On October 19, in Guangzhou, China News Service reporter Cai Minjie conducted an interview focusing on why Haizhong Temple in Guangzhou has captivated attention both domestically and internationally since the Qing Dynasty.
Guangzhou’s Haizhong Temple holds the distinction of being the first temple in China to open its doors to foreign visitors during the Qing Dynasty. It has frequently appeared in Western travelogues and export paintings, establishing itself as an early window for Westerners to gain insight into China. But what accounts for the temple’s allure? Why did the British Library choose to collect paintings associated with Haizhong Temple? And what prompted Hans Christian Andersen, who never visited China, to mention this ancient Eastern temple?
In a recent exclusive interview with China News Service’s “East-West Dialogue,” Shifu Guangxiu, Vice President of the Guangzhou Buddhist Association and Abbot of Haizhong Temple, along with Shifu Guangze, the temple’s master, provided valuable insights and discussed how to tap into the historical and cultural resources of Haizhong Temple to advance the Belt and Road Initiative.
Here are some highlights from the interview:
**China News Service Reporter:** During the Qing Dynasty and the Thirteen Factories trading period, what enabled Haizhong Temple to become one of the few attractions open to foreigners in Guangzhou?
**Shifu Guangze:** There’s an old saying, “officials do not repair their offices,” indicating that governmental buildings were not particularly suitable for major activities. In contrast, large temples in ancient times served multiple functions, acting as centers for education, culture, and economic activities.
Established at the end of the Ming Dynasty, Haizhong Temple boasts a long history. Many scholars and officials became monks there, earning respect within society through their unique roles and knowledge. Inscriptions on the temple’s bronze bell record that officials like the Prince of Pingnan, Shang Kexi, contributed generously to the temple, thereby expanding its size and elevating its status in Guangzhou. This transformation allowed what was once an inconspicuous Buddhist hall to rank among the top five temples in the city, significantly increasing its social influence. Over time, renovations have made it comparable in magnificence to the renowned “Jiang Ling” temples in Nanjing.
The Qing Dynasty’s “Cohong” trade policy restricted foreign merchants to designated trading quarters. However, Haizhong Temple’s picturesque location, just across the Pearl River from the merchant quarter, allowed it to be included in areas where foreigners could roam freely. As a “window” for interaction, Haizhong Temple hosted numerous Western visitors, who left behind beautifully written travel accounts infused with exotic sentiments.
**China News Service Reporter:** How did the phenomenon of “export paintings” emerge during the Qing Dynasty, and what connection does Haizhong Temple have with this art form? Why did the British Museum choose to collect paintings of Haizhong Temple, and how did Andersen reference this distant temple in his works?
**Shifu Guangze:** “Export paintings” refer to artworks created by Chinese artists using Western paints (watercolor, gouache, oils) combined with traditional Chinese brush techniques. These paintings, imbued with a Chinese essence, were sold to foreigners visiting China. The rise of export painting during the Qing Dynasty coincided with a “China craze” in Europe, where these artworks served as souvenirs shipped back to Europe from the Chinese coast.
In the Qianlong era, Haizhong Temple was in a restricted zone for foreigners, who would rest and participate in official events there, making it a symbol of Chinese culture in Western eyes. The temple’s inclusion in paintings was due in part to its representation of Buddhism, one of the core components of Chinese culture. Additionally, its traditional architectural elements added to its allure.
The content associated with Haizhong Temple in export paintings predominantly consists of landscapes featuring the temple’s architecture and religious practices. The garden’s style reflects the aesthetics, emotions, and aspirations of past Zen masters. The layout of the temple and garden embodies tranquility, elegance, and a sense of character.
The recently unveiled series of export paintings housed at the British Library offers a glimpse into the late 18th-century Haizhong Temple. These artworks made their way to Britain through merchants and were eventually donated to the library. Meanwhile, the export paintings preserved in Haizhong Temple are even more exquisite, having been commissioned by Manuel de Aguirre, a representative of the Royal Spanish Philippines Company during his stay in China, and created using precious materials like gold threads and powders.
“Export paintings” showcased Guangzhou’s dual identity as both a commercial hub and a religious center, creating a significant impact on Europe’s upper crust, including influencing the literary works of Hans Christian Andersen. Without ever visiting China, Andersen referenced a temple in his story “The Twenty-Seventh Night” within a children’s book, which experts now believe is based on Haizhong Temple, demonstrating its rising prominence during that era.
**China News Service Reporter:** As a witness and convergence point for Sino-foreign exchanges, what role did Haizhong Temple play in the interplay between Eastern and Western civilizations?
**Shifu Guangxiu:** The Guangdong authorities hosted diplomatic emissaries from Britain, the Netherlands, and other countries at Haizhong Temple, making it an official venue for representing central government diplomatic ceremonies.
More broadly, Haizhong Temple serves as a platform for showcasing Chinese religious culture, garden culture, architectural culture, and poetic culture, providing Westerners with a unique lens through which to observe Eastern traditions. Its vibrant cultural expressions have attracted overseas researchers and enabled Haizhong Temple’s numerous constructions and sculptures to find a place in international discourse.
In London, there are dozens of engravings of Haizhong Temple kept in collections. A book titled “Treasured Export Paintings of Qing Dynasty China” features 91 export paintings depicting Haizhong Temple, chronicling its peak during the Qing era.
This unique cultural role has elevated Haizhong Temple’s global reputation, leading to its frequent mention in international literature, memoirs, and artworks. Almost every foreign visitor who came to Guangzhou during that time felt compelled to visit Haizhong Temple, viewing it as a symbol of Chinese religious culture. Even today, Haizhong Temple remains a focal point for studying Sino-Western cultural exchanges during the Qing Dynasty.
**China News Service Reporter:** What cultural characteristics of Lingnan Buddhism does Haizhong Temple reflect?
**Shifu Guangze:** Radiating Buddhist light, Haizhong Temple is a significant site for the Lingnan Buddhist school. Its most notable cultural feature is its role as a platform for cultural exchange, evidencing the spread of Chinese culture through trade, while simultaneously showcasing Lingnan’s embrace of foreign influences. The development of Haizhong Temple exemplifies the inclusiveness of Lingnan Buddhism and its integration of Confucian culture. In a way, Haizhong Temple’s culture is a quintessential representation of the sinicization of Buddhism in China.
The temple’s garden art, bonsai craftsmanship, and floral arrangement reflect the monks’ profound appreciation for life. The famous Su Ren Ge bonsai art school originated at Haizhong Temple, characterized by its elegant simplicity and unique shapes, now a beloved style in garden design. This bonsai art complements the temple’s overall ambiance, influencing the lifestyles of Guangzhou residents.
Zen culture has long been viewed by scholars as the most profound example of cultural integration in the sinicization of Buddhism in our country. The serene, ethereal ambiance of Buddhist temples provides an escape from the mundane yet remains intrinsically connected to worldly affairs.
Today, Haizhong Temple sustains its historical traditions by remaining open to the public without charge, serving both as a sacred site for Buddhist worship and a peaceful retreat for residents.
**China News Service Reporter:** How can we better harness Haizhong Temple’s historical and cultural resources to bolster the Belt and Road Initiative?
**Shifu Guangze:** As a Buddhist temple rich in historical and cultural resources, Haizhong Temple plays a vital role in promoting the Belt and Road Initiative.
The wisdom from the Sixth Patriarch teaches us that while people belong to different regions, culture knows no boundaries. By hosting cultural exchange events like “Elegant Zen: A Lingnan Monk’s Art and Cultural Exhibition,” Haizhong Temple showcases calligraphy and other artistic works infused with the values of faith, compassion, and wisdom inherent in Buddhist culture. This reflects universal values and fosters international understanding and identity. Beyond its wealth of historical cultural resources, Haizhong Temple engages younger audiences through innovative cultural products, promoting a shared vision that advances recognition and support for the Belt and Road Initiative across nations.