Time to Smile

Located 460 kilometers southeast of Beijing, in the central part of the Shandong Peninsula, lies the historic city of Qingzhou. Now a small county-level city, in ancient times the city held significant prominence. It was one of the “Nine Provinces” – ancient territorial divisions used in historical records that now symbolically represent China, with a history tracing back over 4,000 years. The name Qingzhou symbolizes spring and represents wood in Five Elements theory, a central pillar of traditional Chinese medicine.　

Historically, Qingzhou encompassed a vast area stretching from south of the Bohai Sea to north of Mount Tai, covering the Shandong Peninsula as well as parts of present-day Hebei Province. With its fertile soil, it was a political, economic and cultural hub in eastern China. However, as time passed, Qingzhou’s significance diminished, reducing it to a small county town. Despite this, Qingzhou is home to a prestigious cultural institution – Qingzhou Museum, which ranks as a national first-class museum. That puts it on par with institutions such as the Palace Museum and the National Museum of China.　

As the only county-level museum with such a high ranking, Qingzhou Museum boasts an extensive collection of over 50,000 cultural relics, including more than 3,000 precious artifacts. Among its most famous treasures are the so-called “Qingzhou Smiles,” referring to the Buddhist sculptures unearthed from the ruins of Longxing Temple in Qingzhou. Characterized by their gentle and serene expressions with tranquil smiles, these statues reflect the distinctive Qingzhou style of Buddhist art.

Qingzhou Museum immediately took measures to protect the site and sought approval to excavate from the State Administration of Cultural Heritage. Their efforts revealed an astonishing collection of exquisitely crafted Buddhist statues, leading to the subsequent discovery of Longxing Temple, a renowned Buddhist monastery dating from the Northern Qi (550-577) to the Tang Dynasty (618-907).　

The underground chamber measured 8.7 meters from north to south and 6.8 meters from east to west, containing hundreds of Buddhist sculptures meticulously arranged. The statues, crafted from limestone, white marble, granite, pottery, iron, wood and clay, spanned various dynasties, from the Northern Wei (386-534) to the Northern Song (960- 1127) dynasties. The largest statue stood 3.2 meters tall, while the smallest was only 20 centimeters. The sculptures were organized in three distinct layers, with woven mat imprints visible on the uppermost ones, alongside evidence of ceremonial burning. To the east of the chamber, they discovered a sloping pathway used to transport the statues to the burial site. These findings indicate that the statues were deliberately concealed.　

More than 600 Buddhist sculptures, 142 coins and two ceramic vessels were unearthed. Further exploration revealed the southern section of the chamber contained the remains of large architectural structures, believed to be the ruins of Longxing Temple, originally built during the Southern Dynasties (420-589). The temple site extended 200 meters from north to south and 150 meters from east to west, preserving the authentic layout of a pre-Tang Buddhist monastery. The main hall foundation, measuring 30 meters in length and 25 meters in width, hinted at the temple’s grand scale. Remarkably, Longxing Temple remains China’s only large-scale Buddhist temple ruin dating prior to the Tang with a clear and well-preserved architectural layout.　

Originally known as Nanyang Temple, it served as the principal monastery in Qingzhou, overseeing many surrounding temples. In 425, Liu Shanming, then governor of Beihai Commandery located within the modern-day Qingzhou region, donated his family residence to establish the temple. This marked the founding of what would later become Longxing Temple. Over the subsequent Northern Wei and Eastern Wei (534-550) periods, the temple expanded and prospered. By the Northern Qi Dynasty, it had grown into the largest and most revered temple in the eastern region, earning the title “The First Temple of the East.”　

During the reign of Tang Empress Wu Zetian (690-705), it was renamed Dayun Temple. It was not until the reign of Emperor Xuanzong (713-741) that it was officially named Longxing Temple. However, during the transition between the Song and Jin dynasties (1125-1234), the temple gradually fell into ruin due to the ravages of war. In the Hongwu era of the Ming Dynasty (1368-1398), its remaining structures were dismantled to build the residence of Prince Qi. The once-glorious temple, with its nearly thousand-year history, was lost to time. It was only in 1996, with the discovery of the Buddhist statue cache, that Longxing Temple’s mysteries were brought to light once again.

These Buddhist sculptures showcase exceptional craftsmanship, combining techniques such as round carving, basrelief, high relief, openwork carving, line engraving, gilding and painting. The statues are characterized by diverse facial expressions and gestures, exuding elegance and grandeur.　

One notable artistic feature is the intricate composition. Many sculptures are set against lotus-petal-shaped back screens, with the central Buddha figure in high relief accompanied by two Bodhisattvas or, in some cases, the Buddha alone. The upper parts of the screens often depict celestial beings flying around pagodas, dragons or jeweled vases, while the lower sections feature coiling dragons with lotus flowers, leaves and buds in their mouths, which serve as bases for the Bodhisattvas. The background often incorporates shallow relief carvings or painted elements like halos, auras and flame motifs. This artistic approach skillfully condenses Buddhist narratives into limited space, evoking a vibrant and harmonious atmosphere.　

When observing these Buddhist sculptures, it is evident that those from the Northern Wei period primarily follow the Central Plains style, characterized by solid and imposing features.　

However, the distinct Qingzhou style began to emerge during the Eastern Wei. The large, elaborate back screens of the sculptures, featuring graceful curves, celestial beings and pagodas at the top, along with twin dragons coiling and soaring at the base, became a hallmark of this regional artistry. 　

By the Northern Qi, the characteristic style featuring an elegant skeleton and delicate features was replaced by a new aesthetic. The back-screen reliefs almost disappeared, giving way to standalone, round-sculpted figures. These sculptures often had full rounded faces, symbolizing a shift in aesthetic preferences. Unlike the heavy, layered garments of the Northern Wei, Northern Qi sculptures displayed a completely different physical aesthetic. The clothing was thin and clung to the body, revealing the healthy and graceful curves of the figures.　

A particularly remarkable aspect of these Buddhist sculptures is the preservation of their gilded and painted decorations. Previously, it was believed that Buddhist sculptures were plain and uncolored. However, the gilding, which was applied to exposed skin areas of the Buddha, also adorned decorative patterns and ornaments. The use of vibrant pigments was even more extensive. Colors from cinnabar, azurite, ochre and malachite green were applied to clothing, patterns and narrative scenes illustrating the Buddha’s story. The seamless integration of painting and sculpture created a layered and dynamic visual effect, heightening the sanctity and grandeur of the Buddha and Bodhisattva figures.　

The sheer number of sculptures unearthed from the Longxing Temple site, their exceptional craftsmanship, the well-preserved gilding and painted details and the extensive chronological span they cover make this discovery unparalleled. It immediately drew international attention and was recognized as one of China’s Top 10 Archaeological Discoveries of the year 1996 by the country’s National Cultural Heritage Administration. It was also ranked 84th among the 100 Major Archaeological Discoveries of the 20th Century by the Institute of Archaeology of the Chinese Academy of Social Sciences in 2001.　

Due to their strong regional characteristics and unique artistic style, these sculptures have been widely recognized by scholars as representing the Qingzhou style and are celebrated for the serene and gentle expressions known as the Qingzhou Smile.　

Today, these enigmatic Buddhist sculptures are the crown jewels of Qingzhou Museum. They have been exhibited in major cities like Beijing, Shanghai and Hong Kong, as well as in countries such as the US, Germany, Switzerland, Japan and the UK. Rightly regarded as the “Buddhist statues that have traveled the farthest in the world,” they continue to captivate audiences across the globe.　

Research on the collection is ongoing. While scholars generally agree on the dating and stylistic characteristics, there are differing opinions regarding the statues’ origins and the timing of their burial. Some researchers believe that judging from the diversity of styles and inscriptions, the sculptures could not all have originated from Longxing Temple, as a single temple would not typically house such a wide variety of sizes and designs. Instead, the statues are likely to have come from multiple temples across Qingzhou, with Longxing Temple serving as a primary site.　

Moreover, it is suggested that the burial of these sculptures was not a one-time event. Instead, it may have been a continuous practice carried out over several periods. This theory is supported by evidence indicating that the statues were interred at different times.　

The question of why these Buddhist sculptures were buried underground remains a mystery. Initially, archaeologists speculated the burial might be linked to periods of war or religious persecution, particularly during major campaigns to persecute Buddhists during the 5th to 10th centuries by four Chinese emperors.　

In times of turmoil, devout monks, driven by a desire to protect sacred relics, may have secretly buried the damaged statues to shield them from complete destruction.　

However, recent archaeological findings provide an alternative interpretation.　

Near the Longxing Temple site, researchers unearthed a well-preserved stone stele with a clear inscription. This discovery suggests that during the Northern Song Dynasty (960-1126), Longxing Temple frequently held grand Buddhist ceremonies.　

As part of these religious observances, monks believed that burying damaged statues from previous dynasties was a meritorious act that could accumulate spiritual virtue and promote the Buddhist faith. Collecting and respectfully burying these damaged sculptures became a symbolic gesture of reverence and devotion.　

Thanks to the compassionate efforts of these monks, the enchanting Qingzhou Smiles have endured for over a millennium, allowing us today to appreciate their timeless beauty and serenity.