Western Garden Temple Five Hundred Arhats

Author: Juezhuang Buddhist Research Institute
Publisher:
Publishing Date: 2004-10-01
Features: ★16-inch hardcover, published by Yuehu Book Society ★Inscribed by calligraphers such as Qi Gong and Zhao Puchu, among other Buddhist figures ★This book is a photographic album of the 500 Arhats of Xiyuan Temple ★Clear images, diverse in style
The hardcover book "500 Arhats of Xiyuan Temple" is in 16-inch copperplate paper full color, inscribed by calligraphers such as Qi Gong and Zhao Puchu. The Juezhuang Buddhist Research Institute invited photography experts to conduct a comprehensive shoot of the 500 Arhats, providing readers with a clear and systematic visual collection for studying the art of 500 Arhat sculptures. The cover features a round sculpture of a thousand-armed Guanyin, facing the entrance of Xiyuan Temple's Arhat Hall. It is gilded, three meters tall, carved from a single block of camphor wood. Guanyin wears a celestial crown, has four faces, and possesses a thousand hands, each palm carved with an eye. The image is majestic and exquisitely crafted. Using this sculpture as the book's cover aligns with the design and layout philosophy of the Arhat Hall.
An Arhat is a shortened form of the Sanskrit term "Arahant," referring to a sage in Buddhism who has extinguished the delusions of the three realms of sight and thought, attained perfect wisdom, and is worthy of veneration by the world. Buddhist scriptures frequently mention records of 500 Arhats, 500 monks, and 500 leading disciples, such as in the "Self-Explanation of the 500 Disciples' Origins," "The Rise of the Dharma," "The Nirvana Sutra," and the "[Five Hundred Disciples Granting Prophecies]" chapter of the "Lotus Sutra." The "Sariputra Asking Questions Sutra" describes the 500 Arhats who protect the Dharma after the Buddha's passing. The assembly of the 500 great Arhats who compiled the Dharma treasury became the primary source of the 500 Arhat belief in later generations.
The origins of Chinese painting and sculpting 500 Arhats are now uncertain. It is generally believed that after the Tang Dynasty's Xuanzang translated the "Great Arhat Vajra Prajna's Record of the Dharma's Abiding" in the fourth year of the Yonghui era, the belief in Arhats gradually spread, leading to the emergence of Arhat portraits and sculptures. During the Tang Dynasty, figures like Wang Wei and the Five Dynasties' Guan Xiu created numerous works. The earliest documented text describing the creation of 500 Arhat sculptures is the "Chronicles of the Buddha and Patriarchs" by Zhi Pan of the Song Dynasty. Volume 43 states: [In the first year of Emperor Taizu's Yongxi era, 516 Arhat statues were ordered, installed in the Tiantai Shouchang Temple, and praised for "[Though not perfectly refined in brushwork, each possesses its own charm and subtlety, with a dense and intricate beauty that reaches perfection]." This is likely one of the earlier textual records of Arhat portraits.
After the Five Dynasties, the sculpting of 500 Arhats spread nationwide. A review of existing Song, Yuan, Ming, and Qing Dynasty collections reveals numerous records written by scholars for 500 Arhat statues or halls. The four most complete and skillfully crafted ancient Arhat statues in China are located in Beijing's Biyun Temple, Chengdu's Baoguang Temple, Wuhan's Guiyuan Temple, and our Suzhou Xiyuan Temple, collectively known as the "Four Great Arhat Halls." The Arhat Hall of Xiyuan Temple in Suzhou was built in the late Ming Dynasty and destroyed in the Xianfeng era of the Qing Dynasty due to warfare. The current stone arch gateframe, exquisitely carved, is a remnant of the Ming Dynasty, while the rest were rebuilt during the Tongzhi and Guangxu eras. The hall spans three sections with 48 rooms, arranged in a square pattern, centered around the Buddhist Four Sacred Mountains. Five hundred gilt-painted clay Arhats are arranged in pairs, alternating between odd and even numbers. The 500 Arhat sculptures vary in posture, appearing lifelike, with expressions of joy, anger, sorrow, and happiness all meticulously captured. The folds of their robes are distinct and unique, free of repetition. These are some of the most artistically refined and complete Qing Dynasty Arhat sculptures remaining in Jiangsu Province.
In addition, the four-faced thousand-armed Guanyin carved from camphor wood in the hall, as well as the uniquely shaped and lifelike sculptures of Ji Gong and the mad monk, are all masterpieces of Buddhist art, each exquisitely crafted. No wonder Zhang Zifeng of the Qing Dynasty praised them: [Sixteen feet of wood, gold-like in stature, each with its own divine presence—holding pearls, bowls, and flowers with smiles, or hugging knees and rubbing shoulders, displaying new postures.]
The preservation of the 500 Arhats of Xiyuan Temple has been the effort of generations. Especially during the Cultural Revolution, the abbot Mingkai risked his life to protect the temple. With Zhou Enlai's personal attention and General Chi Haotian's protection, Xiyuan Temple remained largely intact in Suzhou, and the 500 Arhats survived through the storms. To better protect these treasures, in 1986, we gilded all the temple statues and covered the 500 Arhat sculptures, using five kilograms of gold and spending over 600,000 yuan.
The original architecture of the Arhat Hall was relatively low, resulting in dim lighting, poor air quality, and gradually deteriorating beams and pillars. In July 1997, we undertook a comprehensive renovation of the Arhat Hall, lasting six months and costing over 1.5 million yuan. During the major renovation, we adhered to the principle of "[Restoring cultural relics as they were]" while innovating to meet modern needs. We raised the roof of the Arhat Hall by 60 centimeters and added brackets, improving both artifact preservation and the hall's environment. The hall now appears more beautiful and spacious, attracting numerous visitors and reviving the ancient temple with new vibrancy, making it a true gem of Wujiang.
In recent years, while expanding the temple, Xiyuan Temple has also strengthened the cultivation of Buddhist talent and the promotion of Buddhist culture. The proposal of "The Xiyuan Model" by Zhao Puchu, the establishment of the Juezhuang Buddhist Research Institute, and the construction of the "Three Jewels Building" have deepened public understanding of Xiyuan Temple's "1-2-3 Talent Cultivation Project" and "Juezhuang Spirit." After visiting, many friends have requested taking home the 500 Arhats of Xiyuan Temple for veneration, while scholars hope to study the art of 500 Arhat sculptures based on Xiyuan's models, repeatedly requesting related materials.
Although Xiyuan Temple previously published a small booklet on the 500 Arhats, its early printing and photography quality were insufficient for current needs. After careful research and deliberation, we invited photography experts to remove all glass protective covers from the Arhat Hall and conduct a comprehensive shoot of the 500 Arhats. Now, in collaboration with Hunan Yuehu Book Society, we present this book "500 Arhats of Xiyuan Temple," aiming to meet the needs of the Buddhist community, academia, and the general public, and providing firsthand materials for the promotion of 500 Arhat culture.
1. The editor removed the author bio link:
The Juezhuang Buddhist Research Institute was established in 1996 and is located in the famous Jiangnan temple—Xiyuan Juezhuang Lüsi Temple. Xiyuan Lüsi Temple was initially built during the Yuan Dynasty's Zhiyuan era (1264–1294) and named "Guīyuán Temple." In the late Ming Dynasty, Grand Secretary Xu Taishi transformed the declining Guīyuán Temple into a garden, naming it "Xiyuan." His son, Xu Rong, later donated the garden back to the temple, allowing Guīyuán Temple to be rebuilt. This also established the garden-style architectural layout of "the temple within the garden, and the garden as the temple's scenery." In the eighth year of the Chongzhen era (1635), the temple was renamed "Juezhuang Lüsi Temple" after Mao Lin Xingzhi was appointed as the abbot, marking the beginning of its emphasis on the Buddhist precepts. In the late Qing Dynasty and early Republic of China, Master Guanghui revitalized Juezhuang, building the Heavenly King Hall, Main Hall, Sutra Pavilion, and other Buddhist halls. He personally traveled to the imperial court to obtain the "Dragon Sutra" and the title "Zhenguo Juezhuang." In recent years, thanks to the efforts of Abbot Puren and all the monks, Xiyuan Juezhuang Lüsi Temple has been further expanded. The construction of the mountain gate square, front garden, Three Jewels Building, student dormitories, and the software development centered around "Dao, Learning, and Family" have created a favorable environment for the study and research of the Juezhuang Buddhist Research Institute.