in the rain Jianfu Temple Seeking tourists, I walked through the empty temple alone and walked through thousands of years.
Jianfu Temple is well-known for Xiaoyan Pagoda . Compared with the crowded and bustling Big Wild Goose Pagoda, the Little Wild Goose Pagoda, four kilometers away, lives deep in the downtown area, creating a lonely scenery.
The construction of the Little Wild Goose Pagoda is inseparable from Tang Dynasty Empress Monk Yijing . Yijing is the first Buddhist scholar in my country to choose to go to India to learn scriptures from the sea to the west. From 672 to 694 AD, he spent 22 years traveling to more than 30 countries, bringing back more than 400 Sanskrit scriptures, one Vajra Buddha's true face, and three hundred relics. In 706 AD, he returned to Chang'an and lived in Jianfu Temple to translate scriptures. The next year, he and Daoan, the abbot of Jianfu Temple and the master of Buddhist Vinaya Sect, submitted a request to the court to propose the construction of the Futu of Jianfu Temple (i.e. Xiaoyan Pagoda). They participated in the design and personally supervised the construction. The construction started in the late autumn. After two years, a beautiful and comfortable pagoda made a stunning debut.
The origin of the Little Wild Pagoda is very different from other pagodas. The official did not contribute funds and was built by donated money by concubines and palace maids in the royal harem at that time. These low-ranking and lonely palace maids can only rely on the Buddhist beliefs of building a tower and reincarnation.
As a building, the pagoda originated from early Indian Buddhism. It was originally just a place where monks died after their death. It was mostly single-story and low. During the Eastern Han Dynasty, the pagoda was introduced to my country with Buddhism, and integrated with the pavilion-style buildings with Chinese characteristics. The more they built, the taller they became, becoming a symbolic and spiritual building and symbol.
As the two most complete buildings left in Chang'an City in the Tang Dynasty, the Big Wild Wild Wild Wild Wild Wild Wild Wild Wild has the shape of the first construction. The Little Wild Goose Pagoda is particularly beautiful: the outer contour is slightly sprinted, the middle part of the tower is thickest, it shrinks upwards in turn, and its figure is stretched and handsome, like a graceful lady; the whole body is full of brick structure, and the overall body is simple and refined, simple and unpretentious.
The Little Wild Goose Pagoda is famous. In addition to its own legend and beauty, it also forms the famous " Guanzhong Eight Scenerys" because it and a huge bell bell under it.
The morning bells and mud drums are available in all temples, so how can the morning bells of Xiaoyan Pagoda be among the "Eight Scenerys in Guanzhong"? The reason is that the bell of the Little Wild Pagoda is huge and the bell is loud. It has dozens of miles of the Shrine, which is the best of Shaanxi Fan Zhong .
The real object of the Yanta Morning Bell is still hung in the bell tower of Jianfu Temple, just as a cultural relic, for observation only and not allowed to be knocked. Unfortunately, I don’t even have the blessing to watch. There are few tourists on rainy days, and the gate of the bell tower is locked. I can only peek through the cracks in the door and see the true appearance of the "morning bell".
In the dim bell tower, the huge bell body occupies almost most of the space, with blurred inscriptions on it and dusty. Just below the clock body, there is a big pit. In fact, this pit is the key to the far-reaching sound of the "morning bell" in Xiaoyan Pagoda. The entrance of the pit is opposite the bell mouth, and some of the sounds are transmitted from the pit to the ground from then on; if a person is lying on the ground, it seems that he hears the sound coming out of the ground, deep and thick.
The Little Wild Goose Pagoda is built on a square foundation about three meters high. Climbing up more than ten steps can enter the tower. The tower is hollow, with wooden floors and stairs, circling up along the escalator, and the layers of blue bricks and are within reach. The blue bricks are like a condensed life of a palace maid. I try my best to keep my steps lighter and softer, for fear of tenderness to these miserable women. The higher you climb, the lower the floor and the narrower the stairs. Suddenly, the drizzle hit my face, and the dusk appeared, and it had reached the highest level.
Among the pagodas that exist in my country, the Little Wild Pagoda is the only one that can reach the top. The reason is simple: the Little Wild Goose Pagoda has no top.
This seemingly soft and delicate little wild goose pagoda, in fact, every part of the body has experienced 76 earthquakes of all sizes, two of which caused serious damage: On August 10, 1487, a magnitude 6 earthquake in Lintong, Shaanxi broke a large crack from top to bottom; on January 23, 1556, a magnitude 8 earthquake in Huaxian collapsed the top of the tower, and the remaining 15-story pagoda can only be seen today.
Under the power and creation of nature, the Little Goose Pagoda has left behind a magical legend. It cracked three times in the earthquake and "shenhe" in the other three earthquakes. At that time, people could not understand it and could only rely on the Buddha's divine power. After the founding of the People's Republic of China, the secret of "Shenhe" was discovered: when the craftsmen of the Tang Dynasty first built the Little Wild Pagoda, they took into account the geological characteristics of many earthquakes in Chang'an since ancient times, and built the foundation of the tower with rammed earth into a semi-sphere. After the earthquake pressure was dispersed and dissolved through the spheres, the Little Wild Pagoda was like a "tumbler". Since its completion in 709 AD, it has been more than 1,300 years, allowing you to shake the mountains and stand tall.
Standing on this topless little goose pagoda, looking around, the closed twilight, broken appearance, and melodious bells have jointly created the vast artistic conception of the thousand-year-old pagoda.
The spring rain is like tears, endless. I prefer to believe that it is the Tang Dynasty women who were destroyed in the depths of history and in illusory beliefs, who use their miserable lives and firm beliefs to protect this incomplete beauty.
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