The Elegance of Handan, Ancient Capital of Six Dynasties
After becoming a museum volunteer, I've been immersed in it and grown to love cultural and museum tours even more. On the weekend of September 7, 2024, I visited Handan, the ancient capital of six dynasties. This is Ye City of the Northern Qi, the birthplace of Qin Shi Huang, the place where King Wuling of Zhao rose to power, the capital of idioms, and also the Wei capital of Cao Cao from the Three Kingdoms period.
As soon as I got off the car, I saw wide roads and rows of high-rise buildings—a fairly modern and clean city. I took a ride-hailing car directly to Xiangtangshan Grottoes, a royal cave temple carved by the Northern Qi rulers Gao Huan and his son Gao Yang. During the eastward spread of Buddhism, from the Maijishan Grottoes of the Later Qin period of the Sixteen Kingdoms, to the royal cave temples of the Northern Wei—Yungang Grottoes and Longmen Grottoes in Luoyang—the Northern Qi Xiangtangshan Grottoes served as a transitional phase.
Xiangtangshan Grottoes are located in Gushan Mountain of the Taihang range. The drive took about an hour. The Fengfeng mining district had severe environmental pollution from mining and quarrying, which was quite unpleasant—similar to what Yungang Grottoes used to suffer, where tourist vehicles and coal trucks shared the road. Adhering to the environmental concept that "lucid waters and lush mountains are invaluable assets," the area has been well managed now. Entering the scenic area, the first sight is Changle Temple, first built in the Northern Qi and known as "the most ancient temple in the Heshuo region" during the Tang dynasty; it was named Changle Temple in the Northern Song. Outside the temple stands a brick pagoda in imitation of Song wooden architecture; the base and body are intact, but the spire is damaged—it is an important relic of Xiangtangshan Grottoes. Changle Temple suffered from wars and natural disasters throughout history and was eventually destroyed by fire in 1946. Passing through the main gate under renovation, one can see preserved stone pillars, steles, and statues, which are important materials for studying Buddhist art from the Northern Qi to the Song dynasty.
Beyond Changle Temple, I climbed the steps. Along the way, a newly built prayer platform enriches the tour. The grottoes are concentrated in the best quality rock on the mountainside of Gushan, totaling 16 caves with over 4,000 statues. Because the caves are deep and echo when people clap or swing their sleeves, they are called "Resounding Hall" (Xiangtang). The huge Buddha statues reflect royal grandeur. The grottoes were first carved in the Northern Qi (550–577 AD), with subsequent additions during the Sui, Tang, Song, Yuan, and Ming dynasties.
Great Buddha Cave: a central square-pillar pagoda cave. The cave has a square plan and flat ceiling, with a square pillar in the center that has niches on three sides. The back wall connects to the mountain above, while the lower part forms a narrow corridor for circumambulation. Although it inherits the form of the central pillar pagoda cave from Yungang, it simplifies the complex, detailed "three- or five-story, three-sided, each side with a niche" style of Yungang into a straightforward, clean, and generous form with one large niche on each of three (or one) sides of the central pillar. This reflects the development trend of central pillar caves from complexity to simplicity in the Northern Dynasties, possibly related to economic conditions. Niches are carved on all four walls; the front wall has the entrance in the center, with two window openings above, and between them a large relief of an imperial procession worshipping Buddha. The Buddha figures are robust and solid, showing the strength and boldness of the Northern Qi people. Faces are slightly full, with high noses and long eyes. The drapery lines are sparse, forming irregular step-like folds over the body, with the robe hem spreading on the seat. This style exhibits the "Cao's robe emerging from water" tradition. The body proportions appear slightly top-heavy. The bodhisattvas on the left and right twist their hips and protrude their bellies, with weight on one foot, initiating the later Sui and Tang style of "plump and voluptuous, with slender waists and triple bends."
Sutra Carving Cave: In 568 AD, Tang Yong, Duke of Kaihua of the Northern Qi, first carved the Vimalakirti Sutra (four parts) onto the stone walls, pioneering the practice of engraving scriptures on stone walls. Thus, Xiangtangshan Grottoes are also the birthplace of Chinese Buddhist scripture carving. The audio guide I rented didn't work here; actually, I could have listened in on other tours, but I made a mistake in my preparation and wasted money.
After visiting, I walked down the mountain to the Digital Museum. I think this is an excellent extension of the grotto tour. It enriches the scenic area's content and diverts some visitors; through panels and explanations, one can better understand the styles and development of the grotto sculptures. Moreover, many Buddha heads and hands have been stolen from our grottoes. By collecting fine pieces scattered abroad, digital modeling and 3D printing preserve data. Finally, we must not forget history, remember the national humiliation, and forge ahead.
I booked a ride-hailing car, but it arrived early. I hurried to the Southern Xiangtang Grottoes, 15 kilometers away. Most of them are severely damaged, but the Thousand Buddha Cave is relatively well preserved. It is a three-wall, three-niche Buddha hall cave. Outside the door, two niches each contain a muscular guardian. Inside, three walls open large niches, each with one Buddha, two disciples, and two bodhisattvas. The front wall is densely carved with a thousand Buddhas. The most spectacular feature is the large lotus carved on the ceiling center, surrounded by eight flying apsaras and jewels, exquisitely carved—a masterpiece among Xiangtangshan ceiling carvings. Northern Qi grottoes often have imitation-wood structure cave porches. The cave porch of Southern Xiangtang Cave No. 2 has a bracket set with five puzuo, double copy and touxin style on the lintel—a unique example in cave architecture and valuable material for studying Northern Dynasties architecture. Without an audio guide here, it's not easy to notice.
The sculptural art of Xiangtangshan Grottoes represents the highest level of Buddhist sculpture in the Northern Qi period, hailed by academia as the "Northern Qi sculptural style." The Northern Qi statues have full, round faces, robust bodies, and standing figures resemble cylindrical columns that are larger on top and smaller below. The drapery is thin, sparse, and close to the body. This marks a transition from the Northern Wei's linear style to a new style focused on volume, with strong texture, serving as a transitional phase from the Northern Wei to the Sui and Tang. Various niches, altars, lotus pedestals, and backlighting are decorated with deep and shallow reliefs of intricate and varied patterns, well-arranged and dense yet orderly, creating a strong decorative effect—a characteristic of Xiangtangshan's Northern Qi caves. Xiangtangshan Grottoes are not only important materials for studying Northern Qi Buddhist culture, art, and history but also a shining pearl of Chinese cave art.
I booked a ride-hailing car back to Handan city center to check in. Feeling a bit tired, I ordered rice noodles via delivery, which was better value than eating in the restaurant. The platform is really convenient, serving users and expanding business scope for merchants, though they may face some squeeze. The hotel I stayed at was in an excellent location, an old neighborhood. The next day, I walked through the Zhao King's city wall, saw a stone seat carved with Huang Tingjian's cursive script of "Biography of Lian Po and Lin Xiangru," and turned around to see the Alley of Returning Carriage where Lin Xiangru avoided Lian Po, full of historical atmosphere. Walking along the old street, I saw Republican-era buildings, the former site of the Shanxi-Hebei-Shandong-Henan Border Region Government. Every ancient city has such old streets, perfect for photos.
I rode a shared bike to Congtai Park. On the weekend, people in the park were playing music and singing, quite lively. The melody of the Yu opera "Zhaoyang Gully" filled my ears; I thought Zhaoyang Gully was in Henan, but it turns out it's in nearby Wu'an. The clapper talk is also a traditional Wu'an performing art, the sound of bamboo clappers ringing. The Qin Shi Huang Birthplace Memorial Hall looks like a Warring States period inn. I learned about the life of the First Emperor. His father, Yiren (Zichu), as a hostage of the Qin state in Handan, gave birth to Yingzheng (Qin Shi Huang). Lü Buwei considered him a rare commodity to invest in and helped him become King Zhuangxiang of Qin, laying the foundation for Qin Shi Huang's unification of the six states. Later, Yingzheng defeated the six states, unified China, standardized chariot tracks and writing, and established great achievements. "Learning to walk in Handan" describes his mother Zhao Ji's dance steps similar to ballet. Handan, the capital of idioms, has about 5,000 idioms, of which 1,584 are related to Handan. Parks and streets are filled with promotional boards bearing idioms.
At the site of Congtai, where King Wuling of Zhao reviewed troops and watched performances, I imagined him adopting barbarian clothing and cavalry, marching south, making Handan the capital, and becoming one of the Seven Warring States. Climbing Congtai, I had a panoramic view of the park, with lotus leaves swaying and citizens relaxing and exercising. Truly, so many events of past and present become subjects of laughter.
Leaving Congtai, I rode a bike straight to Handan Museum. Handan is a city that has never changed its name since its founding 3,100 years ago. The museum tells the glorious 3,000-year history of Handan through several brilliant chapters: King Wuling of Zhao making Handan the capital, Gao Yang of Northern Qi calling himself emperor in Ye, Cao Cao establishing his Wei capital in Ye, and during the Anti-Japanese War, the Shanxi-Hebei-Shandong-Henan military and civilians using tunnel warfare to resist Japanese aggression. The most exquisite artifacts are a Warring States gilt-bronze sword pommel with dragon pattern and inlaid jade, and a red agate belt hook, superior in material and fine in craftsmanship, representing the highest technology of the time. Handan Cizhou Kiln: historically, the south had Jingdezhen and the north had Cizhou Kiln. Cizhou established the peak of folk kilns, featuring white ground with black carved patterns. Without the grandeur and delicacy of official kilns, it has more simplicity and folk rustic flavor, rough and bold, closer to the people. A child's ceramic pillow is inscribed with "To dream of a high hall, you must rely on a wonderful pillow for rest"—it seems a good night's sleep has been a human aspiration since ancient times. I also saw Buddha statues and took a set of "Buddhas at work" photos: cynical ones, ones looking worried under criticism, and smiling ones receiving bonuses, each with a different expression. Nowadays, I spend at least half a day in any museum. I didn't have time to visit the Idiom Hall carefully, so I'll save it for next time.
