Heshui Travel Recommendations for 2024 (Updated in Jun)

The Baquan Temple Grottoes in Heshui, Gansu

The Baquan Temple Grottoes were built during the middle and late periods of the Northern Wei Dynasty, stretching about 40 meters from north to south, with more than 30 niches carved out. Apart from the larger central niches numbered three, four, and six, the rest are semi-arched remnants, about 1 meter in height. The sculptural themes are mostly the Buddhist figures worshipped by the Northern Wei devotees, including a Buddha flanked by two Bodhisattvas, a cross-legged Bodhisattva with attendant Bodhisattvas on both sides, preaching amidst many treasures, and a thousand Buddhas, etc. The relatively intact No. 13 niche features a finely carved image of Sakyamuni preaching while seated, with a full and graceful figure, delicate eyebrows, a straight nose, a square and round face, and a joyful expression. He is dressed in a half-shoulder cloak with a monk's robe underneath, sitting in a cross-legged pose. The drapery lines are smooth and flowing. In niche No. 5, the main Buddha and attendant figures on both sides are also exquisitely crafted. The main Buddha is depicted in a deep, cross-legged pose, wearing a shoulder-covering cloak. The garment pleats are represented by extremely fine and evenly spaced lines, creating a rhythmic beauty. This example is apt, with a serene demeanor and a high level of craftsmanship, making it a highly representative masterpiece.

Gansu Heshui Tower Bay Statue Tower

Tower Bay Statue Tower, originally located in Miaocun Chuan Tower Bay Village, Taibai Township, Heshui County, Qingyang City, Gansu Province, is now located in the Museum of Heshui County, Qingyang City, Gansu Province, built during the Chongning period of Emperor Huizong of the Northern Song Dynasty (1102~1106). The Tower Bay Statue Tower is carved from local red sandstone, and the tower body is a hollow cylindrical structure, each layer is separated by a tower eave. The diameter of the bottom layer of the tower is 129 cm, which gradually decreases to the top of the tower body with a diameter of only 59 cm, which is the "thinnest" stone tower in China today. The Tower Bay Statue Tower is an octagonal thirteen-level dense eave stone statue tower with a total height of 10.93 meters. It is composed of the tower body, tower eaves and tower brakes. The stone statue tower is carved from local red sandstone, and the tower body is a hollow cylindrical structure, each layer is separated by a tower eave, and the tower body is thin and slender. The Tower Bay Statue Tower has a unique shape and is of great value for studying the construction technology, characteristics, and phased dating of Song Dynasty towers in the northwest region. On March 5, 2013, the Tower Bay Statue Tower was announced by the State Council of the People's Republic of China as the seventh batch of national key cultural relics protection units.

The Heshui County Ancient Stone Carving Art Museum has 2,640 pieces of cultural relics (including 96 national first and second-level cultural relics). The more precious cultural relics include Xi Zhou Tong Ding, Han Dynasty Wang Biao Edition, Tang Bronze Mirror, Tang Sancai Furnace, Tang Huang Cai Porcelain Pot, and Jiefang Northwest A medal, a red felt hat worn by Liu Zhidan, and so on. The largest collection of museums is still stone statues. The water is known as the county of stone statues. There are more than 300 ancient carvings in the past, more than 160 stone statues, a large number, high crystal level, and distinctive local characteristics, which are second to none in the province. The statue of Heshi Stone is especially prominent in the single stone statue. The types can be divided into Buddha, Bodhisattva, disciple, Luohan, Lux, and Mountain God. The carvings are divided into three periods: early, middle and late. In the early period of the Northern Wei Dynasty, it was carved like a square shape with full cheeks and deep noses. It has an ancient Indian art style. In the middle period of the Tang and Song Dynasties, the imagery was full, the eyebrows were clear, the body was natural, and the movement was dynamic. In the late Ming and Qing Dynasties, the carving was also very distinctive.