Quanzhenjiao is a new Taoism that arose in northern China after the Jin Dynasty, and gradually grew after the Yuan Dynasty, becoming a mainstream of Chinese Taoism, and is widely known in the Chinese-speaking world because of the borrowing of its history by Jin Yong's novels. In recent years, with the continuous refinement of the study of Chinese art history, a number of Chinese monographs on the art of Quanzhenjiao have emerged in the academic circles, but there are no special seminars. In view of this, on December 18, 2021, the "Image, Space, Concept - Quanzhen Teaching Art" workshop organized by camLab Harvard University was held in the cloud, and the convener of the conference was Sun Bo, deputy research librarian of the National Museum of China, and Jiang Zice, editor of China Social Science Magazine. This workshop gathered most of the young authors of Quanzhenjiao art research works, provided a platform for mutual communication, and promoted the research of Quanzhenjiao's visual and material culture. The topics mainly focused on three aspects: ancestral statues, paintings and palace views.
Topic 1: Statues of Ancestors and the Concept of Dharma
The panel was moderated by Zhao Wei, professor at the School of Humanities at the Central Academy of Fine Arts, and was presented by Lennert Gesterkamp, a researcher at Friedrich-Alexander-Universit t Erlangen-Nürnberg in Germany, Liu Ke, associate professor at the School of Fine Arts of Shaanxi Normal University, and Professor Geng Jipeng of the Sichuan School of Culture and Arts, and Wu Duantao, director of the editorial department of Fine Arts magazine.
Ge Sikang's report was entitled "A Study of the Portrait of Jin Quanzhen Daoist Song Defang Piyun Zhenren". Song Defang (1183-1247) was one of the eighteen men who traveled west with Qiu To meet Genghis Khan, and also served as a teacher, playing a key role in promoting the development of Quanzhen Religion, and was the initiator of a series of projects such as Longshan Grottoes, Chunyang Palace (i.e., Yongle Palace), and Xuandu Treasure. There is a wealth of inscriptions and documents about him, including the tomb of Song Defang and the sarcophagus with exquisite line-carved images. Nevertheless, his figurative data is almost obliterated in history. Ge Sikang's research sought to find possible portraits of Song Defang from inscriptions and temple mural materials. One of the possible materials is the reclining statue of Cave 3 of the Yongsan Grottoes, but its exact identity is debated. A distinctive feature of this reclining figure is its beardless feature, which is consistent with the Yau in images such as the Golden Lotus Authentic Immortal Source Portrait, so Qiu Changchun is one of the possible answers. Another material is the recent discovery of The 1335 Work of Miao Daoyi in Ziling Town, Henan Province, "Zhiyuan Reconstruction of the Juxian Guan Monument". Its upper line is engraved with the image of a main and two attendants, with the inscription "Phi Yun Tianshi", the main figure in the middle should be Song Defang, and the waiters on both sides are holding the "Huangting Jing" and the peach, possibly Li Zhiquan and Qin Zhi'an. The front confession contains three offerings consisting of an incense burner and illustrations, with clouds in the background. Ge Sikang believes that Yun Qi is intended to express the word "Phi Yun" in the Song De method number. Song Defang had disciples in Ziling Town, and he himself had visited Wangwu Mountain, an area that belonged to his sect's sphere of influence. This doctrinal background helps us understand the appearance of his portraits here. The third material is the "Chaoyuan Tu" mural in the Royal Ontario Museum, which has been discussed more in the past, which was brought back by William Charles White, the original location is unknown, and it is generally believed that the original Is from a Taoist temple in Shanxi, which is a work of the end of the 13th century. On its left wall, there is a sacred icon on the front of a painting. This statue wears a lotus crown and a gorgeous cloud-patterned robe. In the past, it was considered to be one of the "Four Emperors and Two Queens". This kind of deity, which is represented in a positive way and seems to be facing the viewer, is quite unique in visual design and is also rare in the Chaoyuan diagram. Based on the relationship between his northwestern position and the Shenxiao Sect's practice ceremony, the position of the emperor's main god, and the cloud pattern on the robe, Ge Sikang believes that this statue may be Song Defang. If so, and the inscription of Yongle Palace also mentions that Song Defang's hall originally had frescoes, and considering his close relationship with Yongle Palace, the Ontario Chaoyuan Tu murals may be from Yongle Palace. If this is the case, combined with the inscription information, the Chaoyuan Map should have been made a few years after 1254.
"Zhiyuan Rebuilt Juxian Guan Stele" "Phi Yun Tianshi" line engraving rubbing
Liu Ke made a report entitled "The Image Construction and Influence of Quanzhen Zushi", which mainly discussed the image construction and subsequent image performance of Quanzhen Zushi in the murals of Yongle Palace. The first half of the report is centered on the murals of the Chongyang Hall of Yongle Palace, which has 52 story maps, on the one hand, including Wang Chongyang's Su Demon, Shi Dan, Disease Relief, And Duhua, which show the miraculous historical relics of his life; on the other hand, the fan wall also appears "Zhong and Lü Chuandao Map". This new mode of discourse on The Tao chart appears repeatedly in other paintings such as "Ganhe Encounters Immortals" and "Huangliang Dream Jue", which imply the lineage of transmission in the story of Wang Chongyang's life. The statue of Sanqing behind the fan wall of the Chongyang Hall also has a certain echo with the Sanqing Hall in front. Through this echo, the orthodoxy of the new Taoism of the Quanzhen Sect is constructed. Liu Ke thus proposed that the yongle Palace Pure Yang Hall and Chongyang Hall story murals are based on the concept of the Quanzhen Sect's legal system, there are a variety of textual sources, the murals are selected, the principles of selection: on the one hand, the positive of moral character, on the other hand, avoid the undignified image of ragged clothes, flesh and blood dirt, in order to create a positive image of the ancestor. These images come in two basic forms – idol type and story type. The second half of the report mainly explores some subtle details of the evolution of the subsequent ancestor statues on the basis of the murals of the Chongyang Temple. For example, the image of the "Chongyang Wang Zhenren" holding zhicao in the "Painted Quanzhen Ancestral Diagram" comes from a painting of Ma Danyang and his wife, indicating that some of the image records of the later single idol-type ancestor statue were extracted from the early ancestral master story paintings; the Zhong Lu preaching in the "Painted Quanzhen Ancestral Diagram" changed the composition of the two people sitting on an equal footing in the Pure Yang Hall of Yongle Palace, and changed the composition of the master on the top and the apprentice on the bottom, further emphasizing the master-apprentice relationship; Ma Danyang's combed three-bun hairstyle actually appeared after Wang Chongyang's feathering. In the mural paintings of the Chongyang Hall, wang Chongyang appears in the story before his death. Zhong, Lü and other Quanzhen ancestors also entered the opening prints of the Ming Orthodox Daozang. Through the comparison of these details, Liu Ke proposed that classic images such as Zhong, Lü Chuandao, and Wang Chongyang holding Zhicao spread and flow between different media such as engraved illustrations and painted books.
Yongle Palace Chunyang Hall "Zhong Lu Preaching" diagram
Geng Jipeng's report is "Mengyuan Quanzhen Ancestor Image Stereotyping and Dissemination Examination", which is a long-term combing of the evolution process of Jin Yuanming's Quanzhen Ancestor Image. Specifically, it is divided into three aspects: First, it is the change of the sect's ancestors. During the Jin Yuan period alone, the genealogy of the Quanzhen Ancestors changed many times. For example, the new and old three divisions, the changes of the former and last seven trues, the entry of the Emperor of Donghua into the ancestral lineage, and so on. At the same time, the positioning of sectarian culture and the foundation of the theological system also influenced the way in which the statues of the ancestors of the Quanzhen Sect were combined with other images during this period. The traditions of the Three Religions, the Neidan Tradition, the Laojun Tradition, and the Song Defang Lineage, which are emphasized by the Three Qing Dynasties, the Four Emperors and the Second Queen, are all reflected in the existing images of the Quanzhen Sect, showing a pluralistic and coexistence. In short, the formation of the Belief in the True Ancestors of the Mongol Yuan has gone through a long process, in which there is both the choice of the ancestral master system and the effort to accept and balance the entire Taoist immortal system. On the one hand, the Quanzhen sect had to face the criticism of Buddhism to change the position of the three religions in the early days of Wang Chongyang's mission, and on the other hand, it had to gain the recognition of the southern and northern factions such as the True Dao, taiyi sect, Zhengyi sect (Dragon Tiger Sect, Xuan sect), and Dan Dao Nan Sect within Taoism. Second, on the basis of the research of predecessors, the three historical nodes of the change of the ancestors' images are refined, namely: 1. the three Buddhist debates presided over by the Mengyuan imperial family in the early Yuan Dynasty against the Laozihua Hu Jing and its images; 2. The integration of the Quanzhen Sect with the Southern Dannan Sect in the south after the fall of the Southern Song Dynasty; 3. The rise and fall of the Song Defang lineage at the time of the change of the Yuan and Ming regimes. In the last stage, that is, after the end of the Yuan Dynasty, the order underwent fundamental changes, its upper-class background of the Mongolian Yuan royal family was disintegrated, the role of grass-roots beliefs made it pay attention to the function of image mission, the inheritance of the ancestors was weakened, the role of the core ancestors was highlighted, in addition, it also presented the fusion of literary images and opera images, the image system took the image in the biographical story as the core image, and on this basis there were regional and factional differences. This kind of historical periodization is conducive to our understanding and grasp of the historical evolution process of continuous adaptation experienced by the various images that exist related to the ancestors of the Quanzhen Sect. Third, the mechanism of image production and selection is summarized and analyzed. He divided the Quanzhen Ancestors into three types: statues (including portraits), biographical story diagrams, and Dharma Dynasty diagrams. Because of the change in the identity of the ancestor, the change in the ceremonial image corresponding to the image of the Dynasty is the most obvious. For example, the bronze statue of Lü Dongbin in the Ming Dynasty of Taiyuan Chunyang Palace chose a statue of chaofu, while Lü Dongbin of Ruicheng Chunyang Shanggong was a statue of changfu, continuing Jing Anning's conclusion that the main fan wall of the east wall of the Sanqing Hall of Yongle Palace was honored as the Pure Yang Emperor, and the image of the emperor was adopted here. It can be seen from this that in different rituals and era contexts, the multiple morphological changes of the same ancestral statue.
Yongle Palace Chongyang Hall fan wall back "Sanqing and Quanzhen Ancestor" mural (partial)
Topic 2: The Artistic View of Quanzhen Sect
The moderator of this group discussion was Ge Sikang, and the speakers included Zhao Wei, Deng Fei, a researcher at the Institute of Literature and History of Fudan University, Professor Shen Xiping of the College of Literature of Sichuan Normal University, and Liu Ke, a reviewer.
Zhao Wei gave a report entitled "The Artistic Legacy of the Quanzhen Gaodao Shizhijing". Shi Zhijing, a disciple of Qiu Zhiji, is known as a historian of the Quanzhen Sect and played an important role in the historical construction of the formation stage of the Quanzhen Sect, and he compiled and drew images such as "Lao Tzu's Eighty-One Transformation Map", "Chongyang Wang Zhenren Compassion Map", and "Xuanfeng Qinghui Map", which are undoubtedly the direct artistic legacies he left behind. Wang Yan wrote the "Records of the History of Gongdao xingzhi of Dongxuanzi" that he was active in Wei, Dai, Shuo, and Yingjian in his early days, that is, in present-day Shanxi and northern Hebei, and after 1258, he "traveled east to the seashore, the former residence of The Seven True Ancestors, and visited the relics of the ancestors of Chongyang". According to this clue, Zhao Wei visited the early Quanzhen Sect relics in Wenden, Shandong Province twice in 2018 and 2019, and obtained some first-hand materials obtained from the field. From 3 specific cases to explore, the Shi Zhi jing may have influenced and contributed to the murals of chongyang hall. The first detail is the performance of the Yanxia Cave. This image of the cave sky appears many times in the murals of the Chongyang Hall, and the site is in The Kuncheng Mountain in Shandong, where Wang Chongyang once led his disciples to cultivate, and this cave still exists today. Comparing the real objects, it will be found that the Yanxia Cave of the Chongyang Hall mural is quite realistic. It is likely that shi zhijing's field trip to Shandong painted the Yanxia Cave live to influence these murals. The second detail is that the "Dragon Spring" depicts the Chashan Yunguang Cave, which is quite similar to the Sacred Water Rock Cave, rather than the "An" of other historical records. This description reflects the fact that the Shi Zhijing "carved seals for the text and did not do anything, and the rate is all true language", which strives to be faithful to the historical facts. The third detail is the section on the back of the shrine of the Chongyang Temple, which is very similar to the "Fuyou Bieliang" print of the "Xuanfeng Qinghui Map" drawn by Shi Zhijing at the ancestral court of Zhong nanshan.
Left: Chongyang Hall "Kaiyanxia Cave"; Right: Yanxia Cave Real Scene (Photo by Zhao Wei)
Deng Fei's report focuses on the discussion of methodology, entitled "Late Illumination of Shulin - A Preliminary Study of the Tomb Art of The Taoist Priests of the Jin Yuan Quanzhen Sect". The topic of this thesis is to explore how to establish the interaction between funerary art and religious beliefs, which presupposes two thinking paths: one is to speculate on the beliefs and identities of tomb owners through tomb content and art; and the other is to understand the content and form of tombs through the identity of characters. Specifically, it focuses on the tombs of Feng Daozhen in the Datong Yuan Dynasty (1265), the tomb of Song Defang in Ruicheng and the tomb of Pan Dechong in three Tombs of Quanzhen Daoists in Shanxi. The owner of the first tomb, Feng Daozhen, created the Longxiang Wanshou Palace for Xijing, the suzerainty, named Qingyunzi, was a Daoist official of the Quanzhen Sect. According to Wang Yanyu's research, there are stationery such as ink stones, miniature "wooden houses" in the tomb room, and "To Repair The Ritual Precepts banknote". In addition, the "GuanYu" diagram on the east wall and the "On the Tao" diagram on the west wall both have obvious Taoist connotations. The famous landscape mural on the north wall, titled "Late Illumination of the Forest", may have a missionary nature, implying the ideal homecoming expected by the Concept of The True Religion seeking the Tao and returning to the truth. Jumping out of these subjects themselves, from a material point of view, these "paintings" painted with borders are actually imitations of bed decoration paintings in the furniture environment. By connecting the three paintings of the east wall, the north wall and the west wall, and combined with the decoration of the objects in the tomb, it can be seen that the decoration of this living room space has a clear meaning of the Quanzhen Teaching. The second tomb, song defang's tomb, was built after the relocation of the Yongle Palace in Ruicheng in 1275. The line-carved architectural images on both sides of the sarcophagus may be related to the Yongle Palace. The third is the tomb of Pan Dechong, which is not far away, and the owner of the tomb is also an important figure in the construction of the Yongle Palace, with a similar sarcophagus shape and a drama line carving in the front block. These opera images, according to Jeehee Hong, are associated with the ritual of greeting the gods. In addition, there are twenty-four filial piety stories engraved on both sides. In the tomb of Feng Daozhen, we can find a correlation between a variety of objects and mural themes and Taoist rituals; in the tombs of Song Defang and Pan Dechong, we see more of the secular elements used in the decoration of burial utensils, and it is difficult to establish a direct relationship with Taoism. These complex situations lead to reflection, is it possible that other tombs with the same genre were influenced by the Quanzhen Sect? Was it the Quanzhen Daoists who pioneered this style, or did they use the visual expression methods that were popular at that time when decorating the tombs? Or jump out of this one-way influence of the argument model, considering that when we lack direct evidence, instead of directly linking the phenomena that appear in these tombs to Quanzhen Sect, it is better to regard them as the carrier of multiple aspects of culture, that is, the result of the adaptation and mixing of multiculturalisms such as Taoism and secular etiquette. Finally, Deng Fei takes the common popularity of the "Guanyu" figure on the porcelain pillow of the Cizhou kiln in the Jin Yuan period as an example to reflect on the possible connection between the content of the image and the identity of the tomb owner and its religious beliefs.
Feng Daozhen's tomb "Shulin Evening Photograph" mural
Shen Xiping made a report entitled "Examination of Wang Chongyang's Paintings". Wang Chongyang preached not only through poetry, but also through painting, which was often overlooked by past research. Xia Wenyan mentions in his "Illustrated Treasure Book" that Wang Chongyang "tasted and painted the two pictures of "Skull" and "Heaven" and made a self-portrait, and made "Song Crane Diagram" and Shi Zongmi Zhenren". Because Xia Wenyan is a connoisseur with extremely high tasting ability, Wang Chongyang, who is favored by him, must be of extraordinary standard. Unfortunately, however, these paintings have not survived and discussions have been limited. First of all, we will discuss the "Skeleton Diagram" composed by Wang Chongyang and His wife, and its poem Yun: "I can sigh that everyone is worried, I must paint a skeleton now, and I will only be greedy and unjust before I die, and I will not rest until I am not willing to rest." It can be seen that such images clearly have a function of education. The 27th figure of the mural of the Chongyang Hall of Yongle Palace, "Sighing Skeleton", is a reproduction of this story. In addition, Tan Chuduan has an inscription poem "Kuncheng Mountain White Bone Diagram and Poem" on the skull painting, which is engraved with two statues, for Wang Chongyang and servant boy, skeleton one, above and below the poem. This picture is now in the Luoyang Museum (pictured). In addition, according to Yvide's point of view, Li Song's "Illusionary Skull Diagram" was influenced by the ideas of the Quanzhen Sect, and his "Four Mysteries" expressed the confusion of the four substances of wine, color, wealth, and qi on people, which is also consistent with the concept of the Quanzhen Sect. In short, the skeleton image plays an auxiliary role in helping the viewer to realize death and then the tao. Next, the "Heaven Map" is discussed, and Wang Chongyang once used this to illustrate Ma Yu's wife Sun Shi, later Sun Buji. The 26th mural of the Chongyang Hall depicts this incident. The title of the list makes the function of the "Heaven Map" very clear, "First warn of the suffering of hell, repeat the joy of heaven, and mouth on the road and not be confused." The 16th, 17th, 21st to 25th pictures of the murals of the Chongyang Hall show that Ma Yu and his wife have experienced various sufferings in hell and were finally rescued by Wang Chongyang. Finally, wang Chongyang's "Song Crane Diagram" painted by Shi Gongmi was discussed. This story is covered in figures 9, 46, and 49 of the Chongyang Temple. The "Song Crane Diagram" depicts a three-haired Daoist with pine, crane, and cloud qi next to it. The three buns should be a self-metaphor for Wang Chongyang's "嚞" character, and other documents also have an account of Wang Chongyang painting a self-portrait, so this picture is actually a self-portrait. In short, although Wang Chongyang's paintings have not been handed down, the discussion of the above three pictures has provided us with a rough outline for imagining the painting appearance of the founder of the Quanzhen Sect.
In the twenty-third year of Dading (1183), "The White Bone Poem Inscribed by Mr. Changzhen Tan of Kuncheng Mountain" and the line depiction of Luoyang Yunxi Temple were unearthed
Topic 3: Palace and Decoration
The moderator of this group is Deng Fei, and the speakers include Sun Bo, deputy research librarian of the National Museum of China, Hu Chuntao, associate professor of the School of Plastic Arts of Guangxi University of the Arts, Wu Duantao of fine arts magazine, and the reviewer is Professor Shen Xiping.
The title of Sun Bo's report is "A Preliminary Discussion of a Suspected Early Quanzhen Sect Painting.". This topic centers on Wang Wei's "Diagram of the Protector of the Dharma" in the Osaka Municipal Museum of Art, and explores its possible connection with the early Quanzhen Sect. This is a symmetrical Chaoyuan composition with 19 and 20 people on both sides, which is very similar to a mural. First of all, starting from several characters with more certain identities, it was determined that the pair in the center of the picture was Zhong Liquan and Lu Dongbin, the right section appeared in the red robe accompanied by a tiger for Sun Simiao, and the left section was roughly symmetrical position of the woman wearing a grass leaf shawl as a hairy woman. More importantly, a number of Taoist monks with cranes, soapy clothes, and yellow crowns appear in the picture. In addition, there were many poor people in this group of immortals and people mixed queues, or patched, or unclothed, or dressed like peddlers, showing a very different temperament from the general group of immortals. At the left end, there even appeared a monk holding a large fan, and the three words of the fan book "Eat wontons" appeared. The pasta of ravioli often appears in Zen quotations, indicating that it may be a Zen monk. There is also a child at the bottom right who pulls an elder in a cart, and even if this is not filial piety, it is very good at expressing the Confucian concept of filial piety. Through the selection of these figures, we can draw the author's intention to express a kind of confluence of the three religions, the poor may be related to the poverty or salvation, if this work is indeed a mural, it has the appeal to gain the support of the common people. Regarding the era of this mural manuscript, it is not yet possible to answer accurately. Judging from the collection seals, the seals of collectors such as Li Yingzhen in the middle of the Ming Dynasty appeared on it, and the picture in the middle of the Ming Dynasty has been damaged in many places, and many of the characters are repaired by the painters, so their era should be between the Yuan and the beginning of the Ming Dynasty. The image of Lü Dongbin in the painting is closer to the Ming Dynasty, there is no Wang Chongyang in the picture, and as for the Northern Seven Truths, only the two suspected Qiu Chuji and Sun Buji can still correspond. These factors are quite hesitant. In short, this painting still has a lot of room for interpretation, and its unique appearance is not seen in many Quanzhen Sect paintings known before, which may be the product of the rapid development period of the Quanzhen Sect Palace View, which deserves more discussion in the future.
The old title wang wei composed "Protector of the Heavenly King", Osaka Municipal Museum of Art Collection
Hu Chuntao's report is entitled "Mutilated Taoist Images: An Interpretation of the Meaning of Reliefs in the Bluestone Hall in Heyang County, Shaanxi Province." The Bluestone Hall was built in 1576 and completed in 1604 with several reliefs. The image of the north wall can be roughly divided into four layers: the lowest layer is the Rui image, from bottom to top, the second layer belongs to the image of the Zhenwu system, the third layer is the image of the Eight Immortals, the topmost layer is part of the eighty-one map of Lao Tzu, and the rest of the Eighty-one diagrams of Lao Tzu are scattered in the west, north and east of the three outer walls. Its true martial arts images can be found in the "Records of the Revelation of the Xuantian God" and the "Wudang Jiaqing Tu". In the Yuan Dynasty, after two Buddhist debates in the Xianzong Dynasty and later the Four Prohibitions on destroying Lao Tzu's Eighty-One Diagrams of the "Holy Will", this set of images was hidden in the Yuan Dynasty, but gradually reappeared after the Ming Dynasty. Among them, Li Desheng, a Qingwei Daoist priest who was named "Miaoying Zhenren" during the Ming Dynasty, fused Quanzhen and Zhengyi and the two sects of ancestors, contributing to the comeback of the "Eighty-one Transformations of Lao Tzu" in the early 15th century, and then widely circulated during the Jiajing and Wanli years, which shows that its ming dynasty spread has no necessarily been related to Quanzhen religion. Hu Chuntao believes that the missing 1st to 4th, 11th to 56th transformations in the reliefs, combined with the image of The Zhenwu Emperor on the main wall (south wall), is intended to express the legitimacy of Zhenwu as the identity of the "Eighty-second Transformation of Taishang". In the "Xuantian God Says to Repay the Parents' Grace Sutra", "Xuantian God Revelation" and other documents, there are expressions of Zhenwu as the eighty-second incarnation of Lao Tzu, which can support the above inferences. According to the inscription, the name of the mountain where this hall is located is "Zhongwudang". Then, in the religious sense of the temple as a sacred space, the Eighty-One Transformations of Lao Tzu here no longer only plays a role in setting off the sanctity of zhenwu that has risen sharply after the Ming Dynasty, that is, the emphasis on the legitimacy of The Taoist legal system.
Qingshi Hall in Heyang County, Shaanxi Province
The title of Wu Duantao's report is "Yuan Dynasty Quanzhen Sect", "Later Hongjiao" Yongle Palace Gate Examination". After ten years (1252-1262), the Great Chunyang Wanshou Palace (i.e. Yongle Palace) was announced, and the Chunyang Upper Palace was also built in 1252. Later, with the burning of the Taoist Scriptures twice by Yuan Xianzong and Yuan Shizu, the construction of the Quanzhen Sect Palace Was basically stagnant. The period of construction of the Pure Yang Upper and Lower Second Palaces coincided with the transition period of the development of the Quanzhen Sect from prosperity to decline. After Emperor Yuanwuzong succeeded to the throne, the reuse of Miao Daoyi, the head of the Quanzhen Sect at that time, opened a new round of Quanzhen Sect development, and some scholars called this period the "Post-Hong period" of Quanzhen Sect. During this period, the main building of Yongle Palace was renovated, the murals of the Sanqing Hall were completed, the ceiling of the Pure Yang Hall was completed, and the murals of the Pure Yang Hall were completed. According to the "Monument to the Three Palaces" in the second year of the Yuan Dynasty, it can be known that the highest leader who manages the Yongle Palace, the Jiufeng Pure Yang Upper Palace and the Hedu Lingyuan Palace is the "Three Palaces Mention point", and the Three Palaces are divided into "Palace Gate Mention Points". According to this monument, the rank relationship between the management personnel at all levels below the three palace points can also be restored. The report also sorted out the situation of yongle palace's successive mentions, including Pan Dechong, Han Zhiyuan, Liu Ruoshui, He Zhiyuan and others. Since Yin Zhiping promulgated the Decree in 1246, the teaching affairs and construction of Yongle Palace have been under the management of the "hall", and the appointments of each or three palace mention points at different times have come from the then head of the church. Within more than 20 years (1313-1336) from Chang Zhiqing's "retirement" to the completion of Yan Deming's teachings, the jurisdiction of Yongle Palace was transferred to the Jinning Road Dao division, and during this period Yongle Palace was estranged from the tang. After Yan Deming, the last head of the Quanzhen Sect at the end of the Yuan Dynasty, Yongle Palace was returned to the "Tangxia", and Zhang Daoyu and other three officials were appointed by him. Restoring and sorting out Yongle's management system is conducive to our understanding of the historical process of its affiliated art production.
The current situation of Ruicheng Pure Yang Shanggong (Photo by Sun Bo)
(This article has been reviewed by the presenters)