White Stupa Temple: Friendship Across the Himalayas

Today, we’ll talk about a renowned Buddhist-style temple located in downtown Beijing as well as the Nepalese architect who played a significant role in cultural exchanges between China and Nepal during the Yuan Dynasty.

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White Stupa Temple: Friendship Across the Himalayas

Today, we’ll talk about a renowned Buddhist-style temple located in downtown Beijing as well as the Nepalese architect who played a significant role in cultural exchanges between China and Nepal during the Yuan Dynasty.

On December 22, 2023, the exhibition “Friendship Across the Himalayas: China-Nepal Cultural Exchange” was opened at the Miaoying Temple in Beijing, widely known as the White Stupa Temple. The exhibition, divided into three sections, showcased Nepalese culture, the 1,600-year history of cultural exchanges between China and Nepal, and a new chapter in the relationship between the two nations in the new era. A special section was dedicated to presenting the life and artistic achievements of Nepalese architect Araniko through vivid and accessible comic strips.

The White Stupa Temple is situated on Fuchengmen Inner Street in Xicheng District, Beijing, best known for its visible white pagoda. Built during the Yuan Dynasty, which lasted from 1271 to 1368, the pagoda is China’s earliest and largest surviving Lamaist tower, serving as the sole intact relic from the Yuan Dynasty in present-day Beijing. In 1961, the State Council designated the pagoda a nationally protected cultural heritage site.

To trace its construction history, we must go back to the second year of the Shouchang era of the Liao Dynasty when Yong’an Temple was established in 1096. Originally, Yong’an Temple housed a stupa containing relics related to Shakyamuni, the founder of the Buddhist movement. Towards the end of the Jin Dynasty, the temple was destroyed in the flames of war, leaving only the stupa’s base. 

During the Yuan Dynasty, when Kublai Khan, the fifth Khan of the Great Mongol Empire and founder of the Yuan Dynasty, established Beijing as his capital, locals claimed to witness mysterious lights near the base of the Shakyamuni stupa in Yong’an Temple. This news reached the imperial palace, prompting Kublai Khan to personally inspect the site. It wasn’t until the underground chamber of the Shakyamuni stupa was opened that people were astonished to find 20 sarira – supposedly pearl or crystal-like, bead-shaped objects that are purportedly found among the cremated ashes of Buddhist spiritual masters – inside, suggesting that the miraculous lights were emitted by these sacred relics.

This event once again caught the attention of Kublai Khan. In 1271, he decreed that the Nepalese architect Araniko construct a Tibetan Buddhist-style white pagoda on the site of the Shakyamuni stupa. Minister Yi Lianzhen was assigned to embellish the pagoda by placing scriptures, gold, silver, jewels, and other sacred items inside. Completed in 1279, the pagoda became a landmark, earning it the moniker “Golden City and Jade Pagoda.”

With the White Stupa at its core, Kublai Khan constructed the Dashengshou Wan’an Temple, covering an area of approximately 160,000 square meters, serving as the royal Buddhist and translation center of the Yuan Dynasty.

Unfortunately, in 1368, during the transition from the Yuan Dynasty to the Ming Dynasty, the temple was destroyed by fire, leaving only the White Stupa intact. In the eighth year of the Xuande era, in 1433, during the Ming Dynasty, the pagoda underwent repairs. In 1457, the first year of the Tianshun era, the temple was rebuilt and bestowed the name Miaoying Temple by Ming Emperor Yingzong. Miaoying Temple literally means the Temple of Marvelous Response.

The rebuilt Miaoying Temple underwent changes in scale and architectural layout, ultimately adopting a central axis symmetry and a “front hall, rear pagoda” pattern.

The present-day White Stupa Temple faces north and occupies an area of approximately 13,000 square meters. It consists of the main hall and the pagoda compound. Along the central axis, from south to north, the arrangement includes the mountain gate, bell and drum tower, Hall of Heavenly Kings, Hall of Great Enlightenment, Hall of the Buddhas of the Three Ages, and the pagoda compound.

During the Qing Dynasty, which lasted from 1644 to 1911, due to the widespread reverence for Tibetan Buddhism in Mongolia and Tibet, the Miaoying Temple with its Tibetan Buddhist White Stupa gained renewed attention. During the reigns of Kangxi and Qianlong, respectively, substantial funds were invested in the renovation of the temple. In 1753, Emperor Qianlong bestowed the entire Tripitaka, a hand-copied Heart Sutra, Tibetan scripture of the Victorious Dharani, and other treasures, totaling 724 volumes, into the top of the pagoda, conducting a “second consecration” as sacred objects for the pagoda’s protection.

In 1913, the caretaker lama of the White Stupa Temple, facing economic challenges, requested the government to commercialize and lease the temple to fund repairs. The government approved, leading to the establishment of the White Stupa Temple Fair, evolving into one of the four major traditional fairs in old Beijing. This lively event continued from the early years of the Republic of China until the establishment of the People’s Republic of China in 1949, creating a vivid picture of the folk customs of the people of old Beijing.

Since 1949, numerous cultural heritage sites have received proper protection. In 1962, lightning rods were installed on the White Stupa for protection. In 1972, then Chinese Premier Zhou Enlai instructed that, “The White Pagoda Temple in Xicheng, built by Nepalese engineers for us, should not be considered a temple but as a historical site for sightseeing purposes only.”

In 1976, the huge earthquake that rocked Tangshan, Hebei Province, strongly affected Beijing, causing severe damage to the White Stupa. The apex of the stupa leaned to one side, causing the bricks and mortar supporting it to crumble, resulting in damage to numerous relics. In 1978, the cultural heritage department conducted a survey and formulated a comprehensive restoration plan. During the restoration, workers unexpectedly discovered the treasures deposited during Qianlong era’s “second consecration”.

In 1980, the White Stupa Temple officially opened to the public. In 1997, the Beijing municipal government demolished the White Stupa Temple food market that occupied the original site of the temple’s mountain gate and bell tower. In 1998, following the principle of “original site, original appearance,” the mountain gate and bell tower were rebuilt, restoring the full appearance of the White Stupa Temple. During the same year, construction work on the ancient structures on the east side commenced, demolishing residential buildings and refurbishing the east auxiliary hall and side rooms, gradually transforming the White Stupa Temple from a religious site to a public cultural service center.

In ancient times, constructing a Buddhist pagoda was no easy task, especially when ordered by an emperor. Apart from the engineering challenges, various factors needed consideration.

Kublai Khan, the founding emperor of the Yuan Dynasty, understood that, as a ruler, relying solely on military might was insufficient. He recognized the importance of establishing faith as a means of governance, hence adopting the fundamental policy of “governing the country with Confucianism and the mind with Buddhism.” He designated the Sakya school of Tibetan Buddhism as the state religion and entrusted its leader with both political and religious authority in the Tibetan region.

The construction of the White Stupa aligned with Yuan Dynasty’s governing policy. According to the Five Elements theory, the west corresponds to “metal.” Building a pagoda in the west of Beijing was seen as a way to “suppress metal,” metaphorically representing the replacement of the Jin Dynasty by the Yuan Dynasty, lending legitimacy to Yuan rule. However, Kublai Khan envisioned a unique and massive pagoda, deviating from conventional tower or eave styles. To fulfill his vision, he turned to a member of his talent pool – Araniko.

Historical records indicate that Araniko was born in 1244 into a noble family in Patan, Nepal, known as the City of Supreme Arts. Raised amidst the influence of his country’s folk art, Araniko developed a remarkably intelligent and mystical demeanor. Legend has it that, at the age of three, while worshiping, he inquired about the pillars and Buddhist decorations in the pagoda, surprising his family. The official history of the Yuan Dynasty, also notes that Araniko, from a young age, studied Sanskrit and craftsmanship, possessing innate talents in aesthetics and architecture, particularly in sculpting and pagoda construction.

In 1259, Kublai Khan decreed that construction would begin on the Golden Pagoda in Tibet and sent envoys to Nepal to select craftsmen. The Nepalese king ordered the selection of 80 individuals, but, due to the challenging terrain, it was difficult to choose a leader. At 17 years old, Araniko volunteered to lead the team, but was met with the envoy’s skepticism about his age. Araniko insisted on his capabilities, and the envoy decided to let him try. Araniko successfully led the craftsmen to Tibet.

The following year, the Golden Pagoda was completed, and Araniko prepared to return home. However, Yuan’s first imperial preceptor Phags-pa, recognizing his talent, took him as a disciple and brought him to meet Emperor Kublai Khan. Though impressed, Kublai Khan, in order to assess Araniko’s artistic skills, presented a damaged bronze acupuncture figure and asked if it could be repaired. Although Araniko had no prior experience, he expressed a willingness to try. After two years of effort, the bronze figure was restored to its original state, delighting Kublai Khan, who promptly rewarded Araniko.

As a result, in 1271, when Kublai Khan decided to build a Buddhist pagoda, he remembered Araniko. True to the emperor’s decree, Araniko undertook the significant task of designing and constructing the Dashengshou Wan’an Temple.

Drawing inspiration from his hometown, Patan, and incorporating insights gained there, as well as considering the overall layout of the Yuan Dynasty capital, Araniko designed a distinctive Tibetan-style white pagoda. Hence, it came to be known as the Lama Pagoda, influenced by the ancient Indian bell-shaped stupa design, with the main structure resembling an inverted alms bowl. After eight years of tireless work, in 1279, Araniko completed the construction of the White Pagoda. Standing at 50.9 meters, crafted from bricks and stones, the pagoda was immaculately white, displaying exquisite craftsmanship.

The tower blended the essence of both Chinese and Nepalese Buddhist stupa architectural styles, catering to religious activities, while also serving as a majestic symbol of the imperial city. Inscriptions from the Yuan Dynasty mention, “If it were not built so magnificently, its dignity would not be revealed; if it were not so grandly constructed, its imposing aura would not be displayed.”

The completion of the White Stupa not only added a new type of pagoda to China’s ancient architectural heritage, but also established a central model for the bell-shaped pagoda in Tibetan Buddhism. According to the official History of the Yuan Dynasty, on the day of the White Stupa’s completion, “strange lights illuminated the sky, and the capital city radiated brilliance.” The fame of the “Golden City, Jade Pagoda” was permanently etched into history. Overjoyed, Kublai Khan immediately ordered arrows to be shot in all directions from the White Stupa, delineating an area of 160,000 square meters. 

Araniko spent over 40 years of his life in China, dedicating himself entirely to the country. He left behind a vast collection of artistic masterpieces that have had profound impact on subsequent generations, in areas such as religion, architecture, painting, and handicrafts. Historical records note that many Buddha statues in the temples of Yuan Dynasty Beijing were crafted by his hands. The Buddha statues he created were referred to by his contemporaries as “Western Paradise Brahmas”, showcasing the pinnacle of Yuan Dynasty sculptural art and establishing the influential artistic school of the same name.

Araniko was a great artist who, with his talent and efforts, constructed an unparalleled pagoda for the capital of the Yuan Dynasty, ultimately becoming a part of Chinese culture. His story is a historical testament to friendship and cooperation across borders and ethnicities, a narrative that we should remember and learn from today. In 2002, the Araniko Association of Nepal presented a sculpture depicting Araniko at the age of 17 to the White Stupa Temple.

In 2019, on the eve of his state visit to Nepal, Chinese President Xi Jinping published an article titled “Elevating Friendship Across the Himalayas to New Heights,” mentioning Araniko and his construction of the White Stupa. 

Well, that’s the end of our podcast. Our theme music is by the famous film score composer Roc Chen. We want to thank our writer Lü Weitao, translator Du Guodong, and copy editor James McCarthy. And thank you for listening. We hope you enjoyed it, and if you did, please tell a friend so they, too, can understand The Context.