Located in the middle of the ancient city, Guangyue Tower was built in the seventh year of Ming Hongwu (1374), its height is 33 meters, nine feet and nine feet, it is the number of polar yang, which is in line with Yi Li; it is built in five floors, and the number of heluo is hidden. Guangyue Tower is a landmark building in the famous historical and cultural city of Liaocheng, and is also one of the largest and oldest ancient pavilions in China, and is a national key cultural relics protection unit.
The Guangyue Tower was built by Chen Yong, the commander of the Dongchang Wei ShouYu at the time, out of the military need to "look at the enemy and look far away" out of the military needs of "stricter leakage and looking far away", and at that time, people called it "Yumu Lou". Therefore, the building has the function of drumming and telling the time, and people also call it "drum tower". In the twenty-second year of Ming Chenghua (1486), when the prefect Yang Neng was repairing the building, it was named after the place and called it "Dongchang Lou". In the ninth year of Ming Hongzhi (1496), the official Wailang Li praised Dongchang, visited Mr. Jin Tianxi, the Taishou Jin Tianxi, and climbed this building together, admiring the building, "Because of the sighing building, there is nothing in the world, although Huanghe and Yueyang should also look forward to worship." And now a hundred years, there is still no name, not also bent. Because of the 'Guangyue Lou' with Tianxi's commentary, it is close to Lu Youguang in Daiyue also." Since then, the name of "Guangyue Lou" has been used in the records of the restoration of the stele in successive dynasties. The appearance of Guangyue Building is a four-fold eaves mountain cross-ridge cross-street pavilion, which can be divided into two parts from the structure: the pier and the main building.
The pier is a masonry four-sided platform with a bottom length of 34.43 meters, which is similar to the total height of the Guangyue Tower, and the vertical height is 9.38 meters. In the middle of the east, west, south and north sides of the platform, there is a half ticket arch, and the ticket to the center of the platform is formed into a cross arch. Above the four ticket doors, each with a square door. South: "Civilization", North: "Wuding", East: "Taiping", West: "Xingli". It is worth noting that the "Wuding" of the North Gate has a strong military color, which should be related to the fact that the Ming Dynasty was still wary of the remaining forces of northern Mongolia in the early days of the founding of the Ming Dynasty. On both sides of the south-facing arch, a small arch is opened, similar in shape to the middle arch, and the small door on the east side is carved in bluestone, with the inscription "Fengcheng Xianque" and the west side engraved with "Langyuan Yingzhou". The "Fengcheng" in the "Fengcheng Xianque" is named after the legend of the old Phoenix Fall Ancient City in Liaocheng. "Xianque", here refers to the place where the immortals live. It reads with a delicate mood and gives people the association of Xianshan Qiongge. The "Langyuan" in "Langyuan Yingzhou" is the legendary residence of the gods. "Yingzhou" refers to the legendary Fairy Island. Although the two foreheads are not the same, they both set off the fairyland atmosphere outside the transcendent. The west gate is a false door, and only the form remains, in order to match the east gate. The east gate is the only way to climb the stairs. The door is 3.14 meters wide and the arch is 1.75 meters high. The actual use is still too large, so a small ticket is built in the coupon, and the door opening is only 1.86 meters wide. Stepping on the door, the door is a one-sided room, the east is set up, four steps to the ladder platform, and there is a small window on the south wall for ventilation and lighting. Visitors can take advantage of the light to turn north and climb level 37 to reach the platform. The platform is not large, but it can be stopped for a nap. Tourists come here to stop and rest. Then go up 15 levels to reach the countertop.
Build an open space on the countertop to prevent rainwater from invading the terrace. Its architectural age is during the Qianlong period of the Qing Dynasty, the location is just on the central axis of the east of the building, because the east gate is the main avenue, and its architecture is added as a sign. The open surface is 5 rooms wide, 3 deep, and the single eaves are rolled up to the roof, which is light and bright. At the staircase of The Changxuan Hang hangs a woodcut plaque inscribed by Mr. Qi Gong, a famous contemporary calligrapher, "Climbing the Qingyun Ladder Together", with a beautiful font and a strong penmanship. The countertops are bricked, wrapped around the daughter wall, and there are drainage channels on the east and west sides. Standing by the wall, looking around: looking at the southeast, Daiyue Peaks, looming; looking south, the bank embankment weeping willows, the lake is full of lakes; looking to the north, the green trees are hidden, the tiles are clustered; looking up at the outside of the city, the willows are dark and bright; looking down, the water of Dongchang Lake is like a brocade belt, surrounding the ancient city, and the lake city is colorful, and it is interesting.
Climbing to the foundation, you can see that the four-storey main building is built on a high platform and is all wooden. The square building is surrounded by a corridor and is about 24 meters high. There are 192 golden pillars and 200 bucket arches. The ground of the first floor is slightly higher than the tabletop, square in shape, surrounded by strips of stone, the surface is wide and deep, and the structure is clear and clear, with double slot columns inside and outside, plus a porch. The surface of the wall is decorated with red chalk, and the inside is not whitewashed, showing a clear water brick wall. The four bright rooms on all four sides of the building are equipped with two slab doors, which are simple and elegant.
The monument gallery is formed by 7 standing monuments and 15 wall stele. Except for the two wall tablets embedded in the inner wall of the first floor, the remaining 20 pieces are under the eaves of the first floor or on the outer wall. Judging by its contents, either for the repair of the stone or for the poetry, it has extremely high historical, literary and artistic value. Among them, the Qianlong poetry stele is one of the finest. There are two Qianlong poetry tablets, one standing outside the East Gate in the north, inscribed qianlong in the year of Gengzi (1780), Jiachen (1784), Gengshu (1790), a total of seven imperial poems. The other is a wall stele, embedded in the east wall outside the South Gate, inscribed with Qianlong Bingshen (1776), two imperial poems. In addition, it also includes some inscriptions on the reconstruction of the Guangyue Tower, which is an important historical material for the study of the construction of the Guangyue Tower. The monument "Rebuilding Dongchang Mansion and Guangyue Lou" stands outside the South Gate, which is the fifth year of Qing Shunzhi (1649), the founding leader of the Qing Dynasty, and the master of Kangxi. In addition, there are also the "Record of rebuilding Dongchang Lou" written by Liang Xi, the head of the Liaocheng Jinshi and the head of the household department, written by Ming Chenghua in the twenty-second year (1488); the "Record of Rebuilding the Guangyue Lou" written by Liaocheng Jinshi and the Right Attendant of the Rebbe Xu Chengming in the thirteenth year of Ming Jiajing (1534); and the "Record of rebuilding the Guangyue Lou" written by Yang Yizeng, then a Hubei Anxiang Jingyun Daoist and the founder of Haiyuan Pavilion, written in the twentieth year of Qing Daoguang (1840), stands outside the East Gate and the Fourth Gate respectively. On the forehead of the east gate on the first floor, there is also a wooden "TaiDai Dong lai cuiping" horizontal plaque, with white and black characters, inscribed for shi yanzhang, an envoy of Shandong in the Qing Dynasty.
On the north side of the door on the first floor, there is a Luban shrine on the interspersed frieze of the Mingjian cornice and the golden pillar. Inside the niche is a statue of the god Luban. The reason why Lu Ban is dedicated to Lu Ban is because Lu Ban is the ancestor of carpenters, and the main building of Guangyue Lou is a wooden structure, which means that the construction technology is superb and can be called Lu Ban's divine work. On the Luban niche, a wooden plaque with the words "Ingenious Heavenly Craftsmanship" hangs, with black characters on a white background, which was inscribed by Pu Jie, the brother of Puyi, the last emperor of the Qing Dynasty. On the golden pillars around the Luban Shrine, there is also a woodcut of the former Liaocheng County Governor Sun Tongfeng's writings, and a pair of Mr. Jiang Weisong's heavy books: "Taishan Dongzhi, west of the Yellow River, Yue Se Taosheng, with the column to put the wine infinitely good; layer table shooting books, Weixiang Mingzhi, renjie diling, climbing the tower Huaigu Yu Xin."
There is Wenchang Pavilion on the second floor, which is worth stopping by tourists. Wenchang Pavilion is a rectangular room surrounded by a plate wall, which is divided into large and small rooms, surrounded by golden pillars. The square room opens a door to the south and the middle, and opens a round window to the left and right. Looking up at the empty well, four layers of beams can be seen. This room used to be used for the "Wenchang Emperor", so it was named Wenchang Pavilion. The Qianlong Emperor of the Qing Dynasty went down to Jiangnan seven times, made six eastern tours, passed through Dongchang Mansion nine times, ascended Guangyue Lou five times, and lived in Wenchang Pavilion many times, and once wrote thirteen poems for Guangyue Lou. Therefore, Wenchang Pavilion is also called "Qianlong Palace". Now there is a statue of Qianlong in the pavilion to commemorate it. On the forehead of the Wenchang Pavilion, there is a plaque inscribed by Mr. Guo Moruo, a historian of modern China, who wrote the plaque of "Guangyue Lou." Black on a white background, 1.2 meters long and 0.5 meters wide. On both sides of the Wenchang Pavilion Gate, there is also a pair of Tibetan heads inscribed by Feng Zikai, a famous historian and calligrapher in China: "The wisdom of the working people is infinite; Yue Junlou is a great cultural relic of the motherland, Yongchang." The plaque of "Civilization Jingyun" hangs on the north wall outside Wenchang Pavilion, wooden, 1.5 meters long, 0.6 meters high, and black characters on a white background, which is inscribed by Zhu Xuedu, a shujishi of the Qing Hanlin Academy and the Assistant Scholar of the National History Museum.
Under the four eaves on the second floor, there are also four square woods that are 3 meters long and 1 meters high. 4 meter plaque. Under the southern eaves hangs a plaque of "Shenguang Zhong Ying", which was inscribed by the Kangxi Emperor of the Qing Dynasty, and the edges are decorated with dragon patterns, jade seals, and gold characters on a blue background. Under the north eaves hangs the plaque of "Guangyue Lou" inscribed by Mr. Guo Moruo, a famous historian and archaeologist in China, in 1974 to commemorate the 600th anniversary of the completion of the Guangyue Tower, with black characters on a white background and magnificent momentum. The plaque of "Taiping Pavilion" hanging under the eaves on the east side is inscribed by Deng Zhongyue, a Liaocheng national who "suppressed the world" in the sixty years of the Qing Kangxi Dynasty (1721). Under the west eaves, there is a plaque that reads "On the Clouds of the Sun". Its plaque is black on a white background, which is a solution for Qing Dynasty historians.
From the west side of the second floor up 16 steps to reach the third floor. The third layer is a dark layer, in fact, it is the structural layer of the Guangyue Building, horizontal wood interspersed, beams buckled, crisscrossed, like a dragon swimming snake, the bottom up of the golden pillar and the cornice to form a whole, making it more solid and stable, so the third floor is also the main framework of the building. This level is five rooms wide. The upper end between the gold column and the cornice is a beam frame, which runs through the second floor, so there are only three dark layers. "Unsympathetic" is in the middle of the building, which is an empty well with railings around it. The top of the column is equipped with a significant roll brake. This example is consistent with the Song "Construction of the French Style". The outer eaves are connected by arches and buckets, the beams and columns intersect, and the fir wood is worn, and the structure is compact and dense.
From the third floor of the east to the south of the 13 steps to the fourth floor of the Guangyue Building. The fourth floor is the highest floor of the building, with three rooms in width and depth, and the plan is square. There are 6 windows in the ming room, which can be viewed from the window. In the middle of the ming room, a capillary railing is embellished, and the railing passes through the wellhead and can look at the bottom of the well. The second room is equipped with ice-patterned round windows, which are properly constructed and used naturally. The roof is a cross-top, with a lotus pillar hanging in the middle of the top, and eight oblique ridges are placed on top of three beams and a corner beam. Ascend to the highest level, support the four sides of the window to overlook, the Northwest Lu Plain is endless, the scenery is spectacular; up close, sparkling, water and sky. It makes people nostalgic and spontaneous.
The ridge of the building is the cross ridge of the mountain, and the middle of the ridge is equipped with a 3-meter-high and 1.5-meter-diameter building. 5 meters of permeable iron gourd. Four little lions crouched on the cross ridge, and the four big kisses were like four dragons, which looked far away and gave people the feeling of flying. The main building of Guangyue Building is a wooden structure, but it can be well preserved after more than 600 years of wind and rain, which not only has high scientific value, but also has high artistic value.
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