorful murals in two layers, with the outer layer depicting Buddhist tales such as Kasyapa crossing the sea. Statues of Arhats sit in three rows on either side of the cave, eight or nine per row, each uniquely sculpted and lifelike. The cave ceiling is adorned with a lotus-patterned caisson ceiling in bright colors. The floor is paved with square bricks, and the spacious interior can accommodate over 200 people for worship and scripture recitation.

The Ten Thousand Buddhas Cave and Flame Light Cave are also quite large. These two adjacent caves are carved halfway up the mountain, each 5 meters high, 10 meters deep, and 6 meters wide. The Ten Thousand Buddhas Cave features a golden seated Sakyamuni statue in the central niche, flanked by attendant Bodhisattvas. The ceiling and walls are covered with countless small Buddha statues, earning its name. The Flame Light Cave has ten small niches on each side wall, each housing a seated Bodhisattva statue. Below the niches are altars with dozens of small Arhat statues. At the top of the central niche sits the Flame Buddha, with the Kṣitigarbha Bodhisattva below, and Bodhisattva statues in the side niches. The cave also features ten imposing Kings of Hell on both sides, each with distinct expressions. The cave walls are painted with murals, and the ceiling is covered with numerous small Buddha statues—slightly larger than those in the Ten Thousand Buddhas Cave. Between the two caves is a smaller niche, 3 meters high and 1.5 meters wide, housing a seated Hundred Children Guanyin statue. The walls are adorned with a “Children’s Mountain” covered with playful, innocent child figures.

The Reclining Buddha Cave is also quite large, measuring 5 meters high, 10 meters deep, and 4 meters wide. Inside is a 3.5-meter-long reclining Sakyamuni statue, with 16 solemnly standing disciple statues behind it, creating a reverent and solemn atmosphere. Outside the cave is a three-bay rain shelter with upswept eaves, adding grandeur. Above the cave is a three-bay hall dedicated to Bodhisattvas, housing seated statues of Guanyin, Manjushri, and Samantabhadra.

The remaining eight caves are slightly smaller and are distributed among the larger ones. The statues and murals inside primarily depict Taoist themes, showcasing a markedly different artistic style from the Buddhist content. The coexistence and fusion of these two religious traditions and cultural elements in one location is rare, not only in Ningxia but across the entire northwest region.

Due to years of neglect, most of the Buddha statues in the Zhongning Temple Grottoes have been damaged or stolen. Restoration efforts are currently underway.