Zhenjue Temple Diamond Throne Pagoda

　　Zhenjue Temple Diamond Throne Pagoda is situated on the north bank of the Chang River, east of Baishiqiao outside Xizhimen in Haidian District, Beijing. Its form features five small stone pagodas built atop a high platform, commonly known as the Five Pagoda Temple Pagoda. It is among China’s first batch of key protected cultural relics. The temple site, Zhenjue Temple, was originally built during the Yongle era of the Ming Dynasty. In the Qing Dynasty, to avoid the naming taboo of Emperor Yongzheng (Yinzhen), it was renamed Dazhengjue Temple. The temple was destroyed in the early 20th century. The pagoda was constructed in the ninth year of the Chenghua reign of the Ming Dynasty (1473), modeled after the Vajrasana stupa (a memorial stupa built at the sacred site where the Buddha attained enlightenment in India).

　　　This type of pagoda featuring five towers atop a high platform is called a Diamond Throne-style pagoda. The Diamond Throne-style pagoda is stylistically derived from Indian forms,

　　but structurally (such as the short eaves, brackets, and glazed canopy atop the throne), it distinctly showcases traditional Chinese architectural styles, becoming a creative masterpiece of the fusion between Chinese architecture and foreign cultures. Among the few surviving such pagodas in China, Beijing has the Qingjingcheng Pagoda at Xihuang Temple, the Diamond Throne Pagoda at Biyun Temple, and the Diamond Throne Pagoda at Zhenjue Temple. Among these, the Zhenjue Temple Diamond Throne Pagoda is the earliest in date and most exquisitely designed.

　　Features

　　　　The architectural form of the Zhenjue Temple Diamond Throne Pagoda originates from the great stupa of Bodh Gaya in India. However, compared to the Indian Diamond Throne Pagoda, it has significant differences. The Diamond Throne of the Indian Bodh Gaya stupa is relatively low, with the central tower among the five being particularly tall, while the surrounding four towers are much shorter. The Zhenjue Temple Diamond Throne Pagoda, however, developed upon the design of the Indian Bodh Gaya stupa, adapting it according to traditional Chinese architectural characteristics. The overall scale of the Zhenjue Temple pagoda is smaller than that of the Indian Bodh Gaya stupa, but the Diamond Throne part has been elevated. The five towers on the throne have more balanced heights, with only the central tower slightly taller, creating harmonious proportions. Moreover, all five towers adopt the architectural style of the dense-eave stone pagodas of the Tang Dynasty. A weather-sheltering canopy was built at the entrance of the pagoda platform, seamlessly integrating with the five towers. This not only preserves the architectural artistry of the Diamond Throne Pagoda but also enhances its charm, enriching its Chinese architectural identity. The Zhenjue Temple Diamond Throne Pagoda is a masterpiece of ancient Chinese architecture absorbing foreign influences and stands as one of Beijing’s unique ancient structures.

　　Structure

　　　　The interior of the Zhenjue Temple Pagoda is built with bricks, while the exterior is entirely clad in bluish-white stone. The lower part consists of a slightly rectangular Sumeru pedestal-style stone base, with Sanskrit inscriptions, Buddha images, and ritual implements carved around the outer edge. Above the base is the body of the Diamond Throne, divided into five tiers, each with projecting stone short eaves. The edges of the eaves feature carvings of tubular tiles, drip tiles, rafters, and beneath the eaves are rows of Buddha niches. Each niche houses a seated Buddha, with carved floral-patterned stone pillars separating the niches. The pillar capitals feature brackets supporting the short eaves. At the center of both the northern and southern sides of the throne are arched gateways leading into the pagoda chamber. The arches are adorned with carvings of Garuda, lions, elephants, peacocks, and flying goats. Above the southern gateway is a stone plaque inscribed with “Imperially Commissioned Diamond Throne Pagoda, Built in the Ninth Year of Chenghua, Eleventh Month, Second Day, Ming Dynasty.” The southern gateway leads into the pagoda chamber, which contains a square central pillar with a Buddha niche on each of its four sides—though the original Buddha statues are no longer present. On the eastern and western sides of the passage room, there are 44 stone steps spiraling upward to the canopy on top of the throne. The canopy is built with glazed bricks in a wooden-style structure, with arched gateways on its northern and southern sides leading to the platform atop the throne, surrounded by stone railings.
　　To the north of the glass canopy are five small dense-eave stone pagodas. These square pagodas feature a slightly taller central tower with thirteen tiers, topped with a bronze finial in the shape of an inverted alms bowl. Legend says the five golden Buddha statues brought by Indian monks are enshrined within this tower. The four corner pagodas are slightly shorter than the central one, with eleven tiers and stone finials. The carvings on the five pagodas are concentrated on the Sumeru pedestal below the eaves and the first tier of the pagoda bodies, matching the motifs on the throne. The central pagoda uniquely features a pair of Buddha footprints carved on the southern side of its pedestal, symbolizing the Buddha’s universal presence.
　　The entire pagoda consists of the throne and the five pagodas. The lower part is a rectangular brick-arched throne, i.e., the Diamond Throne, measuring 18.6 meters north-south, 15.73 meters east-west, 7.7 meters high, with a total height of 17 meters. It has six tiers, with the lowest being the Sumeru pedestal, each successive tier tapering inward by 0.5 meters. Each tier features four walls with projecting short eaves—five tiers in total—beneath which are densely arranged Buddha niches, each housing a seated Buddha. The central north-south axis of the throne has arched gateways, with the main gate bearing the plaque “Imperially Commissioned Diamond Throne Pagoda.” The interior is built with bricks, while the exterior is paved with white marble. The throne interior is a corridor-style chamber with 44 stone steps spiraling up to the top platform. Above the central pagoda is a two-tiered glazed canopy with a round base and square top, serving as the staircase exit. The canopy roof features a royal symbol—the “coiled dragon caisson ceiling.”
　　The top platform of the throne holds five stone pagodas—four small and one large. These square dense-eave pagodas are assembled from thousands of precisely carved stone blocks. The central large pagoda has thirteen tiers and is about eight meters tall, while the four corner pagodas each have eleven tiers and are about seven meters tall. The five pagodas symbolize the “Five Tathagatas.” Each pagoda sits atop a Sumeru pedestal, with Buddha niches and statues carved beneath the eaves. Legend says the five Vajradhatu golden Buddhas are buried beneath the five pagodas. The pagodas are encircled by stone railings 0.66 meters high and 0.12 meters thick. Each pagoda is topped with a small finial in the form of an inverted alms bowl, consisting of a lotus base, spire, canopy, and gem. The central pagoda’s finial is bronze, while the others are stone.
　　The Diamond Throne of the Zhenjue Temple Diamond Throne Pagoda is richly adorned with carvings, mostly Buddhist-themed.
　　The Diamond Throne Pagoda is built atop a square stone platform. The throne is square, with a plinth at the bottom and a large Sumeru pedestal above it. At the waist of the Sumeru pedestal, carvings depict the Four Heavenly Kings, Naga-subduing and Tiger-taming Arhats, lions, elephants, horses, peacocks, and the great Garuda. There are also high-relief carvings of vajra pestles, vases, plaques, and the Eight Buddhist Emblems. The lion, elephant, horse, peacock, and Garuda are the mounts of the Five Buddhas—reportedly, the lion is the mount of Vairocana; the elephant, of Akshobhya; the peacock, of Maitreya; the horse, of Ratnasambhava; and the Garuda, of Amoghasiddhi.
　　On the upper and lower beams of the Sumeru pedestal waist, Sanskrit and Tibetan scripts are carved in relief. They contain a New Year’s greeting poem composed by Phags-pa in the fourth year of the Zhongtong era (1263) during the Yuan Dynasty, addressed to Kublai Khan, titled “Auspicious Ocean Greeting.” The message is written in alternating lines of Sanskrit and Tibetan poetry, with nine or seven characters per line, totaling 44 lines. The message compares the Three Jewels (Buddha, Dharma, Sangha) to the auspicious ocean, suggesting all worldly blessings stem from the Three Jewels. This message was partially modified during the Ming Dynasty. Its carving on the pagoda was meant to bless the Ming Dynasty and the emperor with eternal peace and prosperity. The Tibetan inscription is the only surviving Tibetan relief carving in Beijing, holding significant cultural value.
　　The upper and lower beams of the Sumeru pedestal are carved with upturned and downturned lotus petals. The seat body is divided into five tiers of Buddha niches by short eaves on each face, further subdivided into many small niches housing seated Buddha statues. The expressions of the Buddhas are serene, though their hand gestures vary. A total of 384 Buddha statues are carved on the four sides of the Diamond Throne.
　　The Diamond Throne Pagoda employs the ancient Chinese carving technique of “reduced-ground flat relief,” where the raised main carving surface and recessed “ground” are both flat. Fine, flowing lines are then carved into the raised surfaces with pointed tools, enhancing the vividness and three-dimensionality of the figures. The layout follows traditional symmetrical design, highlighting key elements and achieving an elegant, timeless artistic effect.
　　The southern and northern faces of the Diamond Throne each have an arched gateway. Above the southern gateway is a white marble plaque inscribed with large characters reading “Imperially Commissioned Diamond Throne,” dated “Ninth Year of Chenghua, Eleventh Month, Second Day, Ming Dynasty.” The arches feature carvings of Garuda, lions, elephants, peacocks, and flying goats. Inside the gateway is a square pagoda chamber with a central square pillar. The chamber’s ceiling is arched. Around the pillar are four Buddha niches, each housing a Buddha—facing south is Shakyamuni; east, the Medicine Buddha of the Eastern Pure Lapis Lazuli World; west, Amitabha of the Western Paradise; and north, the legendary teacher of Shakyamuni, Dipankara Buddha—all seated in meditation. On the eastern and western sides of the chamber are arched passageways with spiral stone staircases. Due to their narrow width, only one person can ascend or descend at a time. At the staircase exits is a domed, square-eaved canopy. Its roof and eaves are covered with yellow and dark green glazed tiles. Inside the canopy is a coiled dragon caisson ceiling, hinting at its former status as an imperial temple.
　　On the platform stand five square dense-eave stone pagodas, with brick interiors and bluish-white stone exteriors. The central pagoda is eight meters tall with thirteen tiers; the four corner pagodas are seven meters tall with eleven tiers. Legend says the five golden Buddha statues offered by the Western Region monk Padinda are enshrined within these five pagodas. Stone railings surround the platform.
　　Beneath each of the five pagodas is a Sumeru pedestal, with high-relief carvings of lions, elephants, peacocks, and horses on their waists. Each face is divided into three sections by a vajra pestle at the center, with three blessing plaques at the center and a pair of reclining lions on either side, raising a foreleg as if cheering for the emperor’s longevity. The side sections each feature a reclining elephant, appearing gentle and tranquil. The upper and lower beams of the Sumeru pedestal are carved with lotus petals in Ming style. At the center of the southern side of the central pagoda’s pedestal is a pair of raised Buddha footprints, with lotus petals beneath and the Eight Buddhist Emblems and scrolling vines around them. Why are Buddha footprints carved here? Two explanations exist: one suggests they commemorate the Buddha’s final words before his passing, with disciples carving his footprints where he once stood. The other says that when the Buddha’s body was to be cremated after his death, the fire wouldn’t ignite until his disciple Mahakasyapa arrived and the Buddha revealed his feet from the coffin. According to *Scenic Spots of the Imperial Capital*, “The central pagoda bears two footprints, others are recessed imitations—these are raised, with lotus patterns beneath, symbolizing steps blooming where the Buddha stepped.” These raised footprints are unique in Beijing temples; others are recessed. The stone carving museum’s stele forest includes a rubbing of Buddha footprints with related inscriptions.
　　Above the Sumeru pedestal is the pagoda body. Where the first tier meets the pedestal is a ring of downturned lotus petals. The first tier is relatively tall, with a Buddha niche in the center of each face, housing a seated Buddha flanked by standing bodhisattvas with joined palms, guarding the Buddha. Beside the bodhisattvas are stylized sal trees bearing fruit, symbolizing the Buddha’s enlightenment.
　　Above the first tier are layered dense eaves, carved from white stone in imitation of wooden eaves, remarkably lifelike. Between the eaves, each tier features numerous seated Buddha carvings—over a thousand across the five pagodas, earning it the nickname “Thousand Buddha Pagoda.” At each corner of the eaves hangs a square, Mongolian-Tibetan style bronze bell.
　　The pagoda finial atop the summit is a small inverted alms bowl. The central pagoda’s finial is bronze, the others stone, uniquely designed. The Zhenjue Temple Diamond Throne Pagoda architecture

　　The Diamond Throne and pagoda body are covered in carvings, making the entire structure a grand sculptural artwork. It is the earliest surviving Diamond Throne-style pagoda in China, with the finest carvings, representing the pinnacle of Ming Dynasty architecture and stone carving, and a successful fusion of Chinese and foreign architectural styles.