Mini Western Paradise (Xiaoxitian Temple)

25 RMB

Tel: 0357-2015547

Summer is the ideal time for traveling in Shanxi Province.

0357-2015547

Linfen Railway Station stands on Chezhan Street in the northeastern urban area. The north-south Tongpu Railway trunk line runs through the city, connecting northern and southern Shanxi. The Houxi and Houyue Railways, sections of China’s second Eurasian Continental Bridge, stretch east and west. Trains run from Linfen to Beijing, Xi’an, Taiyuan, Shijiazhuang, Tianjin and other cities.

An expressway directly links Linfen and Huozhou. In addition, the Dayun Highway (Datong-Yuncheng) and National Highway 108 run north and south across Shanxi, while National Highway 316 and Jinhan Highway extend east and west. Long-distance coaches from Linfen Bus Station travel to Taiyuan, Xi’an, Yuncheng and all counties and districts under Linfen’s administration.

Linfen operates a full range of bus routes leading to scenic spots, bringing great convenience to tourists.

Mini Western Paradise was first built in the 7th year of the Chongzhen reign of the Ming Dynasty (1634 AD). Originally named Thousand-Buddha Nunnery, it was renamed Mini Western Paradise. The temple sits on precipitous terrain with celestial palace sculptures inside. The gate bears the inscription “The Path Leading to the Western Paradise”. To distinguish it from the Great Western Paradise Temple south of Xixian County, people named it Mini Western Paradise.

The temple perches on the summit of Phoenix Mountain, roughly half a kilometre west of downtown Xixian County. Stepping out of the north city gate and gazing westward, you will see a mountain shaped like a spreading phoenix wing, embracing the city wall with rolling hills at its back. A broad river flows peacefully nearby, encircled by winding brooks. The mountain boasts fantastic rolling ridges with a soaring, graceful momentum. Surrounded by mountains on three sides and embraced by meandering rivers, the site is covered with dense ancient trees. Steep cliffs rise abruptly on Phoenix Mountain, and Mini Western Paradise towers atop the peak, seemingly floating amid the clouds just like a celestial jade mansion, creating the fairyland atmosphere of a “small Western Paradise”. It is a blessed land permeated with divine energy.

According to legend, a pair of extraordinarily beautiful phoenixes roamed the world in remote antiquity. One day while flying over this area, they were so enchanted by the landscape that they circled repeatedly and refused to leave. Absorbed in the scenery, one phoenix crashed into the mountain and turned into this phoenix-shaped peak. The mountain is enclosed on three sides, with a river flowing in front of the nunnery. Tall ancient trees tower overhead, and clear streams trickle along the cliffs. Visitors cross the Zichuan farmland, walk over the Xinshui River Bridge, follow the bank of the Heavenly Pond, stride across the Immortal Bridge to Heaven, climb more than 240 stone steps, pass through a 10-metre-long “Heavenly Cave”, and finally reach the Heavenly Gate inscribed “The Path Leading to the Western Paradise”, arriving at the fairyland known as the Western Sacred Land.

The temple is divided into the Lower Courtyard and the Upper Courtyard, celebrated for its original layout, exquisite craftsmanship and unique style.

The Lower Courtyard forms the main body of the temple. The Boundless Hall faces east, housing dozens of bronze Buddha statues and wooden pavilions; it serves as the meditation hall for monks. Opposite the Boundless Hall stands the Weituo Hall. The statue of Skanda is carved from a single solid nanmu log, looking majestic and vivid with superb carving techniques. Passing through two gateways behind the Weituo Hall marked “No Way Ahead” and “Another World Beyond”, you will reach Lone Paulownia Peak. The Bell Tower and Drum Tower stand on the two corners of the peak, with the Cloud-Touching Pavilion crowning the summit. Guanyin Bodhisattva is enshrined inside, and the God of Literature outside. Standing on the pavilion, you can overlook the picturesque farmland stretching far into the distance. The northern wing of the Lower Courtyard preserves a well-kept rare Ming edition of Buddhist scriptures, containing more than 7,000 volumes.

The Upper Courtyard represents the pinnacle of the whole temple. Facing south stands the Mahavira Hall, flanked by the Manjushri Hall and Samantabhadra Hall on either side. Five interconnected Buddhist niches line the front of the main hall. The Buddhas of Medicine, Amitabha, Sakyamuni, Vairocana and Maitreya sit solemnly on lotus thrones, clad in rich brocade robes with serene and benevolent faces. The Ten Great Disciples stand on both sides, with elegant lifelike postures and subtle vivid expressions. The southern wall features Buddhist scenes of the Three Saints of the Four Directions and the Four Heavenly Kings. The northern wall depicts the Thirty-Three Heavens on Mount Sumeru, episodes from the Buddha’s life and Jataka tales of Sakyamuni. The Eight Vajra Guardians stand powerfully on the main beams. Suspended on the wall between beams is the resplendent “Western Pure Land”. Countless flying apsaras with human faces, divine birds, peacocks, parrots and red-crowned cranes wander amid ethereal floating clouds. Twelve celestial musician Bodhisattvas dance gracefully, performing heavenly songs with poise and gentleness. Layer upon layer of celestial palaces and towers emerge amid swirling mist, decorated with colourful paint and gold ornaments, presenting a breathtaking fairyland of Buddhism.

The temple is laid out strictly according to the mountain terrain. The Cloud-Touching Pavilion on Lone Paulownia Peak sits on the phoenix’s head; the Lower Courtyard occupies the leeward side; the mountain ridges on both sides of the ravine stretch like outspread phoenix wings. The Mahavira Hall in the Upper Courtyard leans against the mountain, echoing the Cloud-Touching Pavilion at the eastern end to form the phoenix’s tail. Seen from afar, the whole mountain looks just like a phoenix bowing its head to overlook the mortal world.

The two courtyards form an integrated complex while remaining independent. The beamless Boundless Hall in the Lower Courtyard faces east as a meditation hall furnished with wooden pavilions and bronze Buddha statues. Across the courtyard stands the Weituo Hall, where the Skanda statue carved from whole nanmu wood boasts a fierce countenance and masterful craftsmanship. The northern scripture hall preserves a complete rare Wanli-era Ming Buddhist canon consisting of 7,310 volumes, with great academic value. Two gateways behind the Weituo Hall lead up to the peak of Lone Paulownia Peak.

The Cloud-Touching Pavilion perches on the summit, housing Guanyin inside and the God of Literature outside. The God of Literature belongs to folk Chinese belief rather than Buddhism. The cult flourished in the Song Dynasty and endured for centuries. Apart from the God of Literature, he was the most revered deity among ancient scholar-officials, for he was believed to control literary fortune. Therefore, even in this Buddhist fairyland, he was granted a shrine. The Bell Tower and Drum Tower stand opposite each other beside the pavilion, offering panoramic picturesque views.

Facing east in the centre of the Upper Courtyard is the Mahavira Hall, a five-bay building with a single-eave hip-and-gable roof, flanked symmetrically by the Manjushri Hall and Samantabhadra Hall. The world-famous Ming-dynasty suspended clay sculptures are preserved right inside this hall山西省文化....

Five connected niches unfold before visitors. The Medicine Buddha, Amitabha, Sakyamuni, Vairocana and Maitreya sit gracefully on lotus thrones clad in gilded robes. Beneath the thrones ripples the Eight-Merit Water of the Seven-Treasure Lotus Pond, dotted with boats and red-crowned cranes, just like an earthly paradise. The Ten Great Disciples stand on both sides of the five Buddhas, full-sized and exquisitely modelled with subtle vivid facial expressions. The southern wall is covered with reliefs of Buddhist tales including the Three Saints and Four Heavenly Kings. The northern wall narrates the Thirty-Three Heavens on Mount Sumeru and the life stories of Sakyamuni Buddha. The Eight Vajra Guardians loom majestically on the main beams. The suspended sculptures on the wall depict the magnificent Pure Land of the Western Paradise. Suspending clay sculptures in mid-air requires extraordinary skill, let alone such a massive group of painted hanging sculptures with rich varied forms. The craftsmanship, imagination and technical mastery are beyond description. Amid towering layered celestial palaces stand countless flying apsaras, divine peacocks and parrots resting on wispy clouds. On the balustraded platform before the hall, twelve celestial musician Bodhisattvas dance lightly with tender expressive eyes, incredibly lifelike.

All the statues feature well-proportioned human figures with plump soft skin and natural dynamic postures, with smooth flowing lines on their robes. The tallest Buddha stands over 3 metres high, while the smallest can fit in the palm of a hand. More than one thousand statues survive here. The huge sculptural group is dense yet well-organized, set amid stacked heavenly pavilions. Painted with gorgeous pigments and gold decorations, the hall shines as a splendid Buddhist fairyland blended with genuine earthly warmth. These painted hanging sculptures fully demonstrate the consummate skill and brilliant creativity of Ming folk artisans, ranking as unparalleled treasures of Chinese sculptural art中国日报网.

Pan Jiezi, a renowned traditional Chinese painter, wrote an emotional poem in praise of the temple: A true fairyland of Buddha is seldom found on earth; Who expected tiered towers to rise on Phoenix Hill? Thousands of divine statues were carved with endless care, No common craftsman could paint such gorgeous hues fair. The relics of the Ming still look fresh as newly made; Never have I seen such marvels in my life’s long parade. I bow not merely to the Buddha’s sacred face; These master artisans deserve eternal grace.

This poem perfectly expresses people’s deep admiration for the suspended sculptures of Mini Western Paradise.