Shuanglin Temple – A Treasure Trove of Oriental Colored Sculptures

The Heavenly King Hall is the first hall encountered as you enter Shuanglin Temple through its arched gate. It is a five-bay wide and three-bay deep structure. Inside, the central figure is Maitreya Buddha, seated in the lotus position with a crown on his head, flanked by Indra and Brahma on either side. The southern wall features the Four Heavenly Kings, while the northern walls are adorned with the Eight Great Bodhisattvas. The statues in this hall are known for their realistic and vivid representations. The Four Heavenly Kings, each standing around three meters tall and holding a pipa, a sword, a snake, and an umbrella, guard the four cardinal directions. These figures, portrayed with a realistic approach, deviate from the traditional fierce and intimidating forms of protective deities. The statues exude a warrior-like presence, combining a sense of familiarity with an awe-inspiring aura.

The Shakyamuni Hall, one of the main halls in Shuanglin Temple, is characterized by its simple and unadorned style. It is five bays wide and three bays deep. The hall features Shakyamuni Buddha seated at the center, with Manjushri and Samantabhadra Bodhisattvas on either side. The walls of the hall are adorned with intricate carvings in high and low relief, depicting the life of Shakyamuni Buddha from his birth to his enlightenment and nirvana, and his teachings to the world. Over 200 figures are represented, each with distinct characteristics and expressions, creating a dynamic narrative through their interactions with the architecture and natural rock formations.

Behind the hall’s shadow wall is a notable sculpture of the Sea-crossing Guanyin. This sculpture, a highlight of Shuanglin Temple’s colored sculptures, is crafted in round relief. Guanyin is depicted sitting on a red lotus petal with one leg raised, protruding from the wall. The serene figure contrasts dramatically with the turbulent waves in the background, creating an artistic effect that blends stillness with movement.

The Martial Saints Hall features a prominent statue of Guan Yu, sculpted during the early Qing Dynasty. Guan Yu, depicted with an imposing and lifelike presence, is surrounded by wall-mounted sculptures depicting scenes from his legendary life, such as the “Peach Garden Oath,” “Furious Beheading of Hua Xiong,” “Slaying of Cai Yang,” and “Flooding the Seven Armies.” Each figure, about 40 centimeters tall, is vividly detailed and brightly colored.

In the Earth God Hall, the central figure is Kṣitigarbha Bodhisattva, flanked by the Ten Kings of Hell and their judges. These statues are stern and solemn, reflecting the Bodhisattva’s role as one of the Four Great Bodhisattvas who oversees the underworld and relieves suffering. The hall’s design is inspired by Buddhist concepts of “Six Paths of Reincarnation” and “Three Realms of Karma.”

The Earth God statues, representing deities of ancient Chinese mythology who govern local land and agriculture, are depicted as venerable elders with a kind and honest demeanor. They are accompanied by attendants, the Golden Boy and the Jade Girl, who assist in managing the land and ensuring bountiful harvests.

The Mahavira Hall is the second major courtyard on the central axis of Shuanglin Temple, situated to the north. This hall and its adjoining halls, dedicated to the Thousand Buddhas and Bodhisattvas, are more spacious in layout. Rebuilt during the early Ming Dynasty, the Mahavira Hall is the tallest and most prominent structure in the temple, featuring a five-bay width and three-bay depth with a single front porch. The architectural style, including the dougong (bracket system) and roof decorations, is characteristic of the Ming Dynasty.

Inside, the central statue is of the “Three-bodied Buddha,” flanked by Manjushri and Samantabhadra Bodhisattvas. An iron-cast, mud-covered statue of “Amitabha Buddha” stands at the entrance, welcoming visitors. Since these statues have been repainted during the Qing Dynasty, they are slightly less striking compared to those in other halls.

The hall also features a mural from the Ming Dynasty depicting “Buddha Worship.” Unfortunately, this mural was covered with whitewash in the early Republic period, but partial sections revealed since 1982 still display vibrant colors and the graceful lines typical of the Yuan Dynasty style.

Located to the east of the Great Hero Hall, the Thousand Buddhas Hall features a width of seven bays. It houses over 500 statues, accounting for a quarter of the temple’s total collection. The central figure is the Avalokiteshvara (Guanyin) with a serene and graceful expression, exuding a natural and relaxed demeanor. Flanking the central statue are standing figures of Weituo and Yaksha. The Weituo statue is particularly distinctive, combining martial strength with refined artistry, making it a rare gem in Ming Dynasty sculpture.

The hall’s interior is adorned with suspended and wall sculptures of 500 Bodhisattvas arranged in five to six layers. These figures either ride on clouds or mythical beasts, seamlessly integrating with the central statue. Additionally, over thirty statues of donors are sculpted on the window sills and sides of the doors. These figures are highly realistic and provide valuable insights into the evolution of Ming Dynasty clothing and accessories.

Situated on the west side of the central courtyard and directly opposite the Thousand Buddhas Hall, the Bodhisattva Hall features the Thousand-Handed and Thousand-Eyed Avalokiteshvara. This central statue, seated in a meditative posture, is characterized by a dignified and graceful appearance, with a gentle and refined expression. The hands, depicted in various poses, add a sense of intricate detail and flexibility. Without the many arms extending from its back, the figure might be mistaken for a beautiful and elegant woman of the human world.

Surrounding the main statue are over 400 Bodhisattvas, each standing on colorful clouds and appearing in dynamic poses with flowing robes, creating a vivid sense of movement. The hall’s exterior eaves still bear traces of Ming Dynasty murals depicting offering Bodhisattvas, dating back to the fifth year of the Tian Shun era (1461).