Dazu Rock Carvings, located in Dazu District of Chongqing Municipality, is the collective name for 141 cliffside sculpture sites in the region. The national-level protected sites include Baodingshan, Beishan (with Duobao Pagoda), Nanshan, Shimenshan, Shizhuanshan, Miaogaoshan, and Shucheng Rock; municipal-level sites feature Jianshanzi, Qianfoyan, Fengshansi Temple, Shengshui Temple, Chenjiayan, and Pusheng Temple; while district-level sites encompass 61 locations such as Banchanggou. With over 50,000 statues predominantly Buddhist in theme and Taoist secondary, the carvings primarily employ high and low relief techniques, with limited full-round sculptures and rare incised line engravings. These carvings stand as equals to China's great grotto masterpieces: the Yungang Grottoes in Datong, Longmen Grottoes in Luoyang, and Mogao Grottoes in Dunhuang.
First carved during the Yonghui era of the early Tang Dynasty (650-655 CE), Dazu Rock Carvings evolved through the late Tang, Five Dynasties, flourished during the Song Dynasty, and saw supplementary additions during the Ming and Qing periods. This monumental complex represents the culmination of Chinese stone carving art, acclaimed as the epitome of late Chinese grotto art. Renowned for its grand scale, exquisite craftsmanship, diverse themes, and remarkable preservation, it uniquely integrates the "Three Teachings" of Buddhism, Taoism, and Confucianism. Distinguished by its nationalized aesthetics, secular orientation, and vivid depictions of daily life, it stands apart in Chinese grotto art. Through extensive visual documentation and historical inscriptions, it reveals the evolution of Chinese grotto styles and folk religious beliefs from the late Tang through Song dynasties, making irreplaceable contributions to the innovation and development of Chinese cave art with unparalleled historical, artistic, and scientific value.
Representing both the pinnacle and final monumental masterpiece in world grotto art history, the Dazu Rock Carvings were inscribed on the UNESCO World Heritage List in December 1999, remaining Chongqing's only World Cultural Heritage site to date.
Located in Baoding Town, Dazu District, Chongqing, the Baodingshan (lit. Treasure Summit Mountain) Cliffside Carvings are centered primarily around Dafowan (Great Buddha Bay), with additional sites including Xiaofowan (Little Buddha Bay), Guangdashan, Longtan (Dragon Pool), and Songlinpo (Pine Slope). Carved between the sixth year of the Chunxi reign and the ninth year of the Chunyou reign of the Southern Song Dynasty (1179–1249 CE), the project spanned over 70 years.
The carvings are distributed across the eastern, southern, and northern cliff faces, comprising 31 large-scale sculptural compositions, 17 inscribed steles, and carvings covering approximately 3,600 square meters of cliff surfaces. With the exception of the Vairocana Cave and the Perfect Enlightenment Cave, all works are cliffside ensemble carvings. Key iconographic themes include: 1. Dharma-protecting Deities; 2. Six Realms of Reincarnation; 3. Grand Pavilion of the Vast Treasure; 4. Three Sages of the Avatamsaka Sutra; 5. Thousand-Handed Avalokiteshvara; 6. Mahaparinirvana of Sakyamuni; 7. Birth of Sakyamuni; 8. Sutra Illustrations of Mahamayuri Vidyaraja; 9. Vairocana Assembly; 10. Sutra Illustrations on Parental Kindness; 11. Sutra Illustrations on the Buddha’s Repayment of Kindness; 12. Visualization of the Amitayus Sutra; 13. Diagram of the Six Attachments; 14. Depictions of Hell; 15. Liu Benzun’s Missionary Assembly; 16. Ten Wisdom Kings; 17. Perfect Enlightenment Assembly; 18. Ox-Herding Parables
Most compositions are accompanied by carved sutras, gathas (Buddhist hymns), and eulogies, blending art with doctrinal texts to create a monumental integration of religious philosophy and sculptural mastery.
-Dafowan (Great Buddha Bay)
Situated in a U-shaped valley below the left side of Shengshou Temple, Dafowan features cliff carvings spanning approximately 500 meters in length and 8 to 25 meters in height along its eastern, southern, and northern faces. The sculptures are systematically cataloged into 31 numbered units, which include:
Every niche integrates carved texts and images with no repetition across the complex. Primarily showcasing esoteric Buddhist iconography, Dafowan stands as a masterpiece of Song Dynasty cave temple sculpture, renowned for its doctrinal depth and artistic unity.
-Xiaofowan (Little Buddha Bay)
Located to the left of Shengshou Temple, Xiaofowan preserves over 2,000 statues, including themes such as: Sutra Illustrations on Parental Kindness, Ten Wisdom Kings, Depictions of Hell, Liu Benzun’s Missionary Scenes, and Small relief figures.
In front of the Vairocana Shrine stands a three-tiered square stone pagoda:
The upper two tiers depict Sakyamuni Buddha, other Buddhist figures, and a statue of Zhao Zhifeng (the site’s chief designer).
The base tier is densely carved with sutra titles, earning it the name “Sutra Catalogue Pagoda” (Jingmu Ta). Notably, dozens of newly invented characters created by Zhao Zhifeng appear here, not found in standard lexicons.
The site also houses a Song Dynasty stele inscribed with the “Biography of Liu Benzun of the Tang Dynasty” (Tang Liu Benzun Zhuan). Though partially legible, the text—transcribed by Zhao Zhifeng—provides rare historical insights into the legendary figure Liu Benzun.
Adjacent Structures:
Shakyamuni Tathagata Relic Pagoda (Shijia Zhenru Sheli Ta)
Dharma Wheel Pagoda (Zhuan Falun Ta)
Over a dozen boundary-marking carvings (jiexiang) around the area, delineating sacred ritual spaces.
-Shengshou Temple
Situated to the right rear of Baodingshan’s Dafowan (Great Buddha Bay), Shengshou Temple is an esoteric Buddhist monastery founded in 1178 CE (the fifth year of the Chunxi reign of the Southern Song Dynasty) by the eminent monk Zhao Zhifeng. Originally named “Cliff of Five Buddhas” (Wufo Ya), the temple spans 5,000 square meters and is architecturally integrated into the mountainside, renowned for its majestic scale and grandeur.
Historical Timeline:
Southern Song: Established by Zhao Zhifeng.
Yuan and Ming dynasties: Destroyed by warfare.
Ming and Qing dynasties: Rebuilt twice.
Current Layout (Qing Dynasty Reconstruction):
The surviving complex comprises seven main halls: Mountain Gate (Shanmen), Hall of Heavenly Kings (Tianwang Dian), Hall of Indra (Dishi Dian), Mahavira Hall (Daxiong Dian), Hall of the Three Period Buddhas (Sanshi Fo Dian), Dipamkara Hall (Randeng Dian), Vimalakirti Hall (Weimo Dian). With a total floor area of 1,631.68 square meters, the temple exemplifies Qing-era monastic architecture while preserving its Song Dynasty esoteric Buddhist legacy.
-Guangda Temple
Located approximately 0.5 kilometers from Shengshou Temple, the cliff carvings outside Guangda Temple feature three half-body statues adorned with spiral-coiled hair (a symbol of Buddhist divinity) and crowns, reflecting esoteric Buddhist iconography.
Longtan Cliffside Carvings
Situated about 2 kilometers from Shengshou Temple, the Longtan carvings include:
A seated figure on the lower cliff section, depicted wearing a bamboo hat and belt, with its head tilted back in an upward gaze.
Additional statues of Avalokiteshvara (Guanyin) and others.
Two fragmentary inscriptions, though their texts are largely eroded.
These carvings, though less extensive than those at Dafowan and Xiaofowan, contribute to the ritual and artistic coherence of Baodingshan’s sacred landscape.
-Songlinpo (Pine Slope)
Located approximately 1 kilometer from Shengshou Temple, Songlinpo features cliff niches carved with statues of Buddha, bodhisattvas, and other devotional figures. Though modest in scale compared to nearby sites, these carvings contribute to the broader religious and artistic continuum of Baodingshan’s ritual landscape.
The cliffside carvings of Beishan (North Mountain) were initiated in 892 CE (the first year of the Jingfu reign, Tang Dynasty) by Wei Junjing, then Military Commissioner of Changzhou and Commander of the Chang-Pu-Yu-He region. Carving continued through the Five Dynasties to the Shaoxing reign of the Southern Song Dynasty (12th century), spanning over 250 years. Centered around Fowan (Buddha Bay), the site includes sculptural clusters at Guanyinpo (Guanyin Slope), Fo’eryan (Buddha Ear Cliff), and Yingpanpo (Barracks Slope), collectively recognized as a pivotal representative of late Chinese cave temple art.
Key Features:
Scale: Nearly 10,000 statues, predominantly commissioned by lay patrons for devotional purposes.
Iconographic Themes: 51 distinct motifs, dominated by Esoteric Buddhism (over 50% of the total), alongside the Three Stages School (Sanjie Jiao) and Pure Land Buddhism. These themes reflect the popularization and localization of Buddhism during this period, diverging from earlier imperial-sponsored cave traditions.
Artistic Significance: Celebrated for its exquisite craftsmanship, technical mastery, and aesthetic refinement, the carvings document the evolution of Chinese Buddhist art and folk beliefs from the late 9th to mid-12th centuries (late Tang, Five Dynasties, and Northern/Southern Song periods).
Epigraphic Legacy:
7 inscribed steles
17 poetic and calligraphic engravings
77 dedicatory inscriptions
These texts hold significant value for studies in historical geography, religious practices, chronological classification of cave temples, and biographical research on key figures.
-Fowan (Buddha Bay)
Fowan, the central area of the Beishan rock carvings, stretches 500 meters in length with a cliff height of 7 meters. It comprises 264 niches (numbered 1–290) containing over 6,000 statues and 55 inscriptions. The carvings are divided into northern and southern sections: the southern section predominantly features works from the late Tang Dynasty and Five Dynasties period, while the northern section showcases creations from the Northern and Southern Song dynasties. Notable late Tang masterpieces include niches numbered 3, 5, 9, and 10. Caves 50 and 51, bearing inscriptions dating to the Qianning and Guanghua eras (late 9th–early 10th century), are celebrated for their lifelike, richly adorned figures.
Cave 5 houses a striking late Tang statue of Vaisravana (Heavenly King), standing 2.5 meters tall and 0.83 meters wide. The deity faces south, exuding majestic vigor with a tall square crown, flaming aureole and circular halo, armor, and a waist-mounted sword. His right arm extends horizontally while his left hand is raised, with two yakshas (demonic figures) beneath his feet. Flanking the main figure are distinctively rendered attendants and subordinates. Late Tang carvings in Beishan are characterized by full, rounded forms, solemn yet dignified expressions, and flowing drapery with understated ornamentation.
The site also preserves 6 stone steles and 8 sutra pillars. The Stele of Wei Junjing from the Tang Dynasty holds significant value for studying ancient Chinese calligraphy. Inscriptions additionally record the names of master craftsmen, including Xu An of Yingchuan and members of the Fu clan, such as Fu Yuanjun and Fu Shineng, offering rare insights into the artisans behind these works.
-Northern Section
The Northern Section represents the crown jewel of the Beishan carvings. Grotto No. 136, the "Sutra Rotating Library Grotto," measures 4.05 meters in height, 4.1 meters in width, and 6.79 meters in depth. This square, flat-ceilinged chamber features a central octagonal dragon-carved sutra pillar. The lower tier depicts Mount Sumeru adorned with coiled dragons, their heads and tails converging at the front. The central wall showcases a seated Shakyamuni Buddha, hands positioned in the teaching mudra, flanked by Avalokiteshvara (Guanyin) and Mahasthamaprapta. The southern wall hosts statues of Manjushri, Jade Seal Guanyin, and Cintamanicakra Guanyin, while the northern wall features Samantabhadra, Sun-Moon Guanyin, and Rosary-Holding Guanyin.
Five dedicatory inscriptions, dated to the Shaoxing era of the Southern Song Dynasty (1142–1146), remain on the grotto walls. Other dated works include statues from the Northern Song’s Xianping and Jingkang eras, as well as the Southern Song’s Jianyan period. Song Dynasty masterpieces in this section also include No. 125’s "Rosary-Holding Guanyin," No. 113’s "Water-Moon Guanyin," No. 155’s "Peacock Wisdom King," and No. 117’s "Illustrated Sutra of Ksitigarbha."
Nanshan (South Mountain), located 2 kilometers south of Dazu District in Chongqing, is a Daoist rock-carving complex initiated during the Southern Song Shaoxing era (1131–1162), though no precise start date is recorded. The Sanqing Grotto (Three Pure Ones), carved during this period, retains inscriptions at its entrance. Additional sculpting continued through the Ming Dynasty, with stele engravings added during the Qing and Republican eras. The site comprises six grottoes, including the prominent Sanqing Grotto, San Shengmu Grotto (Three Holy Mothers), and Longdong (Dragon Grotto), alongside the Ming-era Zhenwu Zushi Grotto (True Warrior Patriarch) from the Zhengde reign (1506–1521).
The Sanqing Grotto, a masterpiece of Nanshan, centers on a square pillar carved with statues of the Three Pure Deities (Jade Pure, Supreme Pure, and Grand Pure) in its frontal niche. Flanking the deities are six Daoist lords, while the walls display 220 celestial guardians in relief, totaling approximately 500 statues. At the site’s entrance stands the Jade Emperor Temple, whose surviving structures—Front Hall, Sanqing Hall, and Supreme Pure Pavilion—were largely relocated or reconstructed in the 1990s. The original Laojun Pavilion, housing stone statues of Laozi’s Twelve Disciples, collapsed during the Republican period. These carvings vividly depict the Song-era Daoist pantheon, serving as critical visual resources for Daoist studies.
Nanshan preserves 28 inscribed steles. The 1250 CE He Guangzhen’s Farewell to Prefect Wang Mengying (from the Southern Song Chunyou era) documents the socio-political turmoil in eastern Sichuan following Mongol invasions during the mid-13th century. This stele is hailed for its role in “verifying history through steles,” “supplementing historical records,” and “dating historical periods,” offering unparalleled firsthand insights. Other steles are equally renowned as exemplary works of epigraphic art.
Shimenshan（Stone Gate Mountain）Cliffside Carvings, situated on Stone Gate Mountain in Shima Town, Dazu District, Chongqing, form a vital component of the Dazu Rock Carvings, blending Buddhist, Daoist, and Confucian iconography. Spanning a cliff face of 71.8 meters in length and 3.4–5 meters in height, the site is collectively numbered 1–16, featuring 12 niches with over 400 statues, alongside 20 dedicatory inscriptions, 8 steles, 8 restoration records, and carver signatures such as Wen Weiyi, Wen Judao, and Jian Zhongjin.
Notably syncretic, Shimenshan’s carvings are distinguished by their Daoist themes. Key Daoist niches (Nos. 2, 7, 11, and 13) depict deities like Yuhuang (Jade Emperor), Qianliyan (Thousand-Mile Eye), Shunfenger (Wind-Accompanying Ear), Wutong Dadi (Five Thunders Emperor), Bingling, Shanwang (Mountain King), and Dimu (Earth Mother). Buddhist niches (Nos. 1, 3, 6, 8, and 9) showcase Yaoshi Fo (Medicine Buddha), Shakyamuni Buddha, Avalokiteshvara (Guanyin), Kongque Mingwang (Peacock Wisdom King), and Cilidimu (Hariti).
A marvel of supernatural craftsmanship, Shimenshan unites celestial beings, Buddhist figures, and folk deities within a single site, exemplifying the pinnacle of Dazu’s artistic achievement. Its carvings provide invaluable material for studying religious, historical, and artistic traditions of southwestern China, while also offering critical insights into the syncretism of Confucianism, Buddhism, and Daoism in Chinese history.
The Shucheng Rock Carvings, located in Dawu Village, Zhong'ao Town, Dazu District, Chongqing, are a Daoist rock-carved complex. Originally home to a Daoist temple that was later destroyed, the site gained its colloquial name "Half-Side Temple" after a half-covered corridor was constructed along the cliff base in 1937 (26th year of the Republican era) to protect the sculptures. Carved during the Southern Song Shaoxing era (1143–1153), the cliff face spans 38 meters in length and 6.5 meters in height, encompassing 11 niches with over 70 surviving statues and 13 inscriptions.
Key themes include Daoist deities such as Shuming Empress, Dongyue Dadi (Great Emperor of the Eastern Peak), Ziwei Dadi (Purple Tenuity Emperor), Sanqing (Three Pure Ones), and Yuhuang (Jade Emperor), reflecting the evolution of the Dongyue pantheon and holding significant status in Daoist history.
Together with Daoist carvings at Nanshan, Shimenshan, and Shizhuanshan, Shucheng Rock forms a cohesive belief system centered on Sanqing and Siyu (Four Celestial Sovereigns), representing a critical surviving example of Song Dynasty Daoist grotto art. Its precisely dated inscriptions and historically rich content offer unparalleled archaeological value, while the statues’ secularized aesthetic trends in attire and form provide vital references for studying Song-era clothing and religious syncretism.
The Miaogaoshan Cliffside Carvings, situated in Shuguang Village, Jijia Town, Dazu District, Chongqing, derive their name from the ancient Miaogao Temple that once crowned the mountain. Primarily Buddhist in theme, the site features a single niche uniquely blending Confucian, Buddhist, and Daoist iconography. Carved during the Southern Song Shaoxing era (1131–1162), the cliff face spans 35 meters in length and 13 meters in height, encompassing 8 niches.
The carvings display remarkable thematic diversity, including Amitabha Buddha, the Three Sages (Shakyamuni, Confucius, and Laozi), the Western Pure Land Triad, Ten Sacred Guanyin, Sixteen Arhats, and Water-Moon Guanyin. Their composition masterfully integrates sculptural and painterly techniques, achieving layered depth and vivid narrative focus. Notably, Cave No. 2 enshrines China’s earliest known syncretic niche of the Three Sages, symbolizing the harmonious fusion of the “Three Teachings.”
With its precisely dated inscriptions, rich iconography, and exceptional preservation, Miaogaoshan stands as a vital component of the Dazu Rock Carvings. It exemplifies the artistic zenith of mid-sized grotto complexes in the Sichuan Basin, offering critical insights into the region’s historical, religious, and artistic evolution during the Song Dynasty.
Situated in Longgang Subdistrict, Dazu District, Chongqing, Duobao Pagoda was constructed between the 18th and 25th years of the Southern Song Shaoxing era (1148–1155 CE). This 33-meter-tall brick-and-stone octagonal pagoda, designed in the multi-eave pavilion style, features over 140 niches of intricately carved high-relief stone sculptures and 70+ dedicatory inscriptions across its interior and exterior levels. Hailed for its exquisite craftsmanship, the pagoda’s carvings—ranging from Buddhist deities to narrative scenes—stand as an exemplary masterpiece of Song-era stone carving.
A fusion of architectural ingenuity and devotional art, Duobao Pagoda not only embodies the technical sophistication of Southern Song masonry but also serves as a testament to the artistic zenith of Southern Song religious architecture. Its well-preserved structure and iconography remain pivotal for studying Buddhist iconography and epigraphic traditions of 12th-century China.
The Shizhuanshan Cliff Carvings are located in Fohui Village, Sanqu Town, Dazu District, Chongqing. Carved between 1082 and 1096 during the Northern Song Dynasty (under the reign periods of Yuanfeng and Shaosheng), these sculptures were commissioned by Yan Xun and crafted by artisans of the Wen family. The site uniquely integrates Buddhist, Taoist, and Confucian imagery within a single complex. Originally, there were nine niches containing over 500 statues, including depictions of Hārītī (Goddess of Children), Master Zhi Gong, Manjusri and Samantabhadra, Ksitigarbha with the Ten Kings of Hell, and a rare Tri-religious Syncretism grouping. Among them are exceptional examples seldom seen in earlier grottoes, such as the Confucius Grotto, Three-Buddha Niche, and Laozi Niche, as well as the particularly precious Confucius and Ten Philosophers statues.
Inscriptions and statues from the Song Dynasty confirm that the Shizhuan Mountain Cliff Statues were carved by Yan Xun between the fifth year of Yuanfeng and the third year of Shaosheng (1082-1096). There were few additional carvings during the Yuan and Ming dynasties. In the fifth year of Yuanfeng (1082), the niche for the Three Buddhas was carved; in the sixth year of Yuanfeng (1083), the niche for Laojun was carved; in the third year of Yuanyou (1088), the niche for Confucius and the Ten Philosophers was carved; in the fifth year of Yuanyou (1090), the niche for Manjushri Samantabhadra was carved; and in the third year of Shaosheng (1096), the niche for Ksitigarbha, the Ten Kings, and the Two Officials was carved. The inscription "Yan Xun Ji" by the monk Xizhou confirms that the Fohui Temple already existed during the Yuanfeng era of the Song Dynasty. It was later reconstructed during the Yongle period of the Ming Dynasty, undergoing multiple cycles of prosperity and decline. Some parts were destroyed during the Cultural Revolution.
The Shizhuanshan Cliff Carvings represent a typical area where the three teachings of Confucianism, Buddhism, and Taoism are integrated, a rarity in cave sculptures. Notably, the sixth niche features Confucius and the Ten Philosophers, with a seated statue of the eminent Chinese philosopher and founder of Confucianism, Confucius, on the main wall, flanked by depictions of his ten major disciples. This composition is truly unique among cave sculptures. The seventh niche contains the Three Buddhas, while the eighth niche houses Laojun, with a seated statue of the founder of Taoism, Laozi, in the center, flanked by seven statues of immortals and masters on each side. According to the records of the sculptures, these three niches were all sponsored by the prominent landowner Yan Xun and were carved by skilled craftsmen such as Wen Weijian at the time.
Spring (March–May) and Autumn (September–November) offer mild weather and fewer crowds6.
Avoid peak hours (11:00–15:00) during holidays like Chinese New Year, when the site draws large crowds3.
Baodingshan:
Peak season (March 1–November 30): 135 RMB
Off-peak (December 1–February 28): 110 RMB2.
Beishan: Open until 23:00 for night tours, offering a mystical atmosphere under illuminated carvings5.
Discounts: Free entry for children under 1.2m, seniors over 65, and half-price tickets for students5.
From Chongqing: Drive 102 km via the G5013 Expressway (2 hours) or take a high-speed train to Dazu Station, followed by a short bus ride26.
Local Transport: Public buses connect major sites like Baodingshan and Beishan. Taxis are affordable for group travel6.
Guided Tours: Book a knowledgeable guide to unravel the stories behind the carvings. Many guides speak English1.
Digital Films: Watch The Story of Dazu or Dazu Rock Carvings, screened 10 times daily, to deepen your understanding3.
Night Tours: Explore Beishan’s illuminated carvings for a serene, crowd-free experience5.
Don’t miss Chongqing’s iconic dishes: spicy hotpot, silken tofu (Douhua), and glutinous rice cakes (Ciba). For souvenirs, pick up Shixian Taibai liquor or Chen Mahua (crispy twists)23.
Cultural Extras: Events in 2025
2025 marks a special year for Dazu!
Dazu International Tourism & Culture Festival (March): Join traditional folk activities and live performances6.
Dance Drama The World of Dazu: This acclaimed show, inspired by the carvings, tours 100 cities nationwide. Catch it in Chongqing or other major cities89.
Respect the Heritage: Avoid touching the carvings, and keep noise levels low in sacred areas.
Plan Ahead: Check official websites for real-time updates on maintenance or events6.
From its awe-inspiring artistry to its tranquil natural settings, the Dazu Rock Carvings offer a journey through time. Whether you’re a history buff, an art lover, or a curious traveler, this UNESCO gem promises an unforgettable adventure. Pack your curiosity—and your camera—and step into the legacy of a thousand years!
