This pagoda in Hubei is extremely rare, hailed as 'the only one in China'. Out-of-town visitors think the pagoda has sunk.

Thousand-year-old Jingzhou, century-old pagoda.

There is a historic site in Jingzhou, Hubei that left a deep impression on me. Although I shared it not long ago, I always feel that this site is far from simple and must hold many untold historical stories.

Standing atop Guanyinji on the Jingjiang Levee, the Wanshou Pagoda is a brick-and-stone pavilion-style pagoda. Construction began in the 27th year of the Ming Jiajing reign (1548 AD), built by Zhu Xian, the Liao Prince who inherited the title in Jiangling, on the orders of his mother, Consort Mao, to pray for longevity for the Jiajing Emperor.

The stone pagoda is octagonal and seven stories, over 40 meters high. Each corner is carved with Buddha images, solemn and weathered, embodying both cultural depth and ancient times. When I first saw it, I couldn't help but marvel: such a historic site is truly one of the most rewarding discoveries of my trip to Jingzhou.

Wanshou Pagoda, also known as Jieyin Pagoda, was repaired during the Qing Kangxi, Qianlong, and Jiaqing reigns. During the Daoguang reign, an iron hoop was added around the base to reinforce it. Since the pagoda was originally built to pray for the Jiajing Emperor's longevity, the bricks were donated by devotees from various regions, totaling over 2,300 pieces. Each brick is engraved with the donor's hometown and name.

The pagoda is inscribed with the full text of the Diamond Sutra, hand-copied by Consort Mao, making it one of the rare cultural relics in Jingzhou and Hubei Province. It took four years to complete.

Under the eaves of the pagoda, brick carvings imitate wooden beams, brackets, and dougong, simple and elegant. Inside the pagoda are 102 stone steles and 2,347 relief brick carvings, whose brick carving art is considered the pinnacle of Jingchu. Additionally, there are 901 decorative bricks and inscribed bricks, engraved in Chinese, Manchu, and Tibetan, donated from various places.

On the fourth floor, there is a stele inscribed with "Record of the Construction of Wanshou Pagoda by Prince Liao Zhu Xian." Though the characters are worn, it is a valuable resource for studying the pagoda's construction history. Unfortunately, due to the pandemic, the pagoda is temporarily closed.

Although I couldn't enter the pagoda to view these relics or climb to overlook the vast river with its surging waves, the dozens of Buddha statues carved on the exterior of each level are still awe-inspiring.

Walking clockwise around the pagoda three times, I tried not to miss any Buddha statue. Some statues, weathered by time, have lost their forms, yet in the long river of history, they have absorbed all worldly appearances and still exude vivid charm.

Each Buddha statue is so solemn that it brings peace to the soul.

Around the first level, a protective wall built of stone is embedded with stone tablets inscribed with poems and writings by literati of various dynasties. This not only protects the pagoda but also forms a scenic wall. At the same time, under the eight corners of the lower stone base, stone carvings of muscular guardian deities are embedded, mighty and majestic.

Above the pagoda door is a stone plaque with the regular-script inscription "Wanshou Pagoda." Inside, a 8-meter-tall Welcoming Buddha is enshrined. Although I didn't see it, through the closed door I could still feel its solemn serenity.

In the autumn rain, I stood alone in front of the pagoda, looking at the plants growing around its body, feeling a sense of endless vicissitude. This precisely testifies to its antiquity and age, yet also evokes a feeling of being "forgotten" (plant roots are highly damaging to cultural relics; I hope relevant authorities will pay attention and remove them as soon as possible).

For over 500 years, the Wanshou Pagoda has quietly stood atop Guanyinji, silently gazing at the Yangtze River. Whether the river rages like a dragon or flows gently like a ribbon, it has silently guarded Jingzhou for centuries. It is not only a historical witness to the flood disasters on both banks of the Jingjiang River but also embodies people's hopes to tame the river's currents.

The Jingjiang River, about 430 kilometers long, is named after ancient Jingzhou. It is divided into the Upper Jingjiang and Lower Jingjiang.

North of the Jingjiang lies the Jianghan Plain (the ancient Yunmeng Marsh area), and south lies the Dongting Lake Plain. The terrain is low-lying, and due to the winding river channels and flood discharge, it is prone to levee breaches and disasters. Hence the saying, "The most dangerous section of the Yangtze River is the Jingjiang."

Levee construction for flood control and reclamation of Yunmeng Marsh began in the Eastern Jin Dynasty 1,600 years ago, and by the Ming Dynasty, the Jingjiang Levee on the north bank was formed.

As the Jingjiang Levee was reinforced and raised year by year, the pagoda's body gradually sank below the levee surface, "submerged" 7.29 meters underground, creating an illusion that the pagoda had "sunk." This has produced the unique "underground exotic pagoda," like an ancient miracle emerging from the earth's fissures. This is the only such sight in China, a rare wonder among pagodas nationwide.