The Great Bao En Temple as depicted in Fischer von Erlach’s A Plan of Civil and Historical Architecture (1721)

Far in the interior of the Chinese mainland, the rugged mountainous countryside, thousands of kilometres south of Beijing is home to a Buddhist temple that has stood for almost six centuries. If imitation is the highest form of flattery, the Forbidden City wins high praise from Bao En Si (Temple of Forgiveness) indeed.

Billions of people recognise the name ‘Sichuan’ in a culinary context. However, delectable its cuisine may be, the province’s contribution to the world of architecture and to the heritage of Chinese Buddhism is woefully underappreciated. Pingwu, the northernmost county of Sichuan province, hosts Bao En Temple, one of the finest examples of existing Ming Dynasty (1368-1644) temple design and construction.

What’s in a Name?

The name ‘Temple of Forgiveness’ seems to be an unremarkable and typically pious Buddhist choice. The story of how the temple earned this name, though, reveals a humorously unorthodox side to this seemingly orthodox title.

See, Bao En Temple was not originally intended to be a religious structure at all but a private residence. Its patron was Wang Xi, a powerful official of Longzhou (the old name for Pingwu) who was so deeply inspired after a visit to the Forbidden City in Beijing that he wished to create a similar palace for himself.

The problem was that some of the building techniques and architectural features required in such a structure were reserved only for imperial palaces. It seems Wang Xi assumed that Pingwu’s remote location, so far from the royal capital and its prying eyes would allow him the latitude to use those features in his palace undetected. Unfortunately for him, he was wrong.

When the Ming Emperor Yingzong (1427–1464) learnt of Wang Xi’s impudence, he mulled having him executed. One of the arguments against this drastic course of action was that Wang commanded a powerful army which had successfully repelled numerous attacks by nomadic raiders.

Emperor Yingzong

Eventually, cooler heads prevailed and the ruler instead opted for clemency in light of Wang’s faithful service to the state. Of course, such a stunt could not be ignored completely lest it inspires others to similar exploits. Emperor Yingzong forbade Wang Xi from using it as a residence and instead had it built as a monastery and temple complex.

Then, the emperor added one final touch, an act of generosity tinged with a hint of caution just to drive the point home. It was in the form of a large stele that was installed within Bao En Temple.

The wording on the decree reads that “Even an official is not an exception but is allowed in this instance”, indicating that special approval was given to Wang Xi because it was a religious structure. However, the top of the “Wang” character was adorned with an unnecessary stroke, creatively insinuating that further missteps would result in a beheading.

Thus, the crisis around the construction of Bao En Temple was resolved without bloodshed. The episode has left us hints of the intricacies and subtle subterfuges of royal protocol that officials had to learn… and the source of Bao En Temple’s very apt name.

A Perilous World

That Bao En Temple still stands today is a testament to both its construction and to the wiles of Wang Xi.

Political Strife

For his part, Wang was an astute politician even though he did not have any extended experience in the corridors of power in Beijing. Having secured his own head and obtained permission from the emperor to continue the project, he added one feature that researchers believe safeguarded the complex from attack for centuries.

The tablet that is displayed in the second courtyard. It reads “long live the current emperor”.

It is a tablet displayed prominently in the second courtyard. Instead of the common terminology of “Long live the emperor”, it reads, “Long live the current emperor” (our emphasis).

This shrewd turn of phrase ensured that any tumult in the capital and the overthrow of one dynasty would not automatically make Bao En Temple a target for destruction. In that regard, the temple escaped unscathed when others did not.

It could not, unfortunately, escape the mindless destruction wreaked upon China’s Buddhist heritage by the Cultural Revolution (1966-1976). Quick-thinking priests added boards with verses in praise of Chairman Mao to many of the structures and prevented some damage. Still, large wall murals depicting the Buddha and his disciples were maliciously vandalised.

Nature

Bao En Temple has also weathered the ravages of Mother Nature. Three major earthquakes, centuries apart, demolished many of the structures in the area but the temple has stood through them all. In fact, anecdotal reports say that people fled their homes when they felt tremors and rushed to Bao En Temple because they knew it would not collapse.

The first of these three quakes occurred on 16 January, 1630. The quake measured 6.3 on the Richter scale and its epicentre was a mere 75 km from the temple. The second earthquake in 1976 was centred on the border of Pingwu and Sonpan; it measured 6.7 on the Richter scale.

The last major seismic event in the area was also the most devastating. It struck on 12 May, 2008 and has become known as the Great Sichuan earthquake. Measuring 8.0 on the Richter scale, it devastated the region, killing over 69,000 people.

This quake was the most traumatic event in the history of the temple, causing brick walls to crack and breaking some arms of the 1,000-Armed Avalokiteshvara statue. But while modern buildings fell, Bao En Temple did not. Researchers credit this remarkable feat to the building’s design and the wood used for its construction.

Construction

Wang Xi began work on the temple in 1440. The main buildings of Bao En Temple were completed within six years but the intricate details that still enrapture so many visitors today took much longer. The entire complex was formally completed by Wang Xi’s son, Wang Jian 20 years after construction began.

It is a tragedy that Wang Xi, who dreamt up a project so wonderful and then secured its existence by navigating a labyrinthine political landscape, did not live to see it in its full glory.

Material

The critical supporting structures, as well as the most sacred objects at Bao En Temple, are made of what a wood that is known locally as nanmu. Its official name is Phoebe nanmu and it is an evergreen species of the Lauraceae family native to China and Vietnam.

Nanmu wood was a highly prized construction medium for a number of reasons. Firstly, its high density and resistance to decay in humid conditions make it ideal for important sacred buildings. Next, birds and insects have a tendency to avoid nanmu so it is naturally resistant to infestations.

Thirdly, the tree grows with long, straight trunks that lend themselves well to architecture. Finally, nanmu has the perfect balance of rigidity and flexibility that is critical for buildings in earthquake-prone zones. Construction records mention that this was one of the considerations of the builders.

Because the nanmu tree grows slowly, it can take centuries to reach full maturity and this makes it very precious indeed. Ming Emperor Zhu Di had Beijing’s Forbidden Palace constructed of Nanmu timber.

Special Design

A lot of the credit for the fact that Bao En Temple still stands today goes to a feature that many visitors overlook completely – the 2,200 sets of roof brackets used throughout the complex. Called dougong in Mandarin, they appear in 36 different designs and have descriptive names like cloud curl, elephant tusk and flower basket.

Their intricate interlocking design is often mistaken as simply an aesthetic feature, which is easily forgivable considering how beautiful they are. However, their real purpose is to act as shock absorbers and dissipaters of energy.

Researchers have found that the brackets channel vibrations equally to all of the building’s supporting pillars when a tremor strikes. In this way, they preserve the building’s structural integrity during an earthquake.

Another architectural feature of note is that part of the ceiling in every hall is exposed, characteristic of Ming Dynasty design.

Layout

The complex covers an area of 27,000 sq. metres, of which 3,500 sq. metres is occupied by buildings. There is a courtyard outside the main entrance which has become a gathering place for the people who live in the area.

Two tall sutra pillars carved from stone straddle the entrance which faces east. Wide stone steps lead to the buildings with red and yellow-tiled walls that are adorned with carvings. The massive stone lions that sit outside have looked out onto the world for centuries.

The grounds are divided into 3 courtyards. The traditional temple construction is marked by symmetry with buildings branching off from a central axis dominated by the main passageway. The major halls lie along this axis while the minor halls and auxiliary structures like storage rooms and quarters were built along the transverse axes.

The Three Courtyards

The buildings and galleries of Bao En Temple ring 3 rectangular courtyards.

First Courtyard

The first courtyard comprises the main entrance, Golden Bridge and Hall of the Celestial King. The Hall received significant damage from the 2008 earthquake and portions of its brick walls bear scars of the destruction wrought by the disaster.

Second Courtyard

The central courtyard is where you will find the Hall of Great Compassion, Avatamsaka Hall and Hall of Great Heroes. The last of these contains 3 Buddha statues, each 10 metres tall and decorated with halos of gold leaf. You will also find the tablet with the words “Long live the current emperor” here. Made from nanmu wood, it incorporates intricate carvings of dragons and is embellished with gold highlights.

Third Courtyard

A long gallery leads to the innermost courtyard where the Pavilion of Stone Slabs, Pavilion of Ten Thousand Buddhas, Dabei Hall (Great Compassion) and Huayan Hall are located. The Pavilion of Ten Thousand Buddhas contains statues of Wang Xi and Wang Jian paying respects to Buddha, Dabei Hall houses a 1000-Armed Avalokiteshvara and a revolving sutra cabinet sits inside Huayan Hall.

Main Attractions

Without a doubt, Bao En Temple is a treasure trove of magnificent design and construction with a captivating history. They may draw visitors in their own right but pale in comparison to the Buddhist treasures the complex holds:

1,000-Armed Avalokiteshvara

The Avalokiteshvara statue in Dabei Hall actually has 1,004 arms, each held in a different pose. The nanmu wood figure stands on a lotus dais wearing a jewelled crown and sash. Clay figurines of celestial beings wait on the Buddha from the poles surrounding the statue.

Scripture Wheel

Opposite Dabei Hall is the Avatamsaka Hall within which is one of the only three surviving scripture wheels in China. The other two are Heibei’s Zhi Hua Si and Jiangyou’s Yun Ya Si, but the wheel in Bao En Temple is the only one that still rotates.

Standing at 9.5 metres tall and 7 metres in diameter, the 7-level structure was built to resemble the celestial pavilion. Valuable scriptures are still kept within the intricately-carved wonder. It is turned via an 11-metre long shaft that has a diameter of 0.45 metres. Both the wheel and the shaft are made of nanmu wood.

9,999 Dragons

It is difficult to look anywhere within the Bao En Temple complex and not spot a dragon. They look out from the eaves and brackets, and they adorn every structure and object that is of significant religious or symbolic value. They appear on the stele with the emperor’s decree as well as the scripture wheel. A closer look at the 2 dragons that guard the wheel reveals that their feet have 4 claws each as opposed to the 5 claws of imperial dragons. Wang Xi did not take any more chances.

Murals

There are four separate walls of murals that every visitor must see.

One is in the third courtyard, on the second floor of the pavilion. Across 328 sq. metres spread over 3 walls are over 100 Bodhisattvas, celestial beings, vajras and viras monks prostrating to Buddha. They are up to 3 metres in height and bear crowns and armour of gold paint.

The second is in the Hall of Heroes, where Buddha’s 12 disciples are depicted prostrating to him across 117 sq. metres of intricate paintings. The third and fourth are 3D murals, clay figures which emerge from the walls of Dabei Hall and Avatamsaka Hall.

Visiting Bao En Temple

That Bao En Temple is not usually on tourist itineraries is both a boon and a bane. It is a loss in terms of the awareness and preservation of ancient Buddhist culture but this comparative lack of popularity also makes for a less crowded, more purposeful visit.

The courtyard outside the temple is frequented by locals who use it as a place to unwind at the end of the day and absorb the positive vibes. You will never see the kind of crowds typical of other remote Buddhist attractions like the Hanging Temple, even on auspicious days of the Buddhist calendar.

However, Bao En Temple is by far the most popular tourist spot in the vicinity, which means that finding transport to and from the temple complex is easy. Transport, accommodation and food in the area are reasonably priced, especially if you are accustomed to paying prices in cities like Beijing and Shanghai.

Getting There

Address: Pingwu Bao En Temple,
Pingwu County,
Mian Yang City,
Sichuan Province, China

Pingwu, where Bao En Temple is located, is a relatively small, mountain-ringed town typical of the rural inland region of China.

The easiest way to get here is to first fly to Sichuan Chengdu Xuanliu Airport. The distance from Chengdu to Mianyang City near Pingwu is 296 km. Winding mountain roads reward visitors with amazing views but the drive is arduous and usually takes about 6 hours.

Bao En Temple is located at the western corner of the town, at the foot of a hill. The temple complex is open from 08:30 to 17:30 every day. The entry fee is CNY40.

Bao En Temple

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