Great Compassion Temple

　　It is the fourth temple among the Eight Great Sites in Beijing, originally named the Hidden Silence Temple. Established during the Song and Liao dynasties, it has a history of over nine hundred years. This temple stands alone deep within the forest, with its layered halls ascending along the mountain slope in a well-arranged fashion, and its main gate facing south.

　　The ground-level structure of the Great Compassion Temple is the Mountain Gate Hall, featuring a flush-gable roof with gray tubular tiles. Under the eaves are painted ornaments, and at the center of the roof ridge is an engraved brick relief of the “Hundred Birds Paying Homage to the Phoenix.” Below the main eaves is inlaid a white marble plaque inscribed with five bold characters: “Imperially Commissioned Great Compassion Temple,” written in strong strokes and believed to be the calligraphy of Emperor Kangxi. Below the plaque is a white marble arched gate, adorned with symmetrical bas-reliefs of a white elephant, a lion, a soaring dragon, and a flying sheep from bottom to top; at the center of the lintel are three carved deities, the middle one with a human face and a bird’s beak, representing the Garuda from Buddhist scriptures. On both sides of the arched gate are stone-carved lattice windows decorated with dragon and honeysuckle patterns, elegant and solemn. The side ridge gates are also exquisitely designed.

　　Inside the Mountain Gate Hall sits the statue of the “Laughing Maitreya Buddha” at the center, with eyes like moons and a smiling mouth, radiating joy. The Four Heavenly Kings stand on either side, each clad in armor, holding ritual implements, with fierce eyes and an imposing presence. These five deities are all recent creations.

　　Ascending northward past the Mountain Gate, you will see two pools of green bamboo on the steps, with yellowish skin and green leaves rustling softly, very pleasant to the eye. Legend says they were planted in the Ming dynasty and originated from the south of the Yangtze River.

　　The second hall is the Mahavira Hall, where the center of the roof ridge is adorned with a brick relief of “Two Dragons Playing with a Pearl,” the dragons’ scales and claws distinct, appearing as if ready to take flight—an extraordinary masterpiece. The ridge ends’ chiwen and the ridge beasts atop the eaves are also uniquely refined. Inside the hall, Sakyamuni Buddha is enshrined at the center, flanked by his two disciples Ānanda and Kāśyapa. The “Eighteen Arhats” are arranged on both sides.

　　The Eighteen Arhats in the Mahavira Hall are all seated on cloud stones, attentively listening to Sakyamuni’s teachings, some deep in thought, others brandishing instruments in practice, each vividly lifelike, truly a masterpiece of unmatched quality. The reason these Eighteen Arhat statues are so exceptional is that they were sculpted by Liu Yuan, the most renowned sculptor of the Yuan dynasty in China. According to the “Chinese Biographical Dictionary”: “Liu Yuan, courtesy name Kangyuan, studied under the Nepalese sculptor Aniko to create Indian Buddhist statues, achieving unparalleled mastery. At the time, the Buddha statues in all the famous temples of the capital were crafted by him. Their spiritual essence was remarkably lifelike, earning praise across the land. The three statues of the legendary rulers he personally created were exquisitely crafted, deeply admired by the emperor, who twice granted him imperial concubines as wives. He was also promoted to the position of Grand Academician of the Zhaowen Hall, illustrating the achievements and status Liu Yuan attained at the time. Even more remarkably, the cores of these eighteen Arhat statues were made from fine sand mixed with powdered sandalwood, and even after more than seven hundred years, they still emit a refreshing sandalwood fragrance.

　　Behind the Mahavira Hall is the Great Compassion Hall. This hall was built in the 29th year of the Jiajing reign in the Ming dynasty, with five bays in width, and bears a plaque inscribed with “Sea of Compassion Origins” under the eaves. The couplet on the pillars reads: “The Immutable Dharma Realm Turns to Ruins in the East; The Pure Land of Vaidūrya Appears with Amitabha to the West.” Both the plaque and the couplet were inscribed by contemporary calligraphers.

　　Inside the hall is enshrined a painted sculpture of the Bodhisattva Guanyin seated in meditation, her expression filled with compassion as if she were a loving mother.

　　The final hall is the Medicine Buddha Hall. This structure was recently restored within the last two years, and its architectural layout and painted decorations still follow the official Qing dynasty style. The hall is resplendent and dignified. Inside, the Medicine Buddha, the Sunlight Bodhisattva, and the Moonlight Bodhisattva are enshrined, with twelve Yaksha deities on either side. The inner cores of these fifteen deities are made of camphor wood, covered externally with gold leaf, giving them a majestic and noble appearance.