| The Introduction of Big Goose Pragoda | |
![]() |
Giant Wild Goose Pagoda or Big Wild Goose Pagoda, is a Buddhist pagoda located in southern Xi'an, Shaanxi province, China. It was built in 652 during the Tang Dynasty and originally had five stories, although the structure was rebuilt in 704 during the reign of Empress Wu Zetian and its exterior brick facade renovated during the Ming Dynasty. One of the pagoda's many functions was to hold sutras and figurines of the Buddha that were brought to China from India by the Buddhist translator and traveller Xuanzang. |
![]() |
Architectural Complex Pictures of the Heavenly King and of Buddha are on the doorframe sand horizontal bars on four sides of the pagoda's base. These stone sculptures display peak workmanship, and show vivid shapes and smooth lines. They now serve as an important source of material for the study of painting and sculpture of the Tang dynasty. Out of these artistic works, the one on the horizontal bar of the west door is the most precious. It is a rare piece of art, now used for the study of the Tang architecture. |
![]() |
Inside the temple where the pagoda is situated, there are two small buildings: the one on the east side houses a bell, and the one on the west side a drum. The bell, an iron cast from the Ming dynasty, weights 15 tons. Together with the drum, the bell was used to strike time for the monks in the temple. Inside the Great Hall of the Buddha in the temple there are three incarnations of Sakyamuni. The one in the middle is called Dharmakaya. The one on the west side is called Bao Shen Buddha, and the one on the opposite is called Ying Shen Buddha. In the Doctrine Chamber stands the Amitabha Buddha. On the wall at the east side of the chamber, there are three rubbings. The one in the middle is called Xuanzang (Monk Tripitaka) carries the Scriptures to Chang'an. |
![]() |
In the Tang dynasty, every successful candidate who passed the imperial examinations would have to climb up the Big Wild Goose Pagoda and wrote poems and inscriptions there. This ritual would symbolize a soaring career in the future. The fashion of writing poems and leaving inscriptions on the horizontal bars over doors and stone frame-works by successful candidates of the imperial examinations went on as far as the Ming dynasty. These poem sand inscriptions have survived till this day as a fine mirror to the city's past. |






