is located in the southern part of Shanxi Province, Zhongtiaoshan spans the three cities of Linfen , Yuncheng and Jincheng. It lives between Taihang Mountain and Huashan Mountain. The mountain is narrow and long. It is one of the seventy-two blessing places of Taoism and has a long tradition of worshipping Taoism. Yongle Palace, located in the ancient Wei city area of Zhongtiao Mountain, is one of the three major ancestral temples of Quanzhen Sect during the Jin and Yuan dynasties. It began with the creation of Quanzhen Gaodao Song Defang . It gradually formed a group of palaces centered on the ten directions, including the three palaces of the Ten Directions, the Chunyang Wanshou Palace, the Chunyang Shang Palace, and the Hedu Lingyuan Palace, and the lower part of the palaces. Yongle Palace was also one of the paper supply points when Song Defang edited the "Daozang".
. in the mural of Pure Yang Hall, Lu Dongbin image of the ancestor
The palace completely retains the main building of the Yuan Dynasty. The overall layout of the three existing halls on the central axis is designed according to the functional requirements of religious buildings. The hall adopts a diversified column reduction method to expand the scope of activities in the hall. The four walls are painted with rich murals. Sanqing Hall mural is called "Chaoyuan Tu", which presents the extraordinary style of Taoist gods worshiping the Sanqing queue under the leadership of eight main gods.
is located in the Chunyang Hall behind the Sanqing Hall for five rooms, three rooms deep, eight rafters, and covered with single beams, nine ridges of glazed roofs. There is a four-pillar altar in the north of the hall. The front eaves and the back eaves are partitioned doors, and the rest are walls. The inner plane of the hall adopts the method of reducing columns, and only the four golden pillars in the Ming Dynasty are used. The original statue of Lu Dongbin on the altar is now destroyed. Chunyang Hall was originally called the Miancheng Hall, with a platform in front and a corridor connected to the Sanqing Hall in the middle.
251 He Zhiyuan edited " Chunyang Zhenren Huncheng Collection ". It is a collection of Lu Dongbin's poems, and it collects 202 poems, named after its natural and incredible nature. Another important identity of He Zhiyuan was the Yongle Palace Trial. After Song Defang died in the seventh year of Chunyou (1247), he was appointed as the Yongle Palace Trial and was ordered to proofread the "Xuandu Treasure". According to the preface he wrote, it can be seen that "Huncheng Ji" was "get it in the library" and was published after discussion with "the one who works in the Yongle Palace". [1] In the inscriptions of all dynasties, the Huncheng Hall once had two other names: Lu Zu Palace and Chunyang Hall.
The mural has been first drawn to the present, after several trimmings and repaintings, there are five inscription boxes in the mural. Among them, the inscriptions in the east and west sections of the south wall are inscriptions for the first painting workers. The two above the pine and willow spirits on the north wall are the list of the first paintings and the inscriptions for the re-painting of the Qing Dynasty. There is a blank inscription box in the "Save the Mother of the Filial Children" in the western section of the north wall. The pine spirit and willow spirit are painted on both sides of the back door of the north wall. There is a blank space above the Liu Jing. The inscription on the ink of the ink book "Repairing the Mixed Hall" during the Kangxi period of the Qing Dynasty. From this, the academic community uses these two inscriptions to draw the conclusions of the early Yuan Dynasty and the repairing the Qing Dynasty. Only Subai and Meng Sihui pointed out in their related papers that the first line of the inscriptions of the Qing Dynasty clearly revealed the lower "Ming Dynasty" and the words "Year and Month", which shows that the various palaces of Yongle Palace adopted the practice of covering the original inscriptions and re-titling them when they were re-painted by the descendants. [2]
The legend of Lu Dongbin has a long history, and his deeds have been found in notes and novels since the Song and Yuan dynasties. At this time, his identity is the god Taoist . In the third year of Zhida in Yuan Dynasty (1310), he was awarded the title of "Emperor" and was one of the Five Patriarchs of Quanzhen. Lu Dongbin went through a transformation from a secluded immortal to a sect ancestor.
(I) Birth, seeking and testing
The mural starts from the east wall. The first picture "Ruiying Yongle" links the birth of Lu Dongbin with the location of Yongle . In the mural, there is a woman sitting in the chair in front of the bed, and a maid on each side supports her. The lady leaned slightly forward and looked at the baby bathing in the basin at the lower left. The colorful auspicious clouds behind the baby extend into the air outside the house, and a white crane swoops downward at the clouds. There is a man and a woman under the right stairs in front of the house. There is a man and a woman holding a basket. The male waiter in white looked back at Baihe. The two people in the front yard exclaimed.
A group of four people stopped and looked up at the bottom left of the picture. One of them rode a white horse, one with a staff in front, and two with a guqin and a bag behind (Figure 1). Based on the title, we can see that this picture shows the scene when Lu Dongbin was born. The text of the list explains Lu Dongbin's family background, birth time and the situation where the white crane flew into the room at birth.However, the group of people below the picture is unknown, and the appearance of the four people and the plot of bathing are not mentioned in the title.
The Ming Dynasty Hong Yingming compiled the "Yuedantang Immortal and Buddha's Story" with the following description: After Lu Dongbin was born, he "was in his infancy. When Mazu saw this son's bones were extraordinary, he was naturally out of the dust." [3] However, Mazu did not appear in "The Emperor Chunyang's Divine Transformation and Miaotongji" compiled by Miao Shanshi in the Yuan Dynasty. As for the murals of the biography of Lu Dongbin in Chunyang Palace, this set of Taoist images widely borrowed from factors of Buddhist art. The ride of elephant into the womb is one of the most basic and earliest plots in the Buddha's biography. Unlike the Buddha's biography, Mrs. Maya 2 lying on the side of the bed waiting for the white elephant or the Bodhisattva Protector riding down, Lu's mother sat on the square chair in front of the bed and looked at the child taking a bath, which weakened the symbolic meaning of "entering the womb". However, the image pattern of the white elephant entering the womb is preserved, and the image of "crane" which is a typical symbolic image in Taoism replaced the white elephant in the Buddha's biography. The Bodhisattva on the cloud group has been replaced by the image of a "female fairy". The auspicious light in the house and the surprise of the people showed the vision of birth, and the white crane's head rushed down, showing a diving momentum. It was not Lu's mother, but the child who was bathing. The rays of light around the child echoed the white crane above.
Figure 1ˉ The first picture of the east wall of Chunyang Palace "Ruiying Yongle"
Xuezhou, Hunan and Yongle, Shanxi are two locations that are closely related to Lu Dongbin. The former is famous for its famous building in the world Yueyang Building , which is a great tourist attraction during the Southern Song Dynasty. From the upper floor, you can overlook Dongting Lake. The ink mark of the "Lu Dongbin's Painting of Yueyang Tower" in the collection of the Metropolitan Museum of Art has the ink mark of the character "Yue". On the upper right side, a person's clothing belt fluttered in the air. Diners, vendors, and waiters rushed to the terrace railings and outside the building, competing to see Lu Dongbin's departure in the air. There is a statue of an immortal riding donkey in a simple ink line style on the wall of the courtyard (Figure 2). [4] Yuezhou is not only a place where Lu Dongbin often appears in the legendary story, but also where he met Zhongli Quan and embarked on the road to becoming an immortal. Volume 1 of Luo Dajing "Helin Yulu":
The generation of Lu Dongbin was a Jinshi of the Tang Dynasty and went to the capital to respond. When I met Zhongli Weng in Yueyang , he taught me the immortal skills, and then he was no longer in the capital. Today, the Feiyin Pavilion in Yueyang is where it is. [5]
Picture 2ˉ Lu Dongbin passed Yueyang Tower picture
In the general imagination of the people of the Song Dynasty, Taoist immortals, as representatives of gods showing their traces in the world, often pretending to be weird people or beggars on the streets of cities, and ascending in the lively places in time to show miracles. The fan section of the Boston Museum of Fine Arts "Lu Dongbin Passes Dongting" depicts the scene of an immortal appearing on Dongting Lake in Yuezhou in an extremely concise way. In the early years of the Southern Song Dynasty, Shao Bowen "Shao Brothers' Experiences and Records" records that "the former home of the Immortal Lu in the Tang Dynasty is Yueyang, and now his place name is Xianren Village, and there are many surnames of Lu." Hongmai "Hongmai " "Lu Weng Yueyang" article tells the story of Lu Dongbin's appearance in Yueyang:
Chunxi In the 16th year, Zhang Qing guarded Yueyang and heard that there was a temple in Lu Gong beside Lao Song in the south of the city. Because he went to see his statue, his robe was not uncommon, so he ordered a work to rectify it, but he had no time to deduct it or not. One night, my family dreamed of a stream of flowers, wearing a new yellow robe, covering the road and standing in the county garden. He went to avoid other places and met again, and asked his name, "I am an immortal." His family said, "If you are an immortal, why not go to the sky and go to the ground?" He said, "I am an immortal." The next day, he said, "I am an immortal." Zhang said, "I went to Zhang to see the matter. The official said, "I was ordered to change the robe of the real person, and now the painting has been completed." Zhang was very different from him, and he thought of polishing his clothes, and he was in the dream. ...[6]
Regarding Lu Dongbin's hometown, Volume 18 of " Nengbianzhai Manlu " quotes "The Secret of Elegant Words": "There is a biography of Lu Dongbin: Guan Youren." In addition, similar ones are also related to Zhong, Guanxi, Guanzhong, Jingzhao , etc. The "Feng Tu Ji of Yueyang" in the late Northern Song Dynasty recorded that Lu Dongbin was a 2 people from Hezhongfu. It originated from "Yang Wengong Tanyuan" that Lu claimed to be the descendant of Lu Wei. " Old Tang Book " Volume 137 "Biography of Lu Wei" says that Lu Wei is a native of Hezhong, so Fan Zhiming directly called Lu Dongbin a native of Hezhongfu.In the sixth year of Xingding in the Jin Dynasty (1222), "The Record of the Temple of the Tang Dynasty Lu Zhenren" further determined that Lu Dongbin was from Yongle in the River, and his former residence was found in the Hundred Steps of the Northeast of Yongle Town. This statement was verified by the re-repair of Chunyang Wanshou Palace in 1324. Zhao Daoyi recorded two statements about his hometown: people from Dongping and people from Hezhong Prefecture, the latter is more accurate to people from Yongle Town, Puban County. In the accounts after the Yuan Dynasty, Shanxi Yongle was mostly regarded as the hometown of Lu Dongbin. Quanzhen Sect supported this statement by cultivating historical books and building palaces. Yuezhou only flashed in the murals of Yongle Palace, and rarely appeared in later documents.
The next "Huangliang Dream Jue" shows the most famous story in Lu Dongbin's story system. Its framework has undergone changes from Lu Wengdu Lu Sheng to Zhongli Quandu Lu Dongbin. The dream of yellow grind originated from Tang legend "The Pillow Record". Lu Sheng met Lu Weng in the Handan Road Inn and taught him a pillow. Lu Sheng entered his dream. He experienced the glory, wealth and joy and sorrow of the world in his dream. After waking up, he found that the yellow grind was still not cooked. From this, he realized that life was like a dream and turned to the Tao. This is not related to Lu Dongbin, but the poem "Mozhuang Manlu" by Zhang Bangji of the Song Dynasty records that "The Book of Books and Hu Yongzhi" in the poem "The Dream of the Yellow Milk" by Daoshi Lu (1098-1100) "The Dream of the Yellow Millet has not returned", and Lu Dongbin has overlapped with Lu Dongbin. [7] At that time, Wu Zeng had analyzed this overlap and concluded: "This Lu Weng is not Dongbin." The screen of [8]
can be divided into three segments. The man in yellow lying on the long couch in the building on the right side of the lower section should be Lu Dongbin, and a man on the right side leaned against the couch and looked at the man in yellow, which was Zhongli Quan. A wisp of clouds floated out of the man in yellow to mid-air outside the house. The middle section of the cloud is the picture, from left to right, one person holds the scroll downward to make a delivery, Lu Dongbin rides a white horse, and a person in front of him guides forward, preparing to enter the city. The upper section is the building and the city wall. The title is located on the right side of the upper section, blocking some buildings. A woman squatted on the ground and added firewood to the stove in the right kitchen. Based on the title, we can see that this picture shows the story of Zhongli Quan enlightening Lu Dongbin with his dream. The middle part shows that the envoy in the dream summons Lu Dongbin to receive an official position, and Lu Dongbin is summoned into the city. On the left side of the lower section, the woman added firewood to indicate that the yellow grind in the pot is still not ripe (Figure 3).
Figure 3ˉ The second picture of the east wall of Chunyang Palace "Yellow Furious Dream Jue"
The Quanzhen Sect between Jin and Yuan is to discuss the sect inheritance of Zhong and Lu Immortals. It applies the framework of "The Record of the Pillow", and the host and guest are inverted, and Lu Weng is replaced by Zhongli Quan and Lu Sheng is replaced by Lu Dongbin. The combination of Lu Dongbin and Huangliang Dream led to the allusion that Zhongli Quan used Huangliang Dream to transform Lu Dongbin, which is expressed in Taoist literature and painting. Chen Jiaoyou believes that the immortals that Wang Chongyang met in Zhongnan by Wang Chongyang in "The Record of the Lord of Jinlian" were recorded as Lu Dongbin as Lu Dongbin, which should be a later recount or a false entitlement to [9]. However, this recount did not start from "The Record of the Lord of Jinlian". In the poems of the seven sons of , Ma Yu, and , and Ma Yu also mentioned many times that Wang Chongyang met Lu Dongbin and had to teach the mantra. Ma Yu's "Caisangzi": "Lu Gong realized the Huangliang Dream and abandoned Huaxuan. Returning to the origin, it came from Zhongli to become a great immortal." [10]. To find out the reason, the real reason why the Quanzhen scholars used the framework of "The Record of the Pillow" was to establish the master-apprentice relationship between Zhong Lu and the master-apprentice teaching method, laying the foundation for the master-apprentice teaching relationship between Lu Dongbin and Wang Chongyang later.
"Testing the Five Demons" uses five single content to show the five tests that Lu Dongbin experienced before leaving his hometown to practice Taoism. It is divided into three sections, from top to bottom, from left to right, showing the five plots of the death of a relative, encountering a thief at night, temptation of a woman, encountering danger in the river, and encountering a ghost at night. A woman in the upper right side of the house was lying flat on the bed, and one person in front and behind the bed was in a sad and crying manner. There was a half-open coffin under the steps outside the house, and a man looked inside the house in the open space. Lu Dongbin was dressed in white, and his figure was obviously larger than others. He turned his back to the house and turned around with a staff in his eyes. On the upper left side, Lu Dongbin sat cross-legged on the cushion, holding his hands in front of his abdomen, and three thieves on the right side of the house were pressing each other with swords. On the left side, a thief seemed to be checking the luggage that Lu Dongbin brought. In the middle, Lu Dongbin sat cross-legged at the door, and a woman outside the room was talking to him. A river naturally connects the middle and lower sections. Lu Dongbin sat upright in a small boat on the river, and one person rowed at the bow of the boat. The lower section, Lu Dongbin sat cross-legged inside the house, and the four ghosts on the left outside the house wanted to harm each other.Zhongli Quan was observing what was happening below in the yellow cloud above the roof (Figure 4).
Figure 4ˉ The fourth "Testing the Five Demons" in Chunyang Palace mural
The story after that no longer uses time as a clue to express his life, but shows the story of Lu Dongbin's manifestation in his wanderings everywhere. In these stories, Lu Dongbin either transforms into a small vendor selling ink, or changes into a ragged and devastated beggar, testing the secular people and showing the changes of gods.
(II) Avoid negative images
Single picture of Lu Dongbin is a scholar and a scholar-official recognition of the pursuit of human reversion and human freedom reflected in the legend of Lu Dongbin, which reflects the life interests and aesthetic concepts of the scholar-officials, and is quoted as a similar type. Literature changed Lu Dongbin's original image and portrayed it into a handsome literati image, just like the 14th-century "Picture of Lu Dongbin" in the Nelson Atkins Museum of Art in the United States (Figure 5). Quanzhen Sect gives it the Taoist color, trying its best to create an image of a ancestor who saves the world and changes in supernatural powers, and avoids expressing the "negative" image of the ancestor in the murals of Chunyang Palace.
Figure 5ˉ Lu Dongbin is like
The seventh picture "Shi Si Queering Tea" in front of the screen in the middle room, Lu Dongbin talked with a middle-aged man on the right, and an old woman on the left listened, and it should be the Shi couple. A girl on the left side of Lu Dongbin was serving tea tray with both hands. Two groups of people outside the courtyard were saying goodbye, walking towards each other, probably the tea guests who said goodbye after staying in the tea shop. This performance does not match the words mentioned in the list title. It does not show that Lu Dongbin's "clothes are ragged, flesh and blood are dirty" and the plot of Lu Dongbin asking his daughter to drink tea. Instead, it adds a scene of saying goodbye outside the gate of the Foreground Courtyard (Figure 6).
The ninth picture "Guo Xian Again" is divided into two plots. The lower part of Lu Dongbin sat in front of the desk in the pavilion. There was a man wearing a white towel on his shoulder. Guo Shangzhao was entertaining Lu Dongbin who came to drink tea. The two men on the left side outside the pavilion were covering their noses, and one of them leaned out from the gate of the courtyard and looked at the pavilion. The upper part of Lu Dongbin sat in the house, Guo Shangzhao leaned on the ground in front of him, and Lu Dongbin waved his sword with his right hand to the back of Guo Shangzhao, showing that "sword swung his head". The painter did not express the image of Lu Dongbin's "scarred and lulling" beggar according to the title, but he implied it by the action of two people outside the pavilion covering their noses. The inconsistency between the title and the picture expression can be regarded as the artist's intentional treatment, which not only avoids the negative image of the ancestor, but also implicitly expresses the content of the title.
Figure 6ˉThe seventh painting of the Chunyang Palace mural "Shi Si Qiu Tea"
Confucianism has a potential impact on the selection of mural stories. In "Miaotongji", there are stories about Lu Dongbin's successor to pass the prostitute, such as "The Fifty-sixth Transformation of Duhou Xingshou", "The Sixty Transformation of Huangying Prostitute", "The Eighty Transformation of Zhang Zhensou", and "The Eighty-seventh Transformation of Cao Sanxiang", etc., describing the stories of Lu Dongbin's successor to pass the prostitute. There are also many similar stories in "Lu Zuzhi". During the Jin and Yuan dynasties, the media of the spread of Lü Dongbin's story changed from notes from Song Dynasty to zaju . Yuan Zaju and folk legends have made such stories widely circulated on this basis. But Chunyang Palace does not have any description of such stories. These stories that damage the image of the ancestors were deliberately hidden. The story of "filial piety" in the murals occupies a lot of weight and should be the result of influence of Confucianism. Quanzhen Buddhism advocates the integration of and . Wang Chongyang in Shandong said that whenever he receives the first opportunity, he must first read the "Book of Filial Piety" and "Tao Te Ching", and teaches him to be filial and purity." [11] mural reflects the missionary characteristics of Quanzhen Buddhism.
(III) Huanghelou and Yuxianqiao
The sixteenth picture of "Wuchang Ink" is inconsistent with the title of the list. It omits the multiple plots of Wang and Lu Dongbin drinking, Lu Dongbin knocking on the door in the middle of the night to pay back the money, and the ink turns into gold. It is more like an ascension picture, showing the situation of Lu Dongbin ascending to the Yellow Crane Tower. The painter focused on depicting the shops on both sides of the street in front of the Yellow Crane Tower. There were people setting up stalls and sitting on the ground in front of the shop door on the right. Two people in the shop talked at the table. There are jars, jars and other items inside. The picture below the shop on the left was damaged, and only one person was seen walking on the plate and talking to one person behind him, with round snacks placed in the plate. Only one person on the lower left side had his upper body, and his lower part was damaged.The Yellow Crane Tower is a two-story double-eave building. On the right side of the second floor, there is a corridor connecting the terrace. There are three people standing on the top of the platform. One person on the right is wearing white clothes with his fingers in the air, and the other person on the back is wearing dark clothes. He raised his index finger in front of his chest with his left hand up. The waiter behind him stood with his right armpit. Lu Dongbin did not appear in the picture, and used the gesture of the man in white to prompt Lu Dongbin to ascend and leave. The lower part of the mural depicts the lively scene in front of the Yellow Crane Tower. The upper part depicts the scene where Wang Mou and his followers witness Lu Dongbin ascend to the ascension (Figure 7).
Figure 7ˉ The sixteenth "Wuchang Free"
0 "Meet the Fairy at the Bridge" uses a set of interconnected buildings as the main body of the story. The two-story double-eaves building on the left is the main body, and the left part of the building is full of scattered. At the door of the first floor, a person holds a stick and looks up to the viewer. There are stairs inside to the second floor. On the second floor, two people sit in front of the table, and there are long-necked bottles and other objects on the table. There is a plaque erected on the bridge in front of the first floor and read "The Bridge to Encounter Immortals". On the bridge, one person carried a shoulder pole on his shoulder, and fish were hung on both ends of the shoulder pole.
The lower picture shows a group of four people on the left side of the bridge. Two of them stand, with Lu Dongbin on the right, wearing straw sandals, and a person on the left, with his right hand pointing to the person who bows down to the person who bows down. There is a large bottle on the ground beside him, a ring on the bottle neck covers and a thin stick passes through it, which may be used to carry a bottle on his shoulder. A man on the right hand held a bag and looked back at the three of them. Two people stood on the right side of the bridge and talked, and a little boy stood in his hands holding a fishing rod behind him. On the left side of the bridge is a lotus pond, covered with lotus , lotus leaves, and white geese, ducks and other games in the water. The water outlet above the pond is decorated in fine detail, and a monster in the Ruyi cloud pattern, water gushed out of its mouth, and cloud patterns were decorated on both sides. The left side of the building extends out of the side path, and there are two people on it, one of whom is hanging his hands and walking forward, and a boy holds the bottle and then. There is a cottage at the other end of the side corridor, and the cottage is connected to the other side road leading to a gazebo on the left side of the building.
Two people were sitting in the pavilion, one was walking towards the pavilion through the side path, and behind it was a waterfall in the mountain meandering down (Figure 8). The title of this mural is peeling off. Some scholars believe that the picture is midsummer and there are fish pickers on the bridge, which is consistent with the story of "Sales of Fish". The author believes that this picture depicts Wang Chongyang meeting an immortal in Ganhe. Meeting immortals in Ganhe is an important beginning for Wang Chongyang's cultivation of Taoism, and an important part of the faith of the Five Patriarchs of Quanzhen Sect. It is an important connection established between Wang Chongyang, the actual founding ancestor, and the Taoist god Lu Dongbin. It is the focus of the genealogy of the Five Patriarchs, and it is also a part that Quanzhen Sect attaches great importance to.
Figure 8ˉ The 20th line drawing of the "Escape the Immortals at the Bridge" mural of Chunyang Palace
Sun Deyu carried out more construction of the ancestral courtyard of the Chongyang Palace when he was the Taoist point of the Qin Dynasty. One of the most important constructions was the continued construction of the Ganhe Immortal Bridge. Yu Ji's "Epitaph of Sun Zhenren, the head of Xuanmen," records:
Zhongnanshan Chongyang Palace is the ancestral courtyard of Quanzhen. When the Zhenren lived there, it was finally renovated. The emperor gave it to the palace. Ganhe is where the ancestor met the immortal. The real person followed the imperial edict to build a bridge to express his intention to save the visitor. The battle is very great. He also ordered Yuan Gongming to be good at making inscriptions. [12]
Sun Deyu (reigned from 1313 to 1320) is the head master from the ancestral court of Wanshou Palace in Chongyang. Building the Ganhe Ession Bridge is one of his reigning achievements. "The public is a statutory rule. If you ask for the Li, Mu, and Wang to add the title, use Dunzhuan to make the Ganhe Bridge, to show the place where the ancestors met the immortals during Jin Zhenglong period." [13] An important incident that occurred at the same time as the bridge repair incident was also the imperial wardrobe given to Chongyang Wanshou Palace and placed in the Liaoyang Hall, which means that the imperial power confirms the status of Chongyang Wanshou Palace in the sect.
The wall of the inscription is the main form of the spread of Song lyrics. The inscription places are mainly pavilions, towers, post pavilions, monks, temples, and bridges and roads. People in these public places frequently exchange, which is conducive to dissemination. The title is an important carrier of Song Dynasty literature . Most of the lyrics in the Song Dynasty were not signed. This provides the possibility for the name of a god. Huang Tingjian "Poems on the Autumn Wind Blowing on the Wei River" says:
Thirty years ago, a man wrote this song between the pillars of the wine shop in the Dongcha Garden in Zhou, or he loved his literary and interesting words, but could not sing.In the middle, musicians may sing and sing, and they will always enter with despicable words. They have a sense of market spirit, and are not like the words of gods and immortals. Ten years ago, a drunk Taoist priest sang this song on Guangling Market. Children followed it and coordinated with it, and they all followed it to match the current words. After the Taoist priest left, he searched for him and knew that he was Lu Dongbin. [14]
Yueyang Tower is a famous building in the world with many inscriptions by the Song people. The poems written inscribed are known to more people with the reputation of Yueyang Tower, and the famous inscriptions also add reputation to Yueyang Tower. "First get off the horse and look for the words on the wall, and when you go out, you can record the village name." [15] Every place you go, observing poetry and paintings, searching for the past and the new is one of the contents of your journey. The murals have many times the content of inscriptions of Lu Dongbin and Wang Chongyang in temples and restaurants. The content of the inscription includes poems that were originally highly circulated and Taoist content with a profound sense of mission.
During the Jin Yuan period, the media of the spread of Lu Dongbin's story changed from notes from Song Dynasty to zaju dramas. There are many scenes in the murals of Chunyang Palace in Yongle Palace depicting Lu Dongbin's magical powers change and he left after he wrote a poem. In the forty-ninth picture of "Inscription of Poems in Tianqing", Lu Dongbin stood at the door of Tianqing Temple, lifted his left hand up to point to the door. Two people were holding plates in front of the wall on the right side of the door. They were feeling a little in the plate and were walking towards the courtyard gate. There was a person under the tree. Lu Dongbin stood on the side under the steps of the door of the courtyard, pointing to the house with his right hand, a little boy bowed with his hands, and a curtain was hanging at the door of the house, implying that it was a newly built wall. Lu Dongbin stood on the side in front of a screen wall in the middle section, holding a pen in his right hand and writing on the wall, looking down. In the upper section of clouds, Lu Dongbin looked to the lower left. Based on the title, we can see that it shows the picture of Lu Dongbin trying to write a poem on the new wall of Tianqing Temple in Qinzhou to stop the child from writing poems, and then write poems on the wall with melon peel to leave his name.
(IV) The vegetarian offering and worship
A single scene is drawn at the east and west ends of the south wall of the Chunyang Palace. The eastern section of the southern wall is "Pictures for Zhai". In the courtyard, a blue-clothed Taoist boy lifts a curtain to look outward. The two of them sat opposite each other at the red table, one seemed to be grinding spices, and the other was wiping the tribute peaches in his hand. There were plates, plates, white pots with lids and other items on the table, and fruits were placed on the plate. One person squatted with his right hand and held the table legs with a wedge-shaped wooden block in his left hand to stabilize the table. On the other side, a yellow-clothed Taoist boy held a certificate and wrote a certificate on his hand, and there were stacked cups and similar certificates on the table behind him. [16] A boy walked into the courtyard with a scripture scroll in the corridor. There was only one child in the yard who had left his head, which seemed to be holding a transparent bird cage-like object. A boy held a plate with a bundle of scriptures built into the plate. A child raised a round fan, and the fan was painted with light, and there was a Qian hexagram on the mountain and rocks. A child-shouldered altar is on the top of the altar, which seems to be moving the altar. There are candlesticks, fruit offerings, incense burners, vases and other items on the altar. The other two boys had only half of their busts, and their movements were unclear. The whole picture shows the preparations before the Taoist ritual (Figure 9).
Figure 9ˉThe Southern Wall of Chunyang Palace "Photo of Zhai"
The Western Section of the Southern Wall "Praise of Prayer" depicts the picture of a waterfall falling above the two trees at the entrance of the cave and flowing into the stream water in front of the cave. Behind the waterfall, a man knelt on his left knee, his mouth slightly opened, and faced a Ganoderma lucidum in the rocks. The cave door is half open, and people, tables, jars and other objects can be seen vaguely inside the cave. A stone slab spans the stream, connecting the cave with the open space in the middle of the picture. There are two groups of characters in the open space. One group of five people holds joints, fans, banners, and banners, all of which are made of double buns; the other group of eight people, five of whom play music, holding sheng, flute, , cloud gong, , drum, and chime. The other two carry the altar table, and the incense burner fruit plate is placed on the table, and one holds a white clean bottle in his right hand. Nearly one-third of the lower part is damaged, and it is now smoothed by white gray (Figure 10).
Behind the waterfall, a person's hair is short and scattered, his facial features are exaggerated, his eyes are drooping, his nose is big, his mouth is grinning to both sides, and his outer contour of his face is squarely folded, which is quite similar to Hanshan and Shide in the scroll of in the Yuan Dynasty. The five children's clothes are similar to the ordinary style of the Taoist children in the Song and Ming dynasties, with green silk clothes that are only longer than the knees, and they are tied with silk ribbons. The style of the garment, the cross-collar and the edges are slightly similar to the Taoist garments of the Song Dynasty, but the clothes are not limited to religious people. There are five different types of hair wraps, some of which are more unique and rare. For example, the turban of the flute blower is a style of a noble man's head hanging on his head since the Wei and Jin Dynasties, and the flute blower is similar to a lotus crown. In addition to the fine flower crowns on the head of the person who hits the cloud gong, there is also a wiping of forehead between his forehead. The drum beater wore a bridge-style trail crown common in the Song and Ming dynasties.Standing in front of the desk was a small Taoist boy who was specially designed for his call, so he had a double bun on his head.
Figure 10ˉThe "Prayer of the Peace" of the southern wall of Chunyang Hall
The content of the east and west murals of the south wall depicts the preparations for the Taoist rituals. It may be a reappearance of the actual fasting and rituals by the painter, but there is currently no record of the fasting and rituals held in Chunyang Hall, and it is very likely to hold the birthday ceremony of the two ancestors of Zhengyang and Chunyang here. The murals are more likely to reflect the preparations for such rituals. "The Two Immortals of Zhong and Lu Celebrate the Birthday Ceremony", because the relationship between Zhong and Lu's master and apprenticeship is often mentioned together, and their birthdays are similar, so a birthday celebration will be held on this day. In addition to the special purpose fasting and worship rituals in Taoist palace , it is also an important palace activity to celebrate the birthdays of all the gods and ancestors. This activity was already underway when Pan Dechong built the Yongle Palace. "After that, on the birthday of Chunyang, we held meetings to offer incense and rewards, which was the norm for the year." [17] Pan Dechong encouraged and guided the holding of festival activities on the birthday of Lu Dongbin. One is to celebrate the ancestor's birthday, and the other is to raise funds for the operation of the palace.
(Five) Songliu Two Immortals and Eight Immortals Crossing the Sea
Songliu Two Immortals, Wen and Martial Guards are on both sides of the north gate of Chunyang Hall. Liu Xian held a long sword with his left shoulder and held the long sword with his right hand. He wore a white black-edged robe and a yellow knee-length skirt underneath. The top of the head is a root-jointed branch, with hair flying on both sides protruding, protruding the depiction of muscles and strong lines (Figure 11). Songxian stood towards the door, with pine branches on his head, wearing a yellow and black-edged robe, holding a white square box in both hands, and a black ball-like object in the box, which contrasts with Liuxian, literary and military. The story of Songxian has been specifically expressed in the painting. Both immortals face the north gate, facing the north wall, Zhong Lu and the other immortals, who meant to guard and serve.
picture 11ˉ The northern wall Liuxian
The "Eight Immortals Picture" above the lintel of the north wall is divided into two groups. From left to right, Zhongli Quan combs his double bun, his chest is exposed, his abdomen is slightly bulging, his left hand holds a belt, his feet are Miracles shoes , step on the branches, and talks with Lu Dongbin beside him. Lu Dongbin stretched out his left hand and his right hand drooped into his sleeve. The corners of the scarf and the sleeves flutter in the wind, and the things you step on are indistinguishable. Tieguai Li faced the viewer with his back, his hair was short and scattered, his short beard was sprayed, and he was cross-body bag, and his feet were on the crutch, his mouth was exhaled, and his breath drifted to the air, and a man was walking forward with his stick.
Japan's Chienji Temple collection "Iron Gun Immortal" is very similar to the mural. Tieguen Li sat on the side of the stone, with a crossbody bag, a gourd on it, a crutch supported on his chest, exhaled from his mouth, and drifted into the air, with a person walking forward and back. Lan Cai and wore a yellow black-edged robe, clamped the love tube under the left rib, patted it with his right hand, held the board in his left hand, and stepped on the giant turtle. Xu Shenweng was an old man wearing a gauze-shaped hat, holding a bamboo stick in his right hand, hanging a hat, a gourd and a scroll on his head, and stepping on a big fish. Cao Guojiu wearing a blue dress, holding a multi-layer long board in both hands, inserting sock board on his waist, and standing on the drum with both feet. Han Xiangzi head combed, holding flowers in one hand, carrying basket in the left hand, with flowers in the basket, exposed chest, and placing double flowers on both feet. Zhang Guo Lao is facing the viewer, with a horn of the scarf flying, and his body is blocked by the two people in front. A cloud of air comes out from behind and drifts into the air. There is a white donkey in the cloud (Figure 12).
Figure 12ˉ The "Eight Immortals" in the Pure Yang Palace
Lu Dongbin is undoubtedly the core figure among the Eight Immortals, because the common points of the other seven people - immortality, people-friendship, miracles and the characteristics of the world - are very close to Lu Dongbin. Among them, Zhongli Quan has a master-apprentice relationship with him, and the stories of Xu Shenweng, Cao Guojiu and Lu Dongbin are also expressed in the biography of the painting.
Zhongtiao Mountain is the legendary place where Zhang Guolao appeared or lived in seclusion. Zhang Guolao once rode a donkey through Zhongtiao Mountain. It is said that in the northwest of Yongle it is Qixia Temple built by Zhang Guolao in the Tang Dynasty. Cao Guojiu and Li Tieguai were regarded as disciples of Lu Dongbin during the Southern Song Dynasty. The murals of Yongle Palace include contents of Lu Dongbindu He Xiangu and explore Xu Shenweng, and the Yuan Dynasty dramas include contents of Zhongli Quandu del Lan Caihe.The gathering of the Eight Immortals in the murals of Yongle Palace should be a reflection of the thoughts of gods and the concept of immortality. Lu Dongbin is an important clue to connect the Eight Immortals, and influences each other with the Eight Immortals Story in zaju and novels.
The mural of the Chunyang Palace of Yongle Palace interprets the story of Taoist ancestors in an image way, and becomes the form of spreading the belief of Taoist ancestors during the Jin and Yuan dynasties. As early as , the Six Dynasties or Taoist scholars in the Sui and Tang Dynasties might have preached the story of Yuanshi Tianzun’s previous life during the preaching process. In terms of image representation, the story paintings of ancestors in the Yuan Dynasty borrowed the graphic patterns in the Buddhist story paintings, and increased and changed in the picture and text conversion, and finally formed a relatively stable pattern of story paintings of ancestors, with different interpretations. From " Laozi's Eighty-One Transformation ", Chushuntang murals to Yongle Palace murals, and "Xuanfeng Qinghui Tu", the conflicts and oppositions between Buddhism and Taoism were gradually weakened, and focused on the publicity of the holy traces of ancestors.
htmlIn art history at the end of the 113th century to the beginning of the 14th century, Taoist and His works still occupied the mainstream of figure painting and formed distinctive local painting schools or workshops. The inscription of the disciples of Zhu Hao Gu in Chunyang Palace mural shows that unlike the rest of the murals belonging to Zhu Hao ancient names, the so-called Zhu Hao ancient style should contain at least two contents and expression methods. The image of the protagonist of the mural, Lu Dongbin, has gone through the process of changing from a mediocre person selling ink to a handsome god, to a Quanzhen ancestor wearing a Taoist robe. The literati admired hermits and the Quanzhen scholars' shaping of ancestors played an important role in this process.
. Chongyang Palace murals - The image of Quanzhen Fa School is presented
Chongyang Palace has five rooms wide, four rooms and six rafters deep, single-eaves hip top . The front eaves are subtracted from two golden pillars in the hall, and the back eaves are built with three fan walls. There is a large space for activity in the front of the hall. There are wide walls on the east and west mountain sides and the back eaves are used to draw murals. The three walls of the Chongyang Palace painted a story about Wang Chongyang paintings on the east, west and north walls. There are 50 stories in total. Starting from the east wall, the arrangement is similar to that of Chunyang Palace. There are 5 stories on both sides of the back wall of the shrine, and the Sanqing statues are painted in the center.
(I) Image structure of the Chongyang Palace mural
The mural starts from the east wall, and the upper and lower layers are not strictly symmetrical. The lower layer draws 8 stories and the upper layer draws 7 stories. The story can be divided into five parts: 1. Birth and meeting immortals to practice Taoism; 2. Education of Danyang couples; 3. Accepting disciples and establishing a meeting; 4. Miracles; 5. After the death of an immortal. The first part is mainly drawn on the east wall, which is basically arranged in the order of time development, but there are occasional chaos, such as the 3rd and 4th, the 5th and 6th, which seems to be more in line with the reading order from bottom to top and then from top to bottom from bottom to bottom. Among the 16 stories, Ganhe met an immortal twice and was taught a secret word, which was the predecessor of Wang Chongyang's practice of Taoism. "Living in the Southern Period" to "Liu Jiang Fen'an" is an important stage of Taoism. "Hui Zhen Ninghai" was the beginning of his preaching in Shandong. The murals mention the "Picture of Song and Crane Taoist" drawn before Wang Chongyang left the pass, emphasizing the inevitability of accepting disciples in the future, and can also be regarded as a miracle that Wang Chongyang predicted the future (Figure 13).
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Figure 13ˉ Distribution map of Chongyang Palace murals
There are three stories about "Wang Chongyang is a diversion of Hao Datong" in the eastern section of the north wall, which is much more than the other five real people except Ma Yu and his wife. Combined with the history of Quanzhen Sect in this period, the handling of murals may have been influenced by the fact that Sun Ludao served as the head master from 1324 to 1328. Sun Ludao took over as head coach in 1324. According to Yu Ji's "The Monument of the Immortal Altar", it can be seen that Sun Ludao succeeded Xu Zhigen as the Yuan Palace of the Bianliang Dynasty in 1304. This palace was built by Hao Datong.
There is a group of four people in the upper right corner of the eastern section of the south wall. The first person from left to right holds a plate in both hands, a incense burner is placed in the plate, a six-sided tent-shaped lampshade and shoes are worn. The second person held the scriptures in his left hand and held the pen in his right hand and lowered his head to write. The third person held a long staff in his hand, and one end of the pestle was in the shape of a small shovel. On the right side, a person tied a skin skirt with barefoot and pointed toes. All four had hair disheveled and no hair on the top of their heads.The four people in the middle are all female, with high buns, the first person from left to right, wearing white clothes, like a white shawl, holding a scripture in his hand, a red tiger standing beside him, the tiger's mouth seems to carry a flower, there is a candlestick on the ground, and a transparent six-sided tent-shaped lampshade outside.
A white crane stands behind the tiger. The second man was wearing red animal skin on his shoulders, holding a long pole with his head in both hands, with a streamer tied at the head, and a beam flower basket was lifted behind him. The third person holds a long pole in his left hand, with a streamer tied at the head and a white scripture. Raise your left hand and twist a green round bead (elixir?) with your hands. The fourth man stood sideways, holding a long pole in his left hand, and lifting a flower basket with a beam on his back, and the basket is filled with flowers and plants. The color of the lower part is severely falling off. A person on the right side stands with his back facing away from the viewer. There is an oval curved plate on the table behind him, and flowers and plants are inside the plate. One person can only see his hands, and one person can only see his head and sleeves. He should be an old man with white beard. The eastern section of the southern wall should be the content of herb collection.
South West Section: Only a group of five people in the upper left corner remain, and the rest is smoothed with mud. From left to right: The first person wears a winged robe with a wide robe with large sleeves and long beards on his face, stroking his beard with his left hand, and his body slightly sideways, as if he was talking to someone beside him, and he was suspected to be a lucky star. The second person wore a shawl on his head, had a beard on his face, and held a gossip mirror in his left hand. The third person is the birthday star, with white beard hanging on his chest and holding two birthday peaches in both hands. The fourth man had a crown with his hair, his eyes wide open, and his beard was thick. The fifth man had a hairpin, a thick beard, holding a belt in his right hand, and a round-necked robe. The five people were surrounded by clouds. Among the five people, only the Lu Xing and Longevity Star have obvious images, while the other three are unknown.
The background of the two murals on the south wall is no building, the spatial characteristics are not obvious, nor is the story content with plot. The details in the image are unknown. The author speculates that the eastern section is the content of herb collection, which is intended to show the Taoist concept of immortality and fairyland, and the western section is the Taoist figures such as blessing, wealth, and longevity mixed with folk auspicious meanings. The murals are seriously faded, and the painting method is quite different from the three walls of the east, west and north. The lines are in strictness and appear weak and messy, which may be the result of multiple repaints.
(II) Image of the back wall of the shrine new solution
The five stories drawn on the back wall of the shrine are mainly the content after Wang Chongyang's death. In addition, a group of small "Chaoyuan Pictures" were also drawn. There are two statements about the content depicted in this part of the mural. In the compilation of "Yongle Palace Murals", Xiao Jun, former director of the Yongle Palace Literature Management Office, believed that he was a painting of the Three Qing Dynasties and the worshippers, but he did not examine it. [18]
All three statues have round head light and body light, and wear flower crowns on their heads. Two wisps of clouds above the head of the center will intersect and rise to the yellow clouds in the air. The two wisps will spread out. Above the clouds, there was auspicious light shining. He has a square face, large earlobes, and has a beard. He sits on a square chair with his feet raised, raises his palm with his right hand facing upwards, and places his left hand in front of his abdomen. There is a multilateral throne in front, and a red round light on the front, and the things in the light are unrecognizable. The clouds on the right person's head rise to mid-air and turn into yellow clouds. He holds a fan in his right hand, lowers his left hand in front of his knees, and has a long beard. The person with the left hand holds a scepter in his right hand, raises his left hand, and looks outward. The hair and long beard are all white. The shape of the tablet has changed slightly, and the top is decorated, which is close to the tablet held by the purple Qi in the Sanqing Hall. The purple-qi Taoist in the twenty-eight constellations in the eastern section of the northern wall of the Sanqing Hall is dressed as a Taoist. The object holding the object is similar to the tablet, but it has a flower-shaped decoration at the top and is decorated with white orbs.
Only Li Song examined the mural of the back wall and believed that it was inappropriate to determine it as the Sanqing statue. There are two reasons: First, it is contrary to common sense to draw the Sanqing statue here, and this repetition does not conform to the overall layout. Moreover, according to Wang Chongyang's status, drawing the Sanqing here is suspected of "usplitting". Second, the character is a middle-aged person, and should be a true image of an immortal. According to the "Quanzhen Sect Ancestral Monument", it is designated as three immortal statues, Lu Dongbin, Wang Chongyang and Ma Danyang. [19] According to the author's careful observation, the faces of the three masters are indeed middle-aged, but they are all painted with long beards. Among them, the hair and beards on the right are all white, and the beards on the left are also black beards. The beards on the middle are not obvious on the chin, but there are long black beards on both sides of the jaws. It should be more appropriate to judge the elderly. All three images have head and body light. In the murals of the second hall in the back, Lu Dongbin and Wang Chongyang did not have head and body light. Most of the objects held were shaved tails, etc., and there were no scepters, and there were few images of wearing crowns.There are 7 people on the left and right below the three images in an eight-character arrangement. The first person on the left is a female portrait, with a more complex head crown, and the rest are male portraits, wearing various Taoist crowns and holding a tablet in hand, without any head radiance.
The author believes that this is the worship of the Three Pure Ones of Quanzhen Taoism, which is used as the end of the mural of the full hall, once again emphasizes the worship of the traditional Taoist gods headed by the Three Pure Ones, in order to show that Quanzhen Buddhism is the orthodox Taoism. As for the theory of "usplitting", there is a mural of Chunyang Palace as a counter-proof. The wall behind Chunyang Palace is painted "Zhong Lu On Taoism". If the level of teacher education is used, Zhong Li Quan is the teacher of Lu Dongbin, and it is also painted on the back wall of the shrine, and the main wall of the shrine is a statue of Lu Dongbin.
"Dongzhen Taishang Taixiao Lang Shu" Volume 8 records that the Shangqing Group teaches scriptures and talismans, and there is a system that traces the three divisions (Dushi, Jishi, and Jingshi). Therefore, when passing talismans and licensing and giving credit, we must trace the history of the three divisions. The third division mentioned by Wang Chongyang in his poems, Qiu Chuji worships statues of the third division. These behaviors may have been traced backwards according to the statements of the three divisions when teaching the scriptures and precepts.
The compilation of the Yuan Dynasty Gods and Immortals Records is still continuing, and presents the characteristics of the times. Unlike the previous levels and rankings of the immortals based on the standards of Taoism, the Yuan Dynasty Gods and Immortals Records use the genealogy of the law as the clue. "The Record of the Authentic Jinlian" and "The Legend of the Immortal Source of the Golden Lian" are closely related to the murals. Wang Chongyang's deeds are also partially recorded in the Taoist stele included in "The Record of Immortal Traces", "The Monument of the Ancestors", "The Biography of the Seven Truths" and "The Origin of Gan Shui Narcissus". "The Picture of the True Person of the Chongyang King's Psychede" is only left in the "Preface". Through the Chongyang Palace murals, we can imagine or partially restore this group of disappearing images.
At present, only Yongle Palace can express Wang Chongyang's deeds in the form of a story painting. Searching the literature to obtain an important clue about such images. "Preface to the Praise of the King of Chongyang" is recorded:
"Praise of the Praise of the King of Chongyang". There are fifty-five of the King of Chongyang, Li Zhenchangshi, Zhang Chengming then asked the title, Shi Hongzhen passed on the story, Wang Zishan did it, why is it secretly? It is because of the mercy of the poverty of a lifetime, and the success of the transformation is to be achieved. This is a picture that cannot be done. However, I see that the Double Ninth Festival is the way, like the moon in the sky, like the wind moving through the water, its spirit condenses, its shape transforms, and its direction is not traces, and how can it go without pictures. The clouds move and the moon moves, the emptiness clears, the wind clears, the spirit moves, the way is spread, what is there in the trace, what is there in the picture? Although the Tao cannot be seen, there are traces and pictures, and can there be no traces and pictures? Although, what is the Yi image used to do? If you forget your pen and your hooves, you will definitely get it outside the picture. [20]
Participated in this picture production are Li Zhichang, the head coach Guangxian Tao Chengming real person Zhang Zhijing and Shi Hongzhen. Zhang Zhijing served as the fourth-generation master of Quanzhen from 1256 to 1270. Zhang Zhijing was Li Zhichang's closest disciple. Li Zhichang directly appointed and requested the Khanate to approve him as the master of the successor. Shi Zhijing is an important producer of "Xuanfeng Qinghui Tu" and "Laozi's Eighty-One Transformation Picture".
Chongyang Palace murals show about fifty-five plots, which are very close to the "Chungyang Palace Muslim Picture" mentioned in "Preface to the Praise of the Chongyang King's True Person Praise". The producers of this picture are all core figures in the Quanzhen Cult. We have reason to speculate that Chongyang Palace murals should have a very close relationship with it, and may be the only legend of this picture remaining in later generations.
After a long development and evolution, a relatively stable and unified system of gods and immortals and hierarchy was formed in the Song Dynasty. The Quanzhen Sect of the Yuan Dynasty inherited the system of immortals in the Song Dynasty and arranged its own creative genealogy on this basis. In this genealogy, Quanzhen Cult absorbs the inner alchemy theory of the Tang and Song dynasties and absorbs the two immortals of Zhong and Lu in folk religious beliefs as an important part of connecting the innate gods headed by the Three Qings and the actual founding ancestors such as Wang Chongyang. The Quanzhen Sect accepted and transformed the belief of Lu Dongbin, and worshipped the Five Patriarchs and Seven Truths in the palace. The image representations are both virtual and real, and the commonalities and characteristics of the immortal statues are reflected in each.
Comment:
[1] "Preface to the Collection of Pure Yang Zhenren", included in "Daozang" Volume 23, page 685.
[2] Su Bai: "Investigation Diary of Yongle Palace", "Cultural Relics" No. 8, 1963, pp. 53-57; Meng Sihui: "Research on the Mural Group of Jinnan Temples in the Yuan Dynasty", Forbidden City Press, 2011, pp. 151.
[3] Hong Yingming: "The Story of the Immortal Buddha in Yuedantang", Taiwan Student Bookstore, 1978, page 86.
[4] Fang Wen believes that the donkey rider is Lu Dongbin himself. Fang Wen: "Beyond and Reappearance - Chinese Calligraphy and Painting in the 8th and 14th Centurys", translated by Li Weikun, Zhejiang University Press, 2011, page 236.
[5] Luo Dajing: "Helin Yulu", Wang Ruilai edited it, Zhonghua Book Company, 1983, page 252.
[6] Hong Mai: Volume 2, Volume B, Seventh, Zhonghua Book Company, 2006, page 844.
[7] Zhang Bangji: "Mozhuang Man Lu" Volume 1, Pages 8 to 10, Shanghai Ancient Books Publishing House, 1992, pages 846-5.
[8] Wu Zeng: Volume 18 of "Neng Biezhai Man Lu", included in the fourth volume of "Novels and Novels", Jiangsu Ancient Books and Printing Society, 1993, page 297.
[9] Chen Jiaoyou: Volume 1 of "The Origin of Taoism in Changchun", included in Volume 31 of "Tibetan Taoism", pages 5-6.
[10] Volume 1 of "Cultural Enlightenment Collection" is included in the 25th volume of "Daozang" and page 455.
[11] "The Record of the Immortal Traces of the Master of Chongyang, Zhongnan Mountain", included in Chen Yuan: "A Brief Introduction to Taoist Jin and Stone", supplemented by Chen Zhichao and Zeng Qingying, Cultural Relics Press, 1988, page 460.
[12] Chen Yuan: "A Brief Introduction to Taoist Jin and Stone", page 787.
[13] "The Monument of Sun Gongdao Xing, the Taoist Master of Emperor Xuanmen, to teach Taoism, the master of Xuanmen, to assist Taoism, Ren, Wencui, the master of Taoism in Xuanzhi, the master of Taoism, Jixian Academy, is known to the Taoist Taoism, see Chen Yuan: "A Brief Introduction to Taoism in Taoism", page 788. This stele is originally written by Deng Wen and written by Zhao Mengfu.
[14] Zeng Zaozhuang, Liu Lin: "Complete Song Literature" Volume 106, Shanghai Dictionary Publishing House, 2006, page 339.
[15] "Complete Song Ci" edited by Tang Guizhang, Zhonghua Book Company, 1999, page 792.
[16] The Taoist boy held a letter with the words "Fragrant Tea" on the sacred object, which seemed to be brick tea without the scriptures. See Wang Chang'an: "Murals of Chunyang Palace and Chongyang Palace", "Cultural Relics" No. 8, 1963, page 41. Now the word "scented tea" is no longer recognizable.
[17] Volume 5 of "The Origin of Gan Shui Narcissus" "The Monument of the Divine Way of the True Man Pan Gong", included in Chen Yuan: "A Brief Introduction to Taoist Jinshi", page 556.
[18] Xiao Jun: "Yongle Palace Mural", Cultural Relics Publishing House, 2008, page 49.
[19] Same as above.
[20] Chen Yuan: "A Brief Introduction to Taoist Jin and Stone", page 717.
(Liu Ke, Ph.D. in Fine Arts, Central Academy of Fine Arts, associate professor at the School of Fine Arts, Shaanxi Normal University.)
This article was originally published in "Fine Art Grand View" No. 4, 2022, pages 109-114.
