Fahai Temple

Fahai Temple

Fahai Temple includes Beijing Fahai Temple, Henan Fahai Temple and Zhejiang Fahai Temple. Fahai Temple in Beijing is located at the foot of Cuiwei mountain, about two kilometers northeast of Shijingshan District, Beijing. There are nine frescoes in the temple, with 77 figures painted. Fahai Temple in Henan Province, a national 2A scenic spot, is located at the foot of monkey mountain peak in the north of jingziguan ancient street, about five kilometers away from the ancient street. The temple sits on the east side and the west side, with its back resting on the mountain and the front surrounded by mountains. There is a small river flowing in the gorge for a long time. Fahai Temple, an ancient temple of the Yuan Dynasty, is located in Shangqiao village, more than ten miles away from the downtown area of Fenghua, Zhejiang Province, with beautiful scenery

Fahai Temple in Beijing

Fahai Temple is located at the foot of Cuiwei mountain, about two kilometers northeast of Shijingshan District, Beijing. There are nine murals of 77 characters, including men, women, old and young, as well as gods, Buddhas and ghosts. There are those who say and meditate, those who worship, those who walk slowly, and those who dance slowly. The painted figures, animals, gods and plants are not only real and beautiful, but also full of business, harmony and brightness, forming a picture of the fairyland of Buddhism, which is either fresh and pure, or solemn and solemn. The emperor is dignified and dignified. Women are full, beautiful and gentle. As for the heavenly king, the King Kong and the powerful man, they not only depict a brave and powerful look, but also fully demonstrate the infinite sincerity of converting to Sakyamuni Buddha. The costumes and costumes of the characters in the murals are gorgeous and colorful: women wear various styles of hair bun, wearing various kinds of headmaster, Yingluo, bangles and flowers; men wear different styles of crown, clothes and armor, and the clothes are painted with patterns of Tuanfeng, turtle back, Tuanhe, baoxianghua, chrysanthemum, Phoenix and peony; children wear braids, lively and naive. Through the meticulous painting skills of painters, people can easily distinguish their gender and age from their physiological characteristics, and their status can be clearly and accurately distinguished from their clothing style, hair style, behavior and composition, which fully reflects the extraordinary artistic ability of painters.

The author of these exquisite murals found on a Lengyan Sutra building near Fahai Temple, which was erected by Li Fushan, a winter eunuch of Jiazi in the ninth year of the Ming Dynasty (1444). Among the titles of Zhuyuan xiejishan, there are not only the names of various craftsmen, such as the bricklayer, the stonecutter, the sculptor, the makeup craftsman and the goldsmith, but also the sculptor Lu GUI and Xu Xiang, the painting Sergeant Wan Fuqing, Wang Shu and the painter Zhang Ping, Wang Yi, Gu Xing, Li Yuan, pan Fu, Xu Fuyao and others. The Jingzhuang was built in the second year after the completion of the construction of Fahai Temple. It was written by Chen Jing, deputy director of the camp repair Office of the Ministry of work. The names of the people on the Jingzhuang are undoubtedly the craftsmen who built Fahai Temple under the camp repair Office of the Ministry of work at that time. From this, we can see that these exquisite artistic masterpieces of Fahai Temple were painted by these painting sergeants and painters.

Compared with the murals of Yuan Dynasty in Yongle Palace of Shanxi Province, the murals of Fahai Temple in Ming Dynasty are not as good as those of Yongle official in scale, strength and momentum. However, in the aspects of figure depiction, subtle and changeable patterns, and various gold methods, the murals of Fahai Temple have made higher achievements than those of Yongle Palace, and there are also new developments in the mural production technology. Dunhuang frescoes are the largest and most abundant treasure house of classical culture and art in China. However, Dunhuang frescoes developed continuously from the 6th century to the Qing Dynasty, but there is only a lack of frescoes of the Ming Dynasty. The frescoes of Fahai Temple in Beijing can supplement this defect with its exquisite painting art, superb production technology and distinctive characteristics of the times, which is very precious. The frescoes of Fahai Temple are comparable with those of the European Renaissance, and occupy a prominent position in the frescoes of the same period in the world. Especially in the mural production and preservation techniques, most of the European murals in the 15th century fell off and split to varying degrees, while the murals of Fahai Temple in China were basically intact.

Fahai Temple is located at the foot of Cuiwei mountain, about two kilometers northeast of Shijingshan District, Beijing. The valley is quiet, the scenery is pleasant, the mountains are continuous, and the pine forest is lush. When approaching Fahai Temple, there is a small arched stone bridge with the words "four cypresses and one hole bridge" engraved on the qingshiquan cave. It is said that the bridge was built in the Ming Dynasty. When summer comes, the clear spring water will merge into a stream and flow through the bottom of the bridge; the surrounding pines and cypresses will add vitality to this ancient temple. In particular, the ancient cypresses at the bridgehead of the model entrance, the peeling giant cypresses in front of the gate of Fahai Temple, the odd cypresses growing on the stone walls of the temple, the Berlin with alternate ancient vines at the back of the temple, the green cypresses in the valley at the west of the temple, and the natural corridor cypresses at the east of the temple all form an inspiring cypress painting.

Fahai Temple faces south from the north and is built along the mountain from the south to the north. The main buildings are set on the three-level platform. The first level platform has Shanmen hall, the second level platform has four Tianwang halls, the third level platform is Daxiong hall, and the three sides around the hall are the ancestral hall with different corridors. Fahai Temple has a history of more than 500 years. According to the existing "Fahai Temple stele" in the temple, Li Tong, the eunuch of Zhuqi Town, the emperor Yingzong of Ming Dynasty, suddenly had a dream and came here to find the famous mountains in the west of Beijing. Seeing that this place was in line with the dream scene, he proposed to raise money from the people, officials, lamas and monks to build the temple. The construction started in February 1439 and was completed in October 1443, which lasted for five years. At that time, the temple had the main hall, the Dharma protector hall, the bell and Drum Tower, the cloud hall, the kitchen, the squatter room, etc., which were magnificent in scale and gorgeous in decoration. Zhuqi town of Yingzong was granted the name of "Fahai Temple" and awarded a "Dazangjing", which made it a famous royal temple at that time.

Today's cunshanmen hall still retains the architectural style of the Ming Dynasty, with four walls erected with barriers and boards, arched gate, oblique lattice wooden lattice windows, grand front and back overhanging eaves, and yellow glazed tiles on the top of Xieshan. Behind the mountain gate is a rectangular courtyard with east-west horizontal. There are dozens of steps in the center, leading to the heavenly king hall and the main hall. On both sides of the steps are the inscription on Fahai Temple written by Hu Ying, Minister of rites in 1443, and the inscription on Fahai Temple written by Wang Zhi, Minister of rites. At the north end of the last courtyard, the hall of Mahavira has a grand hall on its East, West and south. In the middle of the courtyard, there are two tall and straight white pines. It is said that they have a history of more than 600 years. Up to now, they have luxuriant branches and leaves, covering half the courtyard with shade. On the East and west sides of the courtyard stand a white marble building built in the fourth year of the Ming Dynasty (l439). In front of the hall, a large bronze bell with a height of about two meters is suspended on the side of the platform base. It is exquisite in casting and is the orthodox casting of the Ming Dynasty. The upper part of the bell body is cast with the mantra of scriptures, and the lower part is cast with the Heart Sutra of boromido and the Vajra Sutra. It can be compared with the bronze bell of juesheng temple, one of the four greatest bell kings in the world. On the west side opposite to the bronze bell stands a small wordless stele. In addition, in the northeast corner of the courtyard, there is a broken Qingshi stele in the tenth year of Zhengde in the Ming Dynasty (1515), which is the material material for studying the changes of the temple history. There is a "West Temple" in the northwest of the temple, which is famous for Longquan and used to be the water source of Fahai Temple. On the rocky hillside less than one mile to the east of the temple, there are large glacial scratches formed more than one million years ago, which have important reference value for the study of glaciology, geological stages, paleontological distribution and living environment of ape man in China.

Fahai Temple is mainly famous for its murals. After more than 500 years, nine extremely exquisite Ming Dynasty murals have been preserved on the six walls of the main hall of Fahai Temple. The murals are distributed on both sides of the north wall gate of the main hall, behind the niche of the Chinese Buddha and on the two Gables behind the eighteen Arhats, with an area of 236.7 square meters. In early 1993, at the Research Seminar on the historical and artistic value of frescoes of Fahai Temple in Beijing, experts demonstrated that the frescoes of Fahai Temple are one of the few exquisitely painted frescoes in China since yuan, Ming and Qing Dynasties. They are also outstanding representatives of the ancient frescoes preserved in this historical and cultural city of Beijing. Compared with the frescoes of Dunhuang and Yongle Palace, they have their own merits and can be used for reference It is comparable to the European Renaissance murals. Experts agree that among the existing murals of Ming Dynasty in China, the murals of Fahai Temple can be regarded as the most famous murals of Ming Dynasty in terms of art, scale, integrity, mural making technology, painting skills, figure modeling and gold method.

On the back of the niche are painted three Bodhisattvas, including Avalokitesvara, Manjusri and Puxian, as well as their spines and mounts. Among them, the water moon Guanyin in the middle is the most vivid and excellent. She is broad shouldered and bare chest, shoulder draped with light gauze, thin like cicada wings, chest decorated with Yingluo, gentle and serene expression, bending left knee and sitting on the left, solemn and generous, giving people a fresh and clear, kind and auspicious, extraordinary feeling.

The two murals behind the eighteen Arhats are mainly composed of the Tathagata Buddha and the flying Apsaras, lined with peonies, roses, plantains and Bodhi, and surrounded by auspicious clouds, making them solemn and solemn.

The most precious mural is the picture of worshiping Buddha and protecting Dharma painted on both sides of the north wall gate. The picture is composed of empress and emperor, the eight tribes of Tianlong and the ghosts and gods. There are 35 characters in the two paintings, three or five of which echo each other in groups. The costumes of the characters are gorgeous, the appearance is solemn and elegant, and the color is gorgeous and strong. The painting on the left is divided into three parts: Four Heavenly girls with rich skin and solemn expression are walking in the front of the team. A maid holding a flowerpot walked in the front. Then she saw that the empress was walking slowly with her hands together. The other two ladies followed her with a tray in their hands. Behind them were a group of banners. Behind them, the guards were Li Mu, Guang mu, and the king of many news. The central part of the painting is Ruyi Guanyin, with lions, foxes and leopards at her feet. In front of Guanyin, there are three maids, one holding a bodhi tree and the other holding a fluttering banner. The back part of the painting is King Kong, Rex and imp

Chinese PinYin : Fa Hai Chan Si