飞仙阁摩崖造像

Gazing upon these weathered cliffs, can you sense the echoes of devotion? Here at the Feixian Guan Mo Ya Statues, or Flying Fairy Cliff Carvings, time seems to ripple like the nearby Pengjiang River. These carvings, nestled near the village of Feixian Guan in Pengjiang County, Chengdu, aren’t simply static figures etched in stone. They are a vibrant tapestry woven from centuries of faith, artistry, and local legends. The earliest carvings date back to 689 AD, during the Tang Dynasty. Imagine the skilled artisans meticulously chipping away at the rock face, breathing life into Buddhist and Daoist deities. Over time, from the Tang to the Qing Dynasty, this sacred space grew. It now boasts an impressive collection of 777 statues housed within 92 niches. The subjects range from serene Buddhas and Bodhisattvas to powerful Daoist figures like Taishang Laojun, the Supreme Venerable Lord, and the celestial Ten Lords. The largest statue here, a six-meter-tall Maitreya Buddha from the Tang Dynasty, resides in Niche 8. Its imposing presence dominates the cliff face, a testament to the enduring power of faith. Niche 9 holds another treasure: a depiction of the “Three Sages of the West,” also from the Tang Dynasty. This niche also houses other Buddhist figures, adding to the rich tapestry of spiritual beliefs represented here. Sadly, in 2003, thieves targeted this sacred site. Two heads were stolen from statues within Niche 9. The theft serves as a stark reminder of the fragility of these historical treasures and the importance of their preservation. The Feixian Guan Mo Ya Statues also offer a glimpse into local folklore. One carving depicts a figure known as “Loumi Niangniang,” or Leaky Rice Goddess, connected to a local legend about fertility and motherhood. Another tells the story of Mo Gong, a military official who abandoned his post to settle in this area, captivated by its beauty. He is said to have become a hermit, dedicating himself to spiritual practices. The presence of Daoist deities here, amidst the predominantly Buddhist iconography, points to the syncretic nature of religious beliefs in this region. The carvings themselves display a variety of artistic styles, from high and bas-relief to round carvings and line engravings. The Buddhist figures, in particular, showcase a blend of influences, incorporating elements from Gandhara, a region in ancient India, alongside distinctly Chinese features. The Feixian Guan Mo Ya Statues aren’t just a collection of religious icons. They are a living testament to the spiritual and artistic traditions of this region, offering a window into the hearts and minds of those who came before us.