Before the age of AI, ancient people achieved human miracles with their imagination.

Niche No. 245 of the Dazu Beishan Stone Carvings in Chongqing is perhaps the most magnificent and grand depiction of the "Amitayurdhyana Sutra" I have ever seen in the grottoes of Bashu. It contains 539 statues, over 460 various artifacts, as well as pavilions, scripture pillars, terraces, pagodas, and other elements. · Amitabha Buddha, Guanyin Bodhisattva, and Mahasthamaprapta Bodhisattva sit serenely in the center of this majestic world, exuding tranquility, elegance, and solemnity. Apsaras dance amidst the backlight, fragrant flowers scatter, and Kalavinkas and sacred trees are carved around them. Divine birds hold canopies in their beaks, suspended in mid-air. Above, three pavilions rise majestically, layer upon layer, with terraces and pavilions scattered harmoniously. The central structure features a hip-and-gable roof with a portico in front; on either side stand pavilion-style towers connected by walkways. These features reveal the architectural style of China during the grottoes' creation and reflect the grandeur of the Tang Dynasty. · Four cloud-like, light-like lines extend upwards from the center to both sides, fluidly guiding the viewer's gaze to the top of the niche, seemingly expanding the space visually. Various birds described in the scriptures soar and sing within these lines, and musical instruments play spontaneously in the void, creating an atmosphere of celestial music pervading the Western Pure Land. · On both sides of the niche, numerous Bodhisattvas sit on lotus pedestals, echoing the style of the Thousand Buddha Niches found throughout Sichuan and Chongqing. Bodhisattvas, celestial beings, and attendants stand, stroll, observe, and play freely and comfortably beneath the Western Trinity, within the corridors, and along the railings. With meticulous craftsmanship, the entire niche depicts the splendor of the Pure Land while incorporating the grandeur of the real world. · Not only are there numerous depictions of the "Amitayurdhyana Sutra" scattered throughout the grottoes of Bashu, but there are also many murals of the same theme in the Mogao Caves of Dunhuang, over two thousand kilometers away, such as Cave 112 and Cave 172. During the same era, a fascinating connection emerged between Dunhuang and Dazu, with strikingly similar compositions and details. · Compared to the Mogao Caves, the painter's brushstrokes in Bashu transformed into the stone carver's delicate chiseling. Within a limited space, they created a vast world. The presentation of the "Amitayurdhyana Sutra" requires a deep understanding of Buddhist scriptures and artistic creativity. Transforming hard stone into tangible forms, whether solemn, soft, ornate, or ethereal, is a testament to the power of imagination. From the illusion of space to the embodiment of beauty, various elements are arranged harmoniously within the limited space of the grotto, forming an ancient three-dimensional "comic strip." · People often express their wish to be reborn in the Western Pure Land, and the ancients, with their imagination and hands, devoted themselves to depicting the purity and wonder of this paradise on the rocks of Dazu, presenting it to all beings who have visited this place for over a thousand years. As a viewer, I am deeply moved by this miraculous work. It is ethereal, pure, serene, and carefree. With just a glance, a transcendental world suddenly materializes before our eyes. It is a unique and solemn world, a sacred realm belonging to everyone.