Gongzhu Temple

Princess Temple is located in Dongsheng Village, Fanshi County, Zhangzhou City, Shanxi Province. It was built in the Northern Wei Dynasty and was rebuilt in the later generations. It covers an area of 4,347 square meters and has three courtyards. The main buildings are Shanmen, Crossing Hall, Wei Shu Hall, Daxiong Palace, Jialan Palace, Mawang Palace and so on. More valuable are the murals and colored plastics built in the Ming Dynasty hall and the temple of the great male.

When I went, I closed the door and opened the door on the phone. The murals inside are very good, and those who learn art must come to see it. No photos are allowed, but there are pictures on the Internet. The hall is a Ming Dynasty mural and sculpture, with the Dianqing Dynasty murals a little inferior.

#National Treasure# Tour, Princess Temple is located in the princess village of Xingyuan Township, Fanshi County, Shanxi Province, the north foot of Wutai Mountain. It is rumored that the fourth princess city of the northern Wei Wencheng Emperor was built to escape the hardship of red dust. There is a legend that the princess of the city letter of the Ruyi Lang was opposed by Wen Cheng Emperor, and there is also a saying that the princess is dissatisfied with Wen Cheng Emperor's designated marriage, which is invented by future generations, and there is no historical support, and there is no way to verify it. In the era of the vast and sparse people and traffic, it was not easy for the princess to walk in this remote place and practice. After several years of waste, the existing temple of the Princess Temple is a Ming and Qing architecture, and the portraits and murals are all works of the Ming Dynasty. The temple is famous for its murals, and the Yongle Palace murals are also called "North and South Shuangzhu". The most amazing place of the Princess Temple is the exquisite Ming Dynasty water and land murals in the Daxiong Palace. Unfortunately, it is now being renovated and has no chance to see it. Land and water painting is an important Buddhist painting held by ancient Buddhist monasteries for the super-dead, Puji land and water all ghosts and gods, which shows that the local area due to the frequent war, the population has plummeted, and the body has been scattered all over the field, so that this painting is more popular in many monasteries. We look forward to the early completion of the temple maintenance, so that these precious cultural treasures can be restored to the world's eyes.

The Princess Temple is located in the Princess Village, Xingyuan Township, Fanshi County, Zhangzhou City, Shanxi Province. There are three courtyards on the central axis. The most valuable in the temple is the Cross Hall and the Daxiong Hall. It was approved by the State Council and included in the list of the sixth batch of key cultural relics protection units in the country. It was built in Beiwei. The temple is built for the princess of the north Weichengxin to escape the hardship of the red dust. The existing temple is a Ming Dynasty building. The temple is complete, large-scale, and the murals in the temple are exquisite, lifelike, with high artistic value. There is no ticket, because few people visit, so the temple gate is locked. If you want to visit, you can call the phone on the temple door. An elderly person will come to open the door. There are two ancient trees in the temple. The tree is a thousand years old. It is a great ancient temple.

According to the "Guqingliang Biography", the Princess Temple was founded in the Northern Wei Dynasty (named after the four daughters of Xiaowen Emperor Tuo Xuhong, the honest princess who went out to build the temple), burned up in the Jin Dynasty soldiers chaos, and was rebuilt in the Yuan Dynasty. It was restored in the Ming Dynasty for 16 years (1503 AD). From the original site of Shansi Village to the Princess Village, Qing Kangxi and Jiaqing have been renovated repeatedly, which has become the scale of the present. The temple has three courtyards, which are typical central axis layout and the environment is clean and beautiful. In the existing buildings, only the Great Buddha Hall and the Pilu Hall are the remains of the Ming Dynasty, and the Zen Hall, Guandi Hall, Grandma Hall, etc. were rebuilt in the Qing Dynasty. The exquisite Ming Dynasty murals are preserved in the Great Buddha Hall in the backyard, and the Yuan Dynasty murals of the Yongle Palace in the Yuan Dynasty are known as "North and South Double Pearls". Entering the Great Buddha Hall, through more than 500 years of history, the beauty of the mural is still inspiring. There are five murals, one of the "three gods maps" on the east and west walls, one of the three Buddha statues in the central Buddha altar (the three Buddhas) behind the statue of the ten Ming kings, and two of the "Phihung Fu maps" on both sides of the south wall. Obviously, this is a large land law association. The land law association is a ritual of the ancients' superdeath. Because there are many shrines to be worshiped at the land law meeting, but due to the space limit, it is necessary to draw them out for worship, and the image system formed by this is called the land law meeting map (referred to as "land water painting"). The earliest appearance of land and water painting should be no later than the Tang Dynasty (the Three Kingdoms Period), but by the Song, Yuan and Ming Period, it became one of the most popular Buddhist painting themes. The whole mural is rich in color but not gorgeous, with Zhu color, yellow as the main, green, green and other colors, showing a warm and harmonious atmosphere, the color of minerals after hundreds of years is still bright as before, "pink wall Wu painting, pen color is still fresh". In the Buddha seat, crown, instrument, armor and so on, the use of the powder pile gold technology to dry and render, so that the murals are full of glory. Many characters are accurately depicted and delicate, with different postures and vivid expressions, mostly with orchid leaf sketching, and with iron line drawing and nail head squirrel sketching, stretching lines, the soft hair, the floating of the clothes, can be described as full of wall wind. It is not easy to arrange so many people (more than 470) in limited wall space, which shows the extraordinary skill of the artist's ingenious conception and management position. The painter adopts the usual "three-to-five" method in the creation of land and water painting, and the various characters are in groups and densely intersected, both self-forming systems and interconnecting with each other, especially through eye contact and action echo, forming a unified and coherent momentum. This subtle picture unity is a characteristic of Chinese art.