Temple Huayan-si (华严寺), situated at Huayan Square in Datong City, is an aged and well preserved architectural temple complex of Liao and Jin Dynasty in China. It was first built by Khitan nomadic tribe during Liao Dynasty in year 1062 but was heavily damaged at war in year 1122. The temple was later rebuilt in year 1140 during Jin Dynasty at its original site. Buddhist Huayan Sect which emphasized Avatamsaka Sutra was most practiced during that period. The name Huayan was derived from Avatamsaka Sutra. Huayan-si had been in glory period for hundreds of years until Yuan Dynasty (1271-1368). After an extensive restoration in Ming Dynasty within years 1465 to 1613, the monastery was separated into two temple sites with individual Arch Gate and Main Shrine Hall. Repair work also had been done in Qing Dynasty (1644-1911). The two temple sites were merged into one again in year 1963.
Huayan-si covers a total land area of 66000 sq. meter and is divided into two complexes in which one is monastery and the other is as if an art museum of Liao (916-1125)and Jin Dynasty (1115-1234).
There are more than 30 structures distributed along its north-south main axes including Temple Gate, Universal Light Hall, Maha Vihara Main Hall, Bhagavat Storage Hall and Huayan Pagoda. Besides the two main halls at upper and lower temple complex which are the original Liao and Jin structures, many of its buildings were restored in Qing Dynasty.
Universal Light Hall （普光明寺） was quite a complicated and splendor structure with multiple tiers of roofing and eaves. It was said that the building imitated the design of Moni Hall in Longxin Temple at Hebei （河北隆兴寺摩尼殿）, which was a structure built during North Song Dynasty (960-1127). Universal Light Hall looks great and elegant but does not blend harmoniously with a group of Liao and Jin buildings at the temple site. Liao and Jin structures are plain and simple, vigorous and spacious, exactly followed the architectural style of Tang era (618-907).
The traditional tangling wood-carved ceiling and wooden brackets at roofing eaves of Universal Light Hall （普光明寺） .
The meaningful Dharma phrases at the front pillars 世事熙熙重来富贵无了局到此说了就了； 人生攘攘自古名刹难放下如斯当放便放 advising people to take life easy and let go when necessary as the Outline for glory and prosperity can never be set by on-going world affairs of life, and reputable ancient monasteries are not able to ignore the confusion of life.
Hall of Universal Light was derived from Avatamsaka Sutra （华严经） as a venue where Buddha conducted the sermons of Avatamsaka Sutra. The three images of Avatamsaka Sages, Buddha Vairocana, Bodhisattva Manjushri and Samantabhadra seated on a lotus base, are 11 meters tall. Buddha is attended by Ananda and Maha Kasyapa in standing posture. The sculptures followed the style of Liao and Jin period （916-1234）, with wearing attire and head accessories copied from the original statues displayed at Lower complex of Huayan-si. The murals at the surrounding walls, illustrated the main protagonist in the last and longest chapter of the Avatamsaka Sutra where the Youth Sudhana visited and studied with fifty three spiritual advisers to seek enlightenment (善财童子53参).
Medicine Hall and Amitabha Hall are newly restored buildings. Structures were based on the illustration of Great Buddhas Assembly Hall, sketched by the architectural historian Liang-sicheng (梁思成） in 1930s.
The door tablet at Medicine Hall was written with Jing-xin-shan-xing （净心善行） which means purify your mind and do wholesome deeds. The other four characters dun-wu-cheng-fo （顿悟成佛） hanging over the door of Amitabha Hall means Sudden Awakening in enlightenment, as the case happened to Buddhist Sixth Patriach Master Hui-neng.
The style and pattern of newly sculpted Buddha Images insides the hall followed after the style of Liao Dynasty (916-1125). The inspiration came from the colored sculptures of Liao period that are presently displayed at the lower temple complex of Huayan-si.
The murals at Amitabha Hall also went along with the style of Liao Dynasty (916-1125).
Hall of Wenshu Dian is a new building which was just completed in construction.
The wooden sculptures of Buddhist figurines are in progress. If I was not mistaken, these group of wooden images should be the Three Sages of Avatamasaka: Buddha Vairocana, Bodhisattva Manjushri and Samantabhadra.
Unfinished image of Bodhisattva Manjushri and his lion.
Unfinished image of Bodhisattva Samantabhadra and his white elephant.
Entering into the site of Upper Temple Complex which has two courts with Arch Gate, Pavilion Guanyin-ge and Dizang-ge plus Veranda.
The impressive Maha Vihara Main Shrine Hall at upper complex, was founded in year 1062 in Liao Dynasty and re-constructed in 1140 during Jin Dynasty at the old site of the temple after it was badly damaged at war in year 1122. The Hall which occupied a building area of about 1600 sq. meter, is one of the largest Liao and Jin Temple Hall presently existing in China. It stands on a platform measured as 33 meter in width by 19 meter in depth with 4 meter in height. The two hexagon bell and drum towers with pointed top at two sides of the platform, were works from Qing Dynasty (1644-1911) and the metal cast hexagon burning cauldron at the center was the product of Ming Dynasty (1368-1644) made during the reign of Emperor Wanli (1563-1620).
The original kettle shaped ancient doors of the Main Shrine Hall are very rare and extraordinary. Another interesting heritage that fetched high art value are the 4 pieces of stone tablet at the external wall of The Hall. Contents engraved on it were from I-Ching (易经： An ancient Chinese divination manual and book of wisdom, commonly known as Book Of Changes) hand-written by Chinese famous meta-physicist and calligrapher, Zhu-xi （朱熹） of South Song Dynasty (1127-1279).
Main Shrine Hall has large space internally as it had reduced 12 pillars when in construction. The Hall enshrines five huge Ming era (1368-1644) Buddha Images with 3 wood-carved at the center and two clay sculpted at sides. It was said that the contribution Rev. Liao-ran (了然禅师） gathered for two years was just enough to carve out the 3 images at Beijing. The subsequent Abbot later supplemented with two clay sculptures. The figurines of 20 standing heavenly Gods sculpted in various postures with lifelike expressions were also the representative Ming's relics. Stretching all over its 6.4 meter high surrounding walls are large area of murals (in about 888 sq.meter) actively depicting The Buddhist legends. The whole piece of work is vivid in color and well preserved. It was done during the reign of Emperor Guanshu in Qing Dynasty (1871-1908).
The richly painted ceiling of Main Shrine Hall attracted many attentions. The framing beams were believed to be built in Ming Dynasty (1368-1644) and the illustrations were done during Qing Dynasty (1644-1911). There are altogether 973 pieces of colored plank illustrated with dragon, phoenix, flowers, vegetation and some Sanskrit inside its cylindrical patterned design.
The owl sign ornaments on temple roof were built to protect against fire in olden days. It was called in Chinese as Chiwen （鸱吻）. Chiwen at the main ridge of The Maha Vihara Shrine's roof were built up with 8 pieces of colored glazed tiles and measured 4.5 meter in height. There are only two of them but in different style as one was the original piece from Jin Dynasty (1115-1234) and the other was replaced in Qing period (1644-1911). The northern piece though had been existing for more than 800 years, looks vivid with no color faded.
Behind Main Shrine Hall stands The Dizhang Pavilion and Guangyin Pavilion. The later enshrines an Image of Thousand Hands Thousand Eyes gold gilded Goddess of Mercy.
The magnificent building of Universal Light Hall obviously had over shined the ancient structure of old Maha Vihara Main Shrine Hall.
Huayan Pagoda was built to become the second timber structure after the 1000 years old Yingju Pagoda that had survived through winds and storms, sun and rain for nearly 10 centuries.
The Pagoda was built up entirely with timber as per in reference to the ancient Yingju Wooden Pagoda. It is 43 meter high and square in shape.
The top floor is an ideal watch point for an elevation view of the temple site.
The Thousand Buddhas Terrestrial Palace under Huayan Pagoda was built out from 100 tons of pure copper. The 500 sq. meter palace enshrines a Buddha's relic and a thousand copper Buddhist images, glittering and magnificent. It is a perfect combination of modernity and tradition.
There are two courts at Lower Temple Complex of Huayan-si. The Bhagavat Storage Hall which was built in year 1038 is situated immediately after the wooden arch gate on top of the 15 steps stair from front court. The three rooms next to the Hall built in Qing period, now contain and display cultural relics from Datong Museum.
Bhagavat Storage Hall is famous for the color clay sculptures made in Liao Dynasty (916-1125). The Bodhisattva with palms together and mouth slightly open with exposing of teeth had been regarded as Venus of the East. The legend began at Liao Dynasty when Imperial Family conscripted artisans from all over the places to restore Huayan-si. Many of them were forced to leave home and join in the team to work for the Emperor. There was an elderly skilled artisan among them and his daughter in view of his age and health, disguised as a man to volunteer for kitchen work in the workshop. When not in serving food or drink, she was always by the side of his father and other artisans. She was either standing, sitting, praying or making blessing. Looking at her beautiful proportionate body size and graceful behavior, artisans were initiated with innovative in their sculpting work. Unfortunately, her disguised identity was soon found out when one day her father was beaten by the supervisor and she stood up to protect her father. When the supervisor was about to strip her off and punish her, she affectionately stared at all artisans, smiled to them with teeth exposed out and jumped into the boiling furnace. Immediately, she turned into a white cloud and rising up to the sky and the cruel supervisor was burnt to death with the boiling iron liquid that splitter over him. A young artisan captured her expression in that moment and sculpted her into a Bodhisattva, which remains until today.
Bhagavat Storage Hall is the place where Buddhist scriptures were stored. The four Chinese characters Bo-qie-jiao-zang 薄伽教藏 are Sanskrit meaning Canon of Great Buddhism. Building against the internal Wall inside the Hall are 38 double towers wood depositories of Buddhist scriptures, and due to its excelling nature superb craftsmanship, and the only existing item in the country, its 5 arched wooden cabinets at the rear portion are complimented as "天宫楼阁 The Heavenly Towers". Buddhist Scriptures dated to Ming and Qing Dynasty stored in the Hall, are as many as 18000 scrolls in which, 1700 scrolls were carved and printed in Ming Dynasty.
The arrangement of Images enshrined inside Bhagavat Storage Hall symbolized the scene when Buddha delivered summons on Avatamsaka Sutra. The three adorable Buddha images of the past (Buddha Randeng-fo 燃点佛), of the present (Buddha Sakyamuni) and of the future (Buddha Meitriya) seated on a lotus base, appear implicit and natural in expression. The 31 standing images of Bodhisattva and attendants are with attentive, graceful and perfect features, especially the one with palms together and mouth slightly open with exposing of teeth. It had been highly commended and honored as An Oriental Venus. These clay sculpted Buddhist images are incredible piece of work from Liao Dynasty （916-1125）, lifelike, prestige and fine.
Upper and Lower complex of Huayan-si are actually within walking distance. They are in fact situated within the same site.
Most of the Halls in Huayan-si faces east unlike other Chinese Temples that usually sit at north and face towards south direction. According to saying, Khitan nomadic tribe believed the existing of ghost and sun is the God to be respected. Liao Dynasty was founded by Khitan tribe and Temples built at that time all faced east.
Some of the building structures in Huayan-si
The roofing of the structures are admirable.
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