Wu Shuang photography club

The oriole went to war and dreamed of breaking western Liaoning. Chickens crow in the village, wild birds leave the nest, others open the window and overlook, and rows of houses are hidden in the new green of willow trees, as if ashamed to see guests; Ye Ping in the south of the Yangtze River is full of fog, almost as light as a raft; Wheat waves shake the wind, cauliflower spreads brocade, and Chinese milk vetch is about 20 years earlier than the fuso season, so Japan has splendid scenery and this place has been in decline.

Ninety-six years ago, Shia Omura arrived in Luzhi by boat and recorded the spring scenery of the water town with poetic brushwork. The 60-year-old foreign scholar traveled long distances from Tokyo and set foot in Wan Li to this small town in the south of the Yangtze River, not for pleasure, but for Baosheng Temple.

Baosheng Temple is not far from the entrance of the town. It goes to the left from Duan Yi Square and crosses the small fragrant flower bridge on the Xi Hui River. At the end of a narrow lane is the mountain gate with black tiles and yellow walls.

At this time, it is still the first month, which should be a lively season, but under the epidemic, there are few people in front of the Millennium Temple. This scene is somewhat similar to the description in Gao Qi's Passing Baosheng Temple in the early Ming Dynasty: "After the chaos, I don't know that the monk has gone, and the gates of Huangye Temple are open."

The rise and fall of the Millennium: the 480 Hall in the Southern Dynasties

When was Baosheng Temple built? There are no temple records, and there are many differences between local chronicles and inscriptions.

Ming Zhengde's Ancient Su Zhi records: "Baosheng Temple was built in Shilidu Fuli, Changzhou County, and Song Xiangfu rebuilt it." This view is supported by the Buddhist scripture Stella of Tang Toronyi in the temple.

During the reign of Emperor Kangxi in the Qing Dynasty, Chen Weizhong edited Wu Fujuan's Chronicle and renamed it "Two Years of Supervision in Tian Liang (503)". It is said that when the main hall was rebuilt in Chongzhen of Ming Dynasty, this chronological inscription was found at the top of Liangke. Temple jungle, the happiest can be traced back to ancient times. Since then, all local chronicles have been inherited. Baosheng Temple was transformed into one of the 480 temples in the Southern Dynasties.

After the reconstruction of Xiangfu in the Northern Song Dynasty for six years (10 13), Baosheng Temple was once extremely prosperous. It is said that there are more than 5,000 halls and thousands of Buddhist monks, and the scope is almost semi-straight, which is a famous temple in the south of the Yangtze River. Later, after wind and rain, it gradually declined, and it was only in the middle of the Ming Dynasty that it regained its vitality. According to Gui Youguang's "Treasure Temple", the famous monk announced to raise funds to rebuild it, which lasted nearly one year and was completed in the second year of Hongzhi (1489). "There are seven rooms in each hall and sixty rooms in the porch", although it is not as big as that in the Song Dynasty, it can also be called one room.

After entering the Qing Dynasty, Baosheng Temple was repaired, and Xianfeng was devastated by war. Only Yushanmen, Tianwang Hall and Daxiong Hall are left, and the meditation room was destroyed, all in ruins. Although it has been rebuilt since then, it is difficult to restore the past. Wang Tao, a straightforward man, wrote Wandering with Records in his later years, reminiscing about the past with an article "Guarding Saints and Listening to Pines", and published a pictorial in Shizhai to get a glimpse of the scale of the temple.

Protecting the saints and listening to the pines: therefore, the grass has turned to dust.

The gate of Baosheng Temple is opposite Xianghua Lane. On the east side of the gate, there is a pavilion with four cornices. There is an ancient well in the pavilion in the late Ming and early Qing dynasties. The 87th edition of A Dream of Red Mansions TV series was shot here. Baosheng Temple is a gourd temple. In the stills, you can see the Jingting and the stone lions in front of the mountain gate.

Baosheng Temple was built in the 26th year of Qing Qianlong (176 1). The gate was donated by Peng Qifeng, the champion of Suzhou, and was destroyed in the war of Xianfeng Taiping Army. In the third year of Tongzhi (1864), Peng's descendants rebuilt it, and there was a plaque of "Living in the West" in the upper square, and an old book of Peng Qifeng in the lower square, and the gatehouse was beautifully carved.

The west cliff of Omura records: "The dry ridge made of bricks looks like a memorial archway and is carved with stones. Although it is staggered, it is extremely lacking in archaeology and academics. " Didn't check the age carefully. Later, most people who introduced this map followed the statement that the mountain gate was made of dry ridges, which was actually wrong.

It was destroyed after the Qing Dynasty, and now it is designed and rebuilt by Chen Congzhou, and the temple forehead is inscribed by Fei Xinwo. There is an arched portal behind the gatehouse, and the words "promoting secrecy" and "protecting the cloud forever" are engraved on the back.

Entering the courtyard through the arch, there are dozens of Gu Song plants in the courtyard, which used to be the place where Wang Tao wrote "If the leaves fall in Qian Shan, the river will flow". Unfortunately, most of them were planted recently, and it is hard to see them in Gu Song.

In the middle of the yard is a rockery with a lake stone on it, and the old wolfberry hangs on the peak of the lake stone. It is not easy for Lycium barbarum to survive in Ye Sheng for a hundred years in the wet and rainy water town of Jiangnan.

Behind the rockery is the King's Temple, with three rooms wide and seven purlins deep, resting on the top of the mountain and a single eaves. The base of the column is covered with a basin, and the pattern of "Metaplasia between Branches and Peony" is hidden on the ground, which is an old thing of the Northern Song Dynasty.

According to Mr. Chen Congzhou's textual research, this temple was rebuilt on the basis of the Temple of Song Dynasty in Hongzhi period of Ming Dynasty, and then rebuilt in Chongzhen period, and the temple corner was erected, which was the practice of Tongzhi three-year overhaul in Qing Dynasty.

In the old film shot at Dacun West 1926, Tianwang Temple was in disrepair, and the walls had collapsed, with no doors or windows. After liberation, it was renovated many times, which is what we see today.

In the southeast of Tianwang Temple, there is a stone with a banner, which is a relic of the Northern Song Dynasty. The top is engraved with a lotus pattern, and there is a hole for fixing the flagpole below. In the old days, banners were erected between stones, temple flags were hung during the day and lanterns were hung for lighting at night, which could be used as a symbol of the jungle and attract believers from all directions.

Legacy of Tang and Song Dynasties: The legacy of the past is empty.

To the north beyond the Temple of the King, there is another building with the inscription "Baosheng Temple Antiquities Museum" on the stone arch, written by Tan, an official of the Republic of China.

A left and a right in the yard, two antiques.

On the left stands a Buddhist scripture building. This building is made of five-meter-high bluestone.

The building is a two-story waist-girding sumeru, with a basin-shaped stone foundation at the bottom, clouds and water patterns, a relief Ssangyong on the first floor and a door on the second floor. There is a heavenly king sitting in it, wearing a hat and different shapes. Lotus petals wrapped around the waist.

Yang Lian carved a railing on the upper cover, with an octagonal building on it, and inscribed "The Buddha's Peak Wins the Darani Sutra".

There is a treasure cover engraved with tassels, an octagonal head and a mouth on the building.

At the top of the treasure cover is Julian, carved like a cloud. Then double lotus, short column carving Buddha. In turn, there are baogai, bodhisattva statue and octagonal baogai.

Lux is embossed on the top short column. Lux has bird wings on his head, which looks like Jialing flat armor. The top is flat peach-shaped, engraved with Datura flowers, and there is a flying cloud twisted round cover on the top.

According to the records of Wuxian County in the Republic of China, this building was built in the eighth year of Tang Dynasty (854) and rebuilt in the fifteenth year of Song Shaoxing (1 154). Originally at the left end of the mountain gate, it was later moved to the front of the main hall. This classic building is a clear proof of the creation of temples in the Tang Dynasty and the Middle Ages.

The building is well-proportioned and beautifully carved. Although incomplete, it is still dazzling. Compared with other Tang Toroni classics Stela in the same period, it is not inferior.

The baby on the right is a cast iron clock in the late Ming and early Qing dynasties, and the top of the clock is buckled. The bell body is cast with auspicious words such as "national peace and security, good weather, abundant crops and no disasters in all directions".

In the middle of the yard, it used to be the location of the hall of the great hero of Baosheng Temple. 1926, when visiting the west cliff of Dacun, the main hall was in danger, but the main statue still existed.

"More and more dozens of martial arts schools are the main halls, and the front compartments are built by later generations, and the halls are quite ancient. By investigating the decay degree of its column foot, it can be known that it is a relic of 500 to 600 years ago; The room was dilapidated, and white clouds could be seen surging through the dust cracks, and the back wall of the altar had collapsed. The altar is made of stone, four feet five inches high, twenty-two feet left and right, and eight feet front and back. There are statues of Sakyamuni and Ye Jia on the left and Ananda on the right, both about eight feet high. Ananda is like a broken heart column, leaning on this deity; Your throne has also been destroyed. The three-style work, although not in the Tang Dynasty, is still ancient. "

The statue of Sakyamuni was only partially damaged when the main hall collapsed, and was later moved out for other preservation, but it finally disappeared.

The West Cliff of Omura once studied French style and analyzed the structure of the main hall, saying: "Although there is no system of Ming and Zhong rafters, the old structure of Baosheng Temple is like a fan rafter in the corner, just like the Song Dynasty ... It can be seen that Baosheng Temple was built in the Song Dynasty."

People didn't pay enough attention to this Song Dynasty. In the second year after leaving the west cliff of Dacun, Baosheng Temple caught fire and the main hall collapsed by half. 1928, when visiting Ye Gongchuo, "there were many temples but only one wall left", which was a rare relic of the Northern Song Dynasty in the south of the Yangtze River.

As can be seen from the photos of the west cliff of Dacun at that time, the beam frame of the main hall is "eight rafters and four pillars", and the beams are all moon beams.

There are two patches in the center of the front eaves and one patch between the tips.

In "On the Restoration of the Basilica of Luzhi Baosheng Temple", Zhang Shiqing concluded that the Basilica was built by Wei Ji and others when the temple was rebuilt in the sixth year of Xiangfu in the Northern Song Dynasty (10 13), and it was "the earliest example of known wood structure".

The column base of the main hall is the same as that of the Heavenly King Hall, and the pot-covered lotus flower and peony painting are used together. Fortunately, these pillars of the Northern Song Dynasty were preserved and displayed on the porch of the courtyard.

There is an octagonal column base in the column base, marked as Tang Dynasty. I don't know if it is a relic of a temple built in the middle and large Tang Dynasty.

Today, standing on the site of the main hall is the Baosheng Temple Antiquities Museum, which was designed and built by a famous modern architect in 1930.

Judging from the old drawings and photos, the flat-topped red brick Romanesque building was designed in those days, but the roof began to leak in the 1950s, and after many reconstructions, it became the traditional roof style of four feet high with one eaves resting on the top of the mountain in China. In the end, the Antiquities Museum became the product of the combination of Chinese and Western.

The facade of the building extends outward like the eaves gallery of Baoxia, and several vermilion columns are quite eye-catching. The inscription of Baoxia's "Baosheng Temple Antiquities Museum" was written by Yu Youren, but its name has long been shoveled away. After the "Nine Luohan Monument", it was inscribed by Zhang Ding.

Bantang Luohan: The Buddha statue in the south of the Yangtze River is unparalleled.

Walking into the Antiquities Museum, there is no one in the deep hall, and at the end is a tall plastic wall, indomitable and magnificent.

The rocks are rugged, the clouds are rolling, the waves are rough, and the huge waves are lapping on the shore, as if it were a fairy island on the sea, a misty water cliff, but it seems to be instantly fixed by divine power, which does not disturb the practice of Lohan among the rocks and trees.

Only by careful identification can we see that the grottoes are strewn at random, and there are nine arhats with different expressions, sitting in them, not sitting still but maintaining their own values, moving quietly and integrating with the mountains and rivers.

With the passage of time, the original bright clothes on Lohan's body have been eroded away, but the attitude of Lohan's people has not decreased. Whether it's bending down to salute, sitting in meditation or staring up, it's lifelike. You can see anger and courage from the incarnation of catching ghosts and luring tigers, and you can also feel comfort and calm from the yogi with his head down and his eyes closed.

The lines of clay sculpture will naturally give birth to a kind of "broken" meaning, and the plastic wall is like a huge landscape painting, which unfolds before our eyes.

There are two and a half arhat halls in the world. This half hall of Baosheng Temple is different from ordinary statues arranged in turn in other places. The fusion of wall carving and statue is not only a skilled craft practice, but also the release of the courage and imagination of first-class craftsmen.

In addition to artistic value, behind this half-hall arhat in front of us is a difficult history of cultural relics protection for a hundred years.

The protection of Luohan statue in Baosheng Temple in Luzhi became a "great event" in the cultural circle of the Republic of China, which originated from a trip by Gu Jiegang, a historian who is famous for his "suspicion of the past".

19 18, Gu Jiegang was widowed in Suzhou and visited Baosheng Temple at the invitation of friends. At that time, the statue of Ursa major was basically intact, and he was amazed at the first sight of Lohan:

The arhats in this temple are different from those in other temples. In another temple, Lohan always sits in rows on two walls, his face covered with gold. The arhats in this temple are all colored, especially thick without deformation. The two walls are plastic mountains, and some of the eighteen arhats are on the top of the mountain, some are on the hillside, some are together, and some are far apart and extremely uneven. Best of all, each has his own spirit and his own focus: talking, talking, meditation, crouching tiger. They really do these things on the mountain, not arrange guards for the third Buddha. A few unrepaired statues, light and soft, can show the bones and muscles in clothes; The muscles on the surface can express their expressions more clearly.

According to Gu Jiegang's Zhi Xian Shi Hua, there is a column-holding couplet inscribed by Zhao Mengfu in the main hall: building a beam in the Vatican Palace and pushing the Zen forest in Fuli as the first; Lohan traced back to the source and benefited a lot, which is unparalleled in Jiangnan. Fu Lizhi in the Ming Dynasty said: "There is a statue of Sakyamuni and 18 arhats beside it in the Hall of the Great Hero of Baosheng Temple, which was copied by the sage Yang Huizhi. The divine light shines and looks like life, which is beyond the reach of temples in the north and south of the river. " During the Wanli period of the Ming Dynasty, Xu Zichang said: "The eighteen arhats in Baosheng Temple were made by Yang Huizhi in the Tang Dynasty, with scattered positions and vivid shapes. The whitewashing of the dynasties has gradually changed the original, but the ancient ones have survived, which is not found anywhere else. "

Yang Huizhi was a famous sculptor in Kaiyuan period of Tang Dynasty. "Learning Zhang Sengyou's calligraphy from Wu Daozi, entitled Painting Friends, Clever Combination with Art", and later seeing Wu Daozi's unique sound and light, he "resolutely burned the pen and inkstone and devoted himself to plastic work." At that time, people thought that Su Yang was "fighting for monk paintings, but fighting with Taoist priests." At that time, "Daozi painted, benefiting from plastic work, and gained the Taoist monk. Therefore, Yang Huizhi is praised by the world as a "plastic saint" and keeps pace with Wu Daozi, a "painting saint".

Based on this, Gu Jiegang identified Luohan in Baosheng Temple as the masterpiece of shaping sage Yang Huizhi in Tang Dynasty. In the second year, Gu married Yin Lu 'an, a straight daughter, as his second wife, and visited relatives in the province many times to enjoy Lohan. 1922 In the early summer, Gu Zaiyou visited Baosheng Temple, only to find that "the main beam of Daxiong Hall has been broken, and every time there is heavy rain, the leaking part will expand and immerse in the northwest corner", resulting in serious damage to the plastic wall, partial peeling and crisp dissolution, and a arhat has turned into a pile of soil.

Gu consulted with the gentry and directors in the town and asked for remedy. The temple is adjacent to the primary school, and the gentry and elders want to expand the school site for fear that the temple will be destroyed. Gu had no choice but to take photos, so he contacted various places and wrote articles in various newspapers and magazines about the plastic-walled arhat in Baosheng Temple, calling on all sectors of society to give generously to save this ancient temple in the Tang Dynasty.

We think that the Longmen statue in Luoyang was badly smashed by soldiers, and the wordless tablet on Mount Tai was engraved on the students of a school. No matter the intellectual class or the non-intellectual class, they have no historical concept or artistic concept, and their ancestors' heritage is broken casually, and several statues of the Tang Dynasty are nothing to them. But I have always hoped that in this matter, a few real leading figures in the intellectual circles can come out and do a good job. A snow fool will destroy the shame of art, a snow fool will occupy the shame of the art world and not understand art, and another snow fool will only occupy the site and say nice things, but will not do things sincerely.

1925, Lu Zhi gentry Shen Bohan and others raised funds and hired Suzhou Buddhist sculptor Tao Ziquan to store the meditation of the East Wall (namely, the Dharma Lohan), the meditation of lectures and the five complete Lohan, Wang Yan and Zhenzhen of the West Wall, together with some pieces of fallen plastic walls, in the high and small department (now Ye Shengtao Memorial Hall).

Gu Jiegang's searching bosom friend turned out to be a Japanese economist in Tokyo.

1926 At the end of April, Westinghouse Omura set out from Tokyo and began its fifth expedition to China. On May 3rd, I walked into the Hall of Great Heroes in Baosheng Temple. "The room has been ruined, and white clouds are surging out of the dust gap." The skylight shines through the roof on the mottled arhats and the plastic walls of seamounts. After years of vicissitudes, the beauty of the Millennium suddenly blooms in front of foreign visitors who jumped into the sea in Wan Li.

Five days after admiring the statue and plastic wall of Baosheng Temple, the West Cliff of Omura returned to China, and its investigation note "Shadow of Plastic Wall" was published in Fu Zi soon and sold well for a while.

"In a few years, apart from this film, I am afraid there will be no styling to see." The west cliff of Omura is a prophecy.

1927, the main hall of Baosheng Temple caught fire, and four relatively complete arhats, such as the embarrassment of the east wall, the Khufu and the bare belly of the west wall, were kept in the Guangming Pavilion of Mengfu, Lugui, and barely made up half the hall with the five previously preserved ones. 1928 In May, the main hall collapsed, leaving only one wall. Twenty-eight photos in Shadow of the Plastic Wall became the final image, but there was no chance to know about the western cliffs of these big villages. He died at the age of 60 the second year after visiting Baosheng Temple.

This protection is long overdue. 1928, Ye Gongchuo read "Shadow of Plastic Wall" in the west cliff of Omura, saying, "I felt the attention of others and went to inspect it myself as soon as I came here". Later, it was promoted by Cai Yuanpei and Wu Zhihui, and then Minister of Education Jiang Menglin and then Second Minister Ma Xulun advocated the establishment of the "Preservation of Tang Sculpture Committee". The personal questioning of dignitaries finally made these arhats exposed to the wind and rain escape the bad luck of being lost in time.

1929, the Committee was formally established. Ye Gongchuo, Cai Yuanpei, Ma Xulun, Gu Jiegang, etc. 19 people, raised a total of 23,600 silver dollars. /kloc-in the autumn of 0/930, the antiquities museum of Baosheng Temple was started in the original site of Ursa Major Hall, and was completed in the spring of 0/932.

The restoration of the Luohan statue and the plastic wall was originally entrusted to the sculptor Jiang Xiaoyu, but he was too busy to take care of the memorial statue of Sun Yat-sen in Nanjing Sun Yat-sen Mausoleum, and Hua Tianyou was responsible for the restoration. He led Suzhou sculptor Hu et al. to put together and integrate carefully, and carefully distributed the half-hall arhats saved in the wall.

/kloc-in the summer of 0/932, the rescue work of Luohan statue was completed. Ye Gongchuo once wrote a four-line book to Hua Tianyou: "Tang Su came to your majesty to continue his life, which can be remembered for 20 years. It' s just that today' s wonderful hand is horizontal, and I saw Yang Huizhi. "

1932165438+1October 12. The inauguration ceremony of Baosheng Temple Antiquities Museum was grandly opened in Luzhi, a water town. From the first surprise of 19 18, Gu Jiegang's "Tang Sculpture Protection Movement" finally came to an end after 14 years, although the main hall had fallen, the plastic wall had been broken and Luohan had disappeared.

"Luo Han used to watch the rain, and the nine statues look at Bizen today." After all, the rest of the hall finally has a place to live, so don't worry about the wind and rain.

Is it Tang or Song: Lohan's hand is in doubt.

"Protect Tang Su!"

This is the slogan of the vigorous movement to protect art and historical sites a hundred years ago. In Gu Jiegang's previous research, the Luohan statue in the hero hall of Baosheng Temple was made by Yang Huizhi, a plastic saint in the Tang Dynasty, and the evidence is conclusive. Its teachers and friends and cultural circles have never doubted this.

However, after visiting the West Cliff of Omura, different opinions were put forward immediately. "As far as we know, the sculpture of the Sixteen Arhats actually began in Zen in the late Tang Dynasty and the Five Dynasties." "As for the style of Luohan's clothes pleats, just like the Luohan painted in the Song Dynasty, there is no doubt that it was made by later generations when they rebuilt it." After quoting literature and citing several cases, Shia Omura concluded: "From this point of view, Yang Huizhi's works of" Sixteen Arhats "or" Eighteen Arhats "are hard to be trusted. Then the 18 arhats in Baosheng Temple have to be said that, like the Buddha statue, it is also something when the auspicious symbol was rebuilt. "

It's a Song sculpture, not a Tang sculpture. The scenery on the west cliff of Dacun completely overthrew Gu Jiegang's judgment.

Wall sculpture, also known as shadow wall, is a kind of ancient sculpture, that is, to express the plane landscape in the form of three-dimensional or relief. Tang Yang Huizhi's wall carving is the best in the world. It is said that Guo, a painter in the Northern Song Dynasty, had a new idea after seeing it. He piled mud on the wall with his hands to make it uneven. When it was dry, he made mountains and valleys faint with ink, and added a figure of a castle called a plastic wall.

For the sea mountain wall sculpture of Baosheng Temple, the west cliff of Omura made a careful observation:

The plastic wall starts at the junction of the eaves column and the golden column in front of the temple, and ends at the east and west walls through the even corner to the second eaves column. It is 42 feet wide from east to west, 12 or 3 feet high, and the lower part is about 1 5 inches high. Four-foot-high Xu Shitan is built in front and back, with relief on the side ... The upper wall of the altar is composed of mountain clouds, stone trees, caves, sea water and so on. In the meantime, Luohan statues are arranged up and down all over the place ... Observe its practice. There are several small column heartwood attached to the brick wall between columns, and the supporting materials are inclined vertically and horizontally and extend at will. The lower part is made of wooden frames of various sizes, supported by stacked bricks and pasted with soil. Humble slopes, abrupt cliffs, winding clouds rising from the ground, or natural trees with roots, or dragons wrapped around beams. The operation is perfect ... to the top of the mountain, the stone tip, the cloud head, three feet high, staggered with the tall body to cover the truss it supports. Seen from the front of the wall, it looks like a cover, and its relief is only deep between the stone and the water wave. The decoration color has peeled off, all gray, or occasionally dark brown. The beauty of production, although famous for its scenery, is hard to match.

At the same time, he further judged that the carving method of the wall was not consistent with the carving method of the Luohan statue: "The carving method of the rock belongs to tang style, not Song Feng" —— in other words, in Omura's view, the carved wall neglected by Gu Jiegang is the real original in the Tang Dynasty, and it is also the origin of the legend of Yang Huizhi's handwriting circulated in the literature.

Regarding the query that there was a plastic wall in Song Dynasty, he explained that "the plastic wall can be moved when the hall is rebuilt". Although it is more difficult, it can't be solid if it is "cut into pieces, shared with heartwood in the new wall and decorated with new colors to preserve the old shape".

Judging from the west cliff of Dacun, the wall sculpture of Baosheng Temple is the only Tang Dynasty relic in China, and it is indeed the supreme treasure in the history of sculpture in China.

Domestic scholars gradually agree that Luohan statue is not a sculpture of Tang Dynasty. Gu Jiegang later said: "It was really shaped by people in the Northern Song Dynasty. Since the Ming and Qing dynasties, there have been many, so there are some outstanding people and some ordinary people, so we should look at them separately. Yang Huizhi's sculptures are all in Henan, Shaanxi, and his people may not go to Jiangnan. "

After the inspection, Chen Congzhou also thought that "as for the statue, it is said that it is Tang Yanghui's sculpture, and there are many doubts. In my humble opinion, it is the Song sculpture of Lingyan Temple in Changqing, Shandong, and the Song Cliff in Chongqing, Sichuan, which is almost like a mortar, probably from the hands of Song people. "

As for the plastic wall, Chen Congzhou thinks that it, together with the statue, is a work of the Northern Song Dynasty, on the grounds that "the figures painted by the Tang people have their own merits, but they are not mature when they are good. The method of landscape was not prepared until the Five Dynasties and the Northern Song Dynasty. Magnificent and vigorous plastic-walled boulder momentum is a landscape of people in the Northern Song Dynasty. As for the plastic water lines and vivid brushstrokes, they are only seen in Song paintings. "

196 1 year, the Luohan statue of Baosheng Temple was included in the first batch of national key cultural relics protection units, and its age was set as the Northern Song Dynasty.

Ancient An Baili society: the portrait of empty vision is lonely

Baosheng Temple has East and West courtyards, and the East Courtyard has Tianwang Hall and Antiquities Museum. Come out of the Antiquities Museum, cross the wisteria-covered aisle and enter the empty West Courtyard.

The open space in the yard used to be another work of Mr. Lifu in Lu Guimeng. In the sixth year of Xining in the Northern Song Dynasty (1073), An Baili courtyard was rebuilt and destroyed in the early years, leaving only 16 columns, which shows the scale at that time. It is often called An Baili Temple, but in fact, there are no two temples in Fuli. An Baili Academy was originally another courtyard of Baosheng Temple.

To the west of the temple is the Lu Guimeng Pavilion, and the Qingfeng Pavilion and the Duckfighting Pool are hidden under the Millennium Ginkgo biloba. On a gloomy winter day, the vegetation withered, the drizzle withered, and there was no one, so the feeling of mourning came to mind.

Accompanied by Lu Guimeng in the south, there is another person who has an indissoluble bond with Lu Zhi, that is Ye Shengtao. Stone pillars and terraces are carved all over the place, with gold characters painted on the walls and flowers in front of the tomb, which is quite different from the simplicity and loneliness of Tiansuizi's tomb.

There is a niche in the incense white lotus palace, and there is also a topic about floating life in ancient society. Sitting on the Millennium high wind, it is still the old house and five lakes. The rain is barren, the chrysanthemum is full of fireflies, and the moon is full of ducks. Therefore, the grass has turned to dust, and the empty portrait is lonely.

Wandering around Baosheng Temple, I have seen obscene gossip at this point. Finally, I copied a poem from Hengshan Mountain, which is a relic of ancient and modern gale. I hope those who come can't see it.