The Colors of the Tang Dynasty: Nankan Grottoes and the Cliffside Art of Bazhong

The "No. 1 Painted Sculptures of the High Tang"

1.Located on Nankan: Mountain, about 2 kilometers south of Bazhong City in Sichuan Province, the Nankan Grottoes (Bazhong Nankan Grottoes) stand as a magnificent treasure trove of Buddhist art. Carved directly into the cliff walls, this site features 176 caves and niches containing over 2,700 statues, making it one of the most significant grotto groups in the Sichuan-Shaanxi region. Unlike the monochromatic stone carvings often found elsewhere, Nankan is renowned for its vibrant, preserved colors, earning it the reputation of having the "No. 1 Painted Sculptures of the High Tang" in China. The statues here are not hidden in deep caves but are displayed like a grand picture scroll on a cliff face 252 meters long, offering a breathtaking visual feast of red, green, and gold pigments that have survived for over a millennium.

A Legacy of the Micang Ancient Road

2.The history of the Nankan: Grottoes spans over 1,300 years, beginning in the Sui Dynasty and flourishing during the Tang Dynasty, with continued activity through the Song and Qing periods. This artistic boom was driven by Bazhong's strategic location on the Micang Road (Rice Warehouse Road), a vital ancient trade route connecting the Central Plains of China with the Southwest. Merchants, officials, and monks traveling this route would stop here to commission statues for blessings or safe passage, bringing the artistic styles of the north (like Longmen and Yungang) to the Sichuan basin. A key historical figure, Yan Wu, a Tang Dynasty governor, played a significant role in renovating the site and petitioning the emperor to name the temple "Guangfu Temple." His contribution is immortalized in the "Yan Wu Memorial Tablet," a precious historical artifact preserved on the cloud-screen stone within the grottoes.

The Secular Beauty of Tang Art

3.What makes Nankan: Grottoes unique is the distinct "secularization" of its religious figures, reflecting the open and prosperous spirit of the High Tang era. Unlike the solemn and rigid deities found in earlier northern grottoes, the Buddhas here are depicted with plump, healthy physiques, and the Bodhisattvas are carved with graceful, feminine curves, resembling noble ladies of the Tang court. A prime example is the "Meitai Guanyin" (Charming Guanyin) in Niche No. 60, who wears a flower crown and flowing skirts, standing with a dynamic, almost dancing posture. Another fascinating local adaptation is the "Straw Shoe Heavenly King" found in Niche No. 116. This guardian deity is depicted wearing humble straw sandals typical of Sichuan farmers, a rare and charming detail that grounds the divine in the local reality of the region.

Masterpieces in the Niches

The site is home to several masterpieces of Chinese stone carving. The No. 107 Niche houses a majestic Lushena Buddha, standing 4.45 meters high. With a full face, dignified expression, and a robust physique draped in a kasaya, this statue epitomizes the grandeur and aesthetic standards of the Tang Dynasty. Another highlight is the No. 116 Niche, which depicts the "Transformation of the Western Pure Land." This intricate carving features 93 figures surrounding Amitabha Buddha, creating a lively scene of teaching and listening that is both rigorously laid out and exquisitely detailed. The site also features unique iconography such as the Double-headed Auspicious Buddha and the Hariti (Guizimu), a protector of children depicted as a loving mother, reflecting the diverse and popular beliefs of the time.