Bishi Temple June 20, 2011 Bishi Temple is one of the four major grottoes in Gansu Province. It is located at the confluence of Ruh River and Puhe River to the southeast of Xifeng City, 25 kilometers away from the urban area. It was founded in the second year of Yongping in the Northern Wei Dynasty (AD 509), together with the South Stone Cave 15 miles east of Jingchuan County, both established by Xi Kangsheng, governor of Jingzhou in the Northern Wei Dynasty. It is a sister cave to the South Stone Temple in Jingchuan, and the main grotto on the northern route of the Silk Road.
The Bishi Temple leans against green mountains and faces emerald streams. On the ochre-red cliff that is 12 meters long and 20 meters high, there are 295 caves and niches carved out from the Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Song, and Qing Dynasties, with 2,125 statues of various sizes. The caves and niches are densely packed like beehives, stretching 20 meters high and 120 meters long, making it the richest grotto in the eastern part of Longdong region.
The grottoes are divided into upper, middle, and lower layers, among which the No. 165 cave created by Xi Kangsheng is the largest. It is a large cave featuring seven Buddhas. The seven Buddha statues are majestic and solemn, retaining the glory and charm of Northern Wei statuary. The accompanying Maitreya Bodhisattva, seated Bodhisattva, and Asura holding the sun and moon are all successful works rich in artistic appeal. In addition, the Northern Zhou sculptures in Cave No. 240 display a simple and weighty style. The most representative Tang Dynasty caves include Cave No. 32 built in the first year of Ruyi during Empress Wu Zetian's reign (AD 692). The statues inside this cave have full faces, tender eyes filled with emotion, appear as if about to move, and possess graceful postures, truly a masterpiece of High Tang art. The Tang Dynasty sculptures reached new heights artistically. Inside the cave, there are over 150 inscriptions from the Sui, Tang, Song, Jin, Western Xia, and Yuan Dynasties, valuable for historical and calligraphy research. These inscriptions accurately record the carving years, providing valuable textual materials for studying social life and development changes across dynasties. These carvings spanning over a thousand years embody the wisdom of working people and are the crystallization of the hard work of ancient artisan masters, leaving behind rich spiritual wealth for us.
Bishi Temple is located 25 kilometers southwest of Qingyang City in Gansu Province, at the eastern bank of the confluence of the Pu River and Ruh River under the Fuzhong Mountain, with an altitude of 1083 meters. It was named so because it was carved simultaneously with the South Stone Temple in Pingliang's Jingchuan County, 45 kilometers apart. The temple originated in the second year of Yongping in Emperor Xuanwu's reign of the Northern Wei Dynasty, AD 509, initiated by Governor Xi Kangsheng of Jingzhou. Successive expansions occurred through the Western Wei, Northern Zhou, Sui, Tang, Song, and Qing Dynasties, forming a large-scale grotto complex. The Bishi Temple includes the main cave cluster in Shigou, a cave 1.5 kilometers north (briefly called North Cave No. 1), the Shidao Slope Caves, Huabao Cliff Caves, and the Rock East Platform Cave Cluster 1.5 kilometers south, extending continuously for 3 kilometers. There are currently 296 caves and niches, 2,126 stone-carved statues, 8 steles, 96.7 square meters of murals, and 150 inscriptions. The main essence of the grottoes is concentrated in the main cave cluster of Shigou. Here, there are 283 caves and niches densely distributed on a yellow sandstone cliff face 20 meters high and 120 meters long. Representative caves include No. 165 and No. 240 from the Northern Dynasties and No. 32, No. 222, and No. 263 from the High Tang period. The carving content is extremely rich; its varied stone carving art distills the essence of Longdong Han-Tang civilization and is also a product of ancient cultural exchange between China and foreign countries, occupying a certain position in the history of Chinese Buddhist grotto art. In January 1988, it was announced by the State Council as a national key cultural relic protection unit and is now a famous tourist destination in eastern Longdong.
Cave No. 165 is the top-level cave of Bishi Temple, located in the middle of the main cave cluster in Shigou. It is the "Seven Buddha Cave" carved in the second year of Yongping in the Northern Wei Dynasty under the direction of Governor Xi Kangsheng of Jingzhou. The cave entrance is 5.90 meters high and 3 meters wide. Two 5.8-meter-high guardian Devas are carved on either side of the door. The cave has a horizontal rectangular plan with a pyramidal ceiling, measuring 14 meters high, 21.7 meters wide, and 15.7 meters deep. The main wall (east wall) and the north and south walls feature seven standing Buddhas each 8 meters tall and ten bodhisattvas each 4 meters tall. On the west wall, two 5.8-meter-tall cross-legged Maitreya Bodhisattvas, a 3.05-meter-tall elephant-riding Bodhisattva, and a three-headed, four-armed Asura Deva are carved. Over a hundred statues of a thousand Buddhas, flying apsaras, "feeding tigers," "trading flesh for pigeons," and other stories of the Buddha's life and past lives cover the four walls of the cave. Most of the statues are well-preserved, and in terms of similar themes among Northern Wei grottoes nationwide, this cave has a unique style, being the most typical and representative, possessing high historical archaeological and artistic appreciation value.
Caves No. 32, No. 222, and No. 263 are representative Tang Dynasty caves, their statues vivid and lifelike, splendid and diverse. The carving techniques are proficient, making them masterpieces of art, leaving viewers in awe.
Qingyang Bishi Temple Overview
Bishi Temple is a national key cultural relic protection unit and the largest and best-preserved art treasure house among the Qingyang caves. It is located in Shigou Valley, 25 kilometers southwest of Xifeng urban area. Looking far into the valley, the second-largest river in Qingyang, the Pu River, merges with the Ruh River here. The winding water flows, platform fields, mountain scenery, and cliff walls form a beautiful picture. The entire cave cluster is carved on the eastern shore of the confluence of the two rivers on the Fuzhong Mountain cliff, facing westward, magnificent and solemn, offering a panoramic view of the entire waterscape and landscape. The Pu River and Ruh River flow around the temple, surrounded by peaks and ridges, with towering mountains and lush forests, serene and elegant. An ancient poem describes the natural scenery here: "The mist plays with the green peaks and rises gracefully, while the water dances like silk strings flowing around the temple."
Bishi Temple was initially constructed in the second year of Yongping in Emperor Xuanwu's reign of the Northern Wei Dynasty (AD 509), advocated by Governor Xi Kangsheng of Jingzhou. Simultaneously, the South Stone Temple in Jingchuan County was also carved, with the two temples facing each other from north to south. After successive expansions and renovations across generations, the Bishi Temple features dense cave clusters, rich content, and significant scale, forming a grand and exquisite masterpiece with abundant sculpture quantity and superb artistic skills. On the red sandstone cliff that is 20 meters high and 120 meters long, there are 295 caves and niches arranged in upper, middle, and lower layers like beehives. Between the cliffs, there are also connecting corridors. It is one of the most concentrated sites of stone carving art in Gansu Province.
Cave No. 165 is the essence of Bishi Temple and a representative work of Northern Wei grotto art. Carved during the Northern Wei Dynasty, it is centrally located within the cave cluster, square in shape with a pyramidal ceiling, measuring 21 meters wide, 14 meters high, and 15 meters deep, on a grand scale. The tall and exquisite polychrome sculptures inside are quite common among Northern Wei grotto works domestically. Inside the cave, there are seven standing Buddhas each 8 meters tall, full-bodied, robust, imposing, and resolute, exuding an inner strength. There are also two 6-meter-tall Maitreya Bodhisattvas and ten 4-meter-tall attendant bodhisattvas, beautifully crafted, giving a sense of solemnity and dignity. Notably, the elephant-riding bodhisattva on the south side of the cave entrance features a lifelike and ancient white elephant sculpture. The bodhisattva sitting cross-legged on the elephant’s back wears a jade crown, adorned with chest ornaments, graceful and dignified, with a soft demeanor and a gentle smile. Draped in silk celestial robes, they resemble translucent cicada wings, seemingly fluttering, showcasing exceptional craftsmanship rarely seen in the same period. On the north side of the cave entrance, there is a three-headed, four-armed Asura King statue resembling the Sphinx in front of the Egyptian pyramids, rough and concise, with expressions of joy, sorrow, and anger, hands holding the sun and moon, and hands wielding vajras, brimming with a fighting spirit. Within this cave, there is also the largest Sariputra Prince feeding tigers mural nationwide. The cave ceiling features murals of a thousand Buddhas, flying apsaras, celestial musicians, and stories of the Buddha's life, measuring 15 meters long and 2 meters wide. Scenes such as the queen having a nightmare and the king fleeing the palace are not found in similar murals in other famous grottoes nationwide. The carving techniques are highly skilled, and the figures are lifelike, making it a rare masterpiece of Northern Wei grotto art.
More than 70% of the Bishi Temple caves were built during the prosperous Tang Dynasty, with Cave No. 222 being the largest and containing the most images, including bodhisattva statues and over 300 lively relief sculptures. A distinctive feature of this cave is the preservation of more than 150 inscriptions from different generations. The stone layers of Bishi Temple are tough, and all the existing statues are carved from stone, enhancing their artistic value.
In January 1988, it was designated by the State Council as a national key cultural relic protection unit and is now a renowned tourist destination in eastern Longdong.
Important Caves
Cave No. 165 is the special-grade cave of Bishi Temple, located in the center of the main cave cluster in Shigou. It is the "Seven Buddha Cave" carved in the second year of Yongping in the Northern Wei Dynasty under the direction of Governor Xi Kangsheng of Jingzhou. The cave entrance is 5.90 meters high and 3 meters wide. Two 5.8-meter-tall guardian Devas are carved on either side of the door. The cave has a horizontal rectangular plan with a pyramidal ceiling, measuring 14 meters high, 21.7 meters wide, and 15.7 meters deep. The main wall (east wall) and the north and south walls feature seven standing Buddhas each 8 meters tall and ten bodhisattvas each 4 meters tall. On the west wall, there are two 5.8-meter-tall cross-legged Maitreya Bodhisattvas, a 3.05-meter-tall elephant-riding Bodhisattva, and a three-headed, four-armed Asura Deva. Over a hundred statues of a thousand Buddhas, flying apsaras, "feeding tigers," "trading flesh for pigeons," and other stories of the Buddha's life and past lives cover the four walls of the cave. Most of the statues are well-preserved, and in terms of similar themes among Northern Wei grottoes nationwide, this cave has a unique style, being the most typical and representative, possessing high historical archaeological and artistic appreciation value.
Caves No. 32, No. 222, and No. 263 are representative Tang Dynasty caves, their statues vivid and lifelike, splendid and diverse. The carving techniques are proficient, making them masterpieces of art, leaving viewers in awe.
Current Status of the Caves
The geological structure where Bishi Temple is located belongs to the Cretaceous system of the Mesozoic era, dating back 70 million years, mostly composed of soft yellow sandstone that has been deposited for many years. This special geological structure brought unexpected troubles to the current Bishi Temple. Villagers from Nan Zhuang Village, Ma Jiagou, and Peng Yangxiang in Zhenyuan County dug into the mountains for livelihood, living off the mountain resources, digging sand to make money. According to the person in charge of Bishi Temple: "Since 1987, about 1500 meters away from Bishi Temple, sporadic sand diggers appeared. This situation continued for several years, and by 1997, large-scale blasting mining occurred around the grottoes. Mining points were located about 1000 meters north, less than 1000 meters south, and about 500 meters west in a straight line. Those with legitimate sand mining permits were few, and most were illegal. Despite the temple's age and severe weathering, with intersecting fissures unsuitable for vibration, villagers started blasting for sand less than 1500 meters away from Bishi Temple. Even those with permits did not blast near the temple but still blasted near the North Cave No. 1, causing damage to it. Intense sound waves caused frequent sandfalls in Bishi Temple." After the incident, it immediately drew attention from the Bishi Temple Research Institute, which reported to higher authorities. In May this year, the Gansu Provincial Cultural Relics Bureau issued a document prohibiting sand and stone excavation within a 2000-meter radius of Bishi Temple. Local government departments immediately carried out rectifications, slightly alleviating the situation, but sand miners adopted covert methods for extraction. On August 21, reporters came to Bishi Temple and heard distant blasts echoing from the mountains.
Walking on Dongbei Highway, reporters saw piles of sandstones in front of villagers' homes in Nan Zhuang Village. By 7 PM, some sand trucks were still busy coming and going. An unnamed staff member of Bishi Temple said: After government intervention, nearby villagers' activities slightly eased during the day but shifted to underground operations at night, continuing blasting and sand mining. What drives the villagers to risk such reckless actions? According to investigations, this sand mining operation is a streamlined process involving professional sand mining teams and blasting teams. Sand miners sell the mined sand by truckload for 30 to 40 yuan per truck to sand haulers, who then process it simply [placing it on roads for vehicles to crush] and sell it for 50 to 60 yuan per cubic meter to construction sites and residents. A small four-wheeled vehicle can carry three cubic meters, yielding substantial profits. At the sand mining site in Ma'er Gou, 500 meters in a straight line from Bishi Temple, reporters saw numerous sand holes dug by sand miners, some reaching several kilometers deep, with trucks moving in and out.
On August 16, many experts within the province convened a meeting in Zhenyuan County to discuss the conservation of Bishi Temple. Due to severe weathering, Cave No. 165, the main cave, was decided to be closed immediately. From the sandfall records of Bishi Temple, it was noted that at 12:14 PM on August 3, 1995, a sudden collapse occurred in Cave No. 165 while four tourists were visiting, with sandfall weighing up to 70 kilograms. Bishi Temple has appealed to the local residents engaged in sand mining here, emphasizing that the ecological environment cannot be ignored. Protecting Bishi Temple is not only about preserving cultural relics but also preventing soil erosion. Sand miners, please stop.
Bishi Temple is a national key cultural relic protection unit and the largest and most complete art treasure house among the Qingyang caves. It is located in Shigou Valley, 25 kilometers southwest of Xifeng urban area. Looking afar into the valley, the second-largest river in Qingyang, the Pu River, merges with the Ruh River here. The winding water flows, platform fields, mountain scenery, and cliff walls form a beautiful picture. The entire cave cluster is carved on the eastern shore of the confluence of the two rivers on the Fuzhong Mountain cliff, facing westward, magnificent and solemn, offering a panoramic view of the entire waterscape and landscape. The Pu River and Ruh River flow around the temple, surrounded by peaks and ridges, with towering mountains and lush forests, serene and elegant. An ancient poem describes the natural scenery here: "The mist plays with the green peaks and rises gracefully, while the water dances like silk strings flowing around the temple."
Bishi Temple was initially constructed in the second year of Yongping in Emperor Xuanwu's reign of the Northern Wei Dynasty (AD 509), advocated by Governor Xi Kangsheng of Jingzhou. Simultaneously, the South Stone Temple in Jingchuan County was also carved, with the two temples facing each other from north to south. After successive expansions and renovations across generations, the Bishi Temple features dense cave clusters, rich content, and significant scale, forming a grand and exquisite masterpiece with abundant sculpture quantity and superb artistic skills. On the red sandstone cliff that is 20 meters high and 120 meters long, there are 295 caves and niches arranged in upper, middle, and lower layers like beehives. Between the cliffs, there are also connecting corridors. It is one of the most concentrated sites of stone carving art in Gansu Province.
Cave No. 165 is the essence of Bishi Temple and a representative work of Northern Wei grotto art. Carved during the Northern Wei Dynasty, it is centrally located within the cave cluster, square in shape with a pyramidal ceiling, measuring 21 meters wide, 14 meters high, and 15 meters deep, on a grand scale. The tall and exquisite polychrome sculptures inside are quite common among Northern Wei grotto works domestically. Inside the cave, there are seven standing Buddhas each 8 meters tall, full-bodied, robust, imposing, and resolute, exuding an inner strength. There are also two 6-meter-tall Maitreya Bodhisattvas and ten 4-meter-tall attendant bodhisattvas, beautifully crafted, giving a sense of solemnity and dignity. Notably, the elephant-riding bodhisattva on the south side of the cave entrance features a lifelike and ancient white elephant sculpture. The bodhisattva sitting cross-legged on the elephant’s back wears a jade crown, adorned with chest ornaments, graceful and dignified, with a soft demeanor and a gentle smile. Draped in silk celestial robes, they resemble translucent cicada wings, seemingly fluttering, showcasing exceptional craftsmanship rarely seen in the same period. On the north side of the cave entrance, there is a three-headed, four-armed Asura King statue resembling the Sphinx in front of the Egyptian pyramids, rough and concise, with expressions of joy, sorrow, and anger, hands holding the sun and moon, and hands wielding vajras, brimming with a fighting spirit. Within this cave, there is also the largest Sariputra Prince sacrificing himself to feed tigers mural nationwide. The cave ceiling features murals of a thousand Buddhas, flying apsaras, celestial musicians, and stories of the Buddha's life, measuring 15 meters long and 2 meters wide. Scenes such as the queen having a nightmare and the king fleeing the palace are not found in similar murals in other famous grottoes nationwide. The carving techniques are highly skilled, and the figures are lifelike, making it a rare masterpiece of Northern Wei grotto art.
More than 70% of the Bishi Temple caves were built during the prosperous Tang Dynasty, with Cave No. 222 being the largest and containing the most images, including bodhisattva statues and over 300 lively relief sculptures. A distinctive feature of this cave is the preservation of more than 150 inscriptions from different generations. The stone layers of Bishi Temple are tough, and all the existing statues are carved from stone, enhancing their artistic value.
The stone caves in the south bank of the Ruh River in Zhenyuan County's Dongchuan, the Northern Wei caves in Hezheng's Zhangjia Gate, the Northern Wei Guanquan Temple caves in Pingdingchuan, the Tang Dynasty Lianhua Temple caves in Pingdingchuan, as well as the caves in Taibai Liang in Qingyang and Pengyang in Zhenyuan, all showcase the historical appearance of ancient Qingyang from different angles.
Xiaokongtong Mountain
Named after its connection to Kongtong Mountain in Pingliang City and referred to as "Sister Mountains," it is also known as Wuliang Mountain or Phoenix Mountain due to the presence of the Wuliang Patriarch Shrine and its phoenix-nest-shaped terrain.
Xiaokongtong Mountain is located in Dongzhi Township, Xifeng City, surrounded by ravines on three sides, connected to the plateau in the north, elongated from north to south, with towering and steep peaks, winding paths, clear springs flowing at the bottom of the ravines, lush trees on the mountain waist, pleasant climate, and elegant environment. To the south of the mountain gate, it covers an area of 1.4 square kilometers, equivalent to over 700 mu. The terrain to the north of the mountain gate is flat, with convenient transportation.
Xiaokongtong Mountain is one of the holy sites combining Buddhism and Taoism, located 17 kilometers away from the well-known Bishi Temple. According to research, people began carving images and setting up stone tablets, burning incense, and making vows here during the Chongzhen period of the Ming Dynasty. In 1933, devout men and women raised funds through alms, successively building the Wuliang Hall on the North Terrace, the Yuhuang Pavilion on the Middle Terrace, the Guanyin Pavilion on the South Terrace, and dozens of caves on both cliff sides. Niches and clay statues were constructed, murals painted, and deities worshipped.
Local residents and Buddhist and Taoist monks extensively planted pines and cypresses, willows, and apricot trees. Every year on the third day of the third lunar month, a temple fair is held here, attracting a continuous stream of pilgrims and tourists who come to worship and admire the scenery,