White Pagoda of the Ten Thousand Volumes of Avatamsaka Sutra Tower

White Pagoda of the Ten Thousand Volumes of Avatamsaka Sutra

The White Pagoda of the Ten Thousand Volumes of Avatamsaka Sutra is a National Key Cultural Relics Protection Unit.

The White Pagoda of the Ten Thousand Volumes of Avatamsaka Sutra is a crystallization of the hard work and wisdom of ancient laborers, as well as a valuable physical relic in the history of ancient Chinese architecture. It serves as a signature book of unity and friendship among people of all ethnicities, with the inner walls of the pagoda covered in inscriptions from the Jin Dynasty onwards, written in Chinese, Tibetan, Khitan, Jurchen, Mongolian, Uyghur, and other scripts.

Its pure white silhouette can be seen from miles away. Amidst the rolling green waves of crops, it reflects shimmering light alongside the mountains and waters, forming one of Hohhot’s scenic highlights — “The White Pagoda Rises in Radiance.” The towering structure, though weathered by a thousand years of history, still retains its Liao Dynasty architectural style, standing majestic and undiminished. Its robust and imposing image, along with its rich cultural significance, is a true reflection of the northern peoples. In 1982, the pagoda was designated as a National Key Cultural Relics Protection Unit by the State Council.

There are currently no reliable written records regarding the exact construction date of the pagoda. Legend has it that it was built during the reign of Emperor Shengzong of the Liao Dynasty (983–1031 AD). The Liao Dynasty established the Fengzhou City and built the Daming Temple within it. As part of the Daming Temple, this “White Pagoda of the Ten Thousand Volumes of Avatamsaka Sutra” was constructed to house numerous volumes of the Avatamsaka Sutra.

Through the changes of history, Fengzhou City fell into ruin. Villagers regarded the remnants of the city walls as a mysterious place. Legend says there was a nest of little white chickens in the city, led by a black hen, which would come out to forage at dusk. Though visible, they were untouchable. Some said there was a golden rooster on the pagoda that crowed every dawn; wherever it flew to forage in a field, that family would enjoy a bountiful harvest. When villagers from Zhoucun unearthed pottery, copper coins, or gold, silver, and jade artifacts while farming, they believed these were blessings from the bodhisattvas and heavenly kings on the pagoda, and would go to worship beneath it.

Looking up, the first and second levels feature straight lattice windows — one window and one door per section, separated by coiled dragon pillars, each forming a distinct scene. Bodhisattvas guard the windows, heavenly kings guard the doors, all with lifelike expressions and grand momentum. There are 32 Liao Dynasty sculptures in total, each a peerless masterpiece and artistic treasure. Stepping back, you can see the bracket sets, eaves, and platforms on the seventh level — resembling seven rainbows in the sky. Although the railings of the platforms are now gone, one can still imagine the sight of visitors in the past leaning on the railings and gazing into the distance. The overlapping edges of the platforms, and the tiled surface of the pagoda top, differ in shape from regular roof tiles, appearing solemn and dignified, retaining a strong Tang Dynasty architectural influence.

The entire pagoda structure is divided into three parts: the base, the body, and the spire. Each level of the pagoda slightly tapers inward, creating a robust, majestic, and stable form that integrates architectural art with sculptural art.

The pagoda base has three tiers: the Sumeru pedestal, the lotus platform, with upward-facing lotus petals above, binding ribbons in the middle, and downward-facing lotus petals below. The lotus petals gradually extend from bottom to top, increasing in size with each level, hand-carved and assembled. The curves of the petals flow naturally, with delicate craftsmanship, beautiful and lifelike. Decorated with flower pedestals and lotus pods, they form the image of blooming lotus flowers rising from water — truly spectacular.

Further Reading:

· Second Batch of National Key Cultural Relics Protection Units