Mohan Nunnery

　　Mohan Nunnery is situated in Linglong Lane South, Balizhuang, Haidian District, Beijing, to the east of the Cishou Temple Pagoda. Constructed in the 25th year of the Jiajing reign of the Ming Dynasty (1546), this site was originally the burial ground of the eunuch Zhao Zheng. Zhao Zheng pooled funds to build the nunnery, hoping that Buddhist monks would offer incense for him generation after generation. It is said that the bricks and timber used in the construction were leftover materials from the Forbidden City, and the entire architecture is remarkably exquisite.

　　The temple complex faces south and is divided into three sections. The central section consists of, in sequence, the mountain gate, bell and drum towers, mountain gate hall, Mahavira Hall, rear hall, along with east and west side halls and auxiliary rooms, with Zhao Zheng’s tomb located at the very back. A corner tower stands at each of the four corners of the courtyard. The Mahavira Hall features the architectural style of the Ming Dynasty. The central caisson ceiling decorated with a coiled dragon is exceptionally intricate, and the hall houses Ming Dynasty murals. On either side of the front terrace stand two Ming Dynasty steles. The eastern section includes the Vajra Hall, whose walls are inlaid with 61 stone tablets engraved with the Diamond Sutra in 32 calligraphic styles, all finely crafted. Mohan Nunnery has long been known for its spaciousness and cleanliness. During the Ming and Qing dynasties, literati and poets often visited in spring to admire the scenery and flowers, leaving behind many poetic inscriptions.

　　Though not very large in scale, Mohan Nunnery is commodious and spotless. Upon entering the mountain gate, ancient pines and cypresses shade the sky above, giving the feeling of entering a forest. Elegant stone bases for ceremonial flags and pristine mounting stones stand in rows on both sides. The bell tower in the east corner and the drum tower in the west corner are both pavilion-shaped, uniquely designed and standing tall in a facing position. Stepping into the front hall, the fierce-looking guardian deities “Heng” and “Ha” are truly awe-inspiring.

　　Passing through the front hall, you will see a grand hall standing majestically. The plaque above the door bears four shining golden characters: “Mahavira Hall.” Outside the hall, a stone stele is carried by a turtle, while incense smoke curls around the burner, lending a solemn and magnificent atmosphere—this is the main hall. The interior is richly adorned with carved beams and painted rafters, resplendent and magnificent. In the center stands a bronze Maitreya Buddha, bare-chested and smiling kindly, weighing several tons. The Eighteen Arhats are arranged on both sides, each with vividly lifelike expressions. The surrounding murals depict Buddhist stories, all depicted with great liveliness. At the center of the ceiling is a large caisson, with dragons intricately carved, their heads extending downward as if holding a hanging lamp—an extremely rare feature not commonly found in temples or nunneries.

　　In the eastern wing of the nunnery lies the Vajra Hall, with both its eastern and western walls made of white marble, engraved with the Diamond Sutra in 32 seal script styles. The characters are rustic yet vigorous, and are considered rare treasures of ancient calligraphy. The western wing of the nunnery is shaded by pines and bamboos, filled with birdsong and floral fragrance, creating an exceptionally tranquil and serene atmosphere. The Qing Dynasty scholars Wen Zhen and Wen Jing once studied here in seclusion in their early years. After their deaths, their descendants renovated the premises and engraved inscriptions on the courtyard walls to commemorate the event. Beyond the main hall lies the rear courtyard, where flowers bloom abundantly, trees grow lush, and the green grass spreads like a carpet. Several creeping figs, some two to three hundred years old, cling to the walls.

　　In the courtyard, incense burners, stone stupas, and flower stands are exquisitely carved and thoughtfully arranged. Walking to the end of the meditation room, one sees a memorial archway standing and a mound-like burial ground—that is Zhao Zheng’s tomb. Above the grave grows a lush green pine tree, spreading like an umbrella, traditionally referred to as “the green pine pressing down the top.” From here, one can look around: the corner towers stand tall in the distance. Climbing up to the western tower and leaning on the railing to gaze into the distance, one can see nearby willow-lined embankments and the shadow of the pagoda, distant fields stretching out like embroidered silk, and the Western Hills rising steeply, their lush and refreshing hues bringing a sense of joy and tranquility.