The origin of the name of Nanxiang Ancient Town is directly related to the White Crane Temple. Unlike most ancient temples, which were founded from "legend", the exact founding time of Nanxiang White Crane Temple, according to reliable stone inscriptions and early Fangzhi documents, in the fourth year of Tang Kaicheng (839), the ancestor of Kaishan was a monk. The temple is named "White Crane", which is derived from the folk legends of "digging the ground to get stones" and "white cranes guiding charity". During the Song Shaoding period, because Emperor Zhao Yun gave the "Nanxiang Temple" plaque, the name of the temple was changed to Nanxiang Temple, so the Millennium White Crane Temple, also known as "Nanxiang Temple", "White Crane Nanxiang Temple", "Nanxiang Temple", etc., to the thirty-ninth year of the Qing Kangxi Dynasty (1700), the imperial gift of "Yunxiang Temple", so the white crane was gradually replaced by Yunxiang.
In its history of more than 1,100 years, the temple has suffered many disasters, but it has been abandoned and revived. During the Taiping Army's Eastern Expedition at the turn of Qing Xianfeng and Tongzhi (1860-1862), the temple was almost destroyed. In 1937, when the Anti-Japanese War broke out, the remnant hall was again destroyed by war, and by 1949, only one monk remained in the Jizo Hall, and all that could be seen was the remnants of the broken wall and the scriptures where the servants fell to the ground. In view of the historical influence of Yunxiang Temple and its significance to the social development of Nanxiang Town, on November 1, 1998, the People's Government of Nanxiang Town officially proposed to restore and rebuild Yunxiang Temple. It was completed in 2004. Yunxiang Temple was rebuilt in the Tang dynasty, and in the Jiangnan area, the complete imitation Tang temple is still the first. It is characterized by strong and strong, magnificent atmosphere, simplicity and generosity.
Mr. Zhao Puchu inscribed the plaque "Yunxiang Temple"
The mountain gate of Yunxiang Temple in Nanxiang Ancient Town
As a precious religious document and local historical material, the "Reconstruction of the Nine Pin Guan Midas Hall and Other Solicitations and Thinning Volumes" (hereinafter referred to as the "Combined Volumes") includes the hands of four Jiading people and two Nanhui people in the late Ming and early Qing dynasties. Among them, the texts written in the late Ming Dynasty are the introduction of the ancient characters of Xu Zhaoxi, the son of the famous scholar Xu Xuemo, and his "Reconstruction of the Nine Pins Temple to Raise the Yuanshu" written in the 20th year of the Wanli Calendar (1592), followed by Li Liufang's "Rebuilding the Origin of the Nine Pin Guan Mituo Temple" (1621), one of the "Three Elders of Lianchuan" and "The Four Gentlemen of Jiading", Zhu Guosheng's "Rebuilding the Nine Pins Guan's Raising Edges" by Zhu Guosheng of Nanhui Xinchangren and Wan Lijian Guan'erpin, and "Rebuilding the Nine Pins Guan's Raising Edges" by Ni Changwei, a Zhejiang Pinghu man who lived in Nanhui. White Crane Temple Heavy Slender Confession Guan Tang Small Introduction". Written in the early Qing Dynasty, there is Zhang Hongpan,a Jiading man known for his good calligraphy, "Recruiting the White Crane Temple's Midas Dian Shu" (1649), which was Xu Shimian's "Recruiting The Cultivation of the Cultivating And Cultivating The Temple of Confession" (1654) for the sake of the official Qing Qinglian but framed by the courtiers, when he was in the eleventh year of Shunzhi (1654). Looking at the various articles, the vicissitudes of the White Crane Temple since the opening of the mountain have risen and fallen, and many of them are in it.
"Rebuilding the Nine Pins Guan Midas Hall and Other Solicitation Volumes"
Li Liufang, "Re-cultivation of the Origin of the Nine Pins Guan Midas Hall" (partial)
It is precisely for this reason that the newly compiled "Yunxiang Temple Chronicle" (Shanghai People's Publishing House, 2009 edition) records it as an important document, not only publishing some of the colorful pictures of the text, but also recording the contents in detail, and excavating a lot of new materials from it to enrich the history of the temple. Flipping through this chronicle, all those involving the change of temple names, architectural history, character activities, etc., have been quoted in many places to support the contents of the volume. From the records of the "Yunxiang Temple Chronicle", it is known that the Jiupin Temple was created in the Southern Song Dynasty, because of its beautiful scenery, so one of the "Eight Views" in the temple, the literati often came here to chant poems and paint, and the guanbi once left Li Liufang's inscription. However, the literati were so enthusiastic about raising funds for the restoration of the Baozha Temple, not only to give themselves a place to gather, but also to maintain the excellent tradition of Buddhist art. Li Liufang's essay mentions that the three statues enshrined in the Nine Pins Guan Midas Hall were from the hands of a famous statue worker during the Southern Song Dynasty, whose name has long been lost, only his surname is Qiu, and later generations call it "Qiu Mituo". Unfortunately, these three statues have long been destroyed by the scourge of war, and their superb skills can only be preserved in the memory of words.
Map of Yunxiang Temple during the Qing Dynasty
《Yunxiang Temple Chronicle》
In the "Closed Volume", Xu Zhaoxi's large characters are introduced, using ancient brushwork, hun pu Dun Hou. Li Liufang's writing is sparse, slowly laid out, not impatient, such as the flow of clouds and water, which is a typical good structure in his later years, which is enough to imagine his elegance and high standard. This article "Tanyuan Collection" is missing, and the standard school supplement "Jiading Li Liufang Complete Collection" (Shanghai Ancient Books Publishing House, 2013 edition) is only included, which can fill the gap in Li's historical materials. Li Liufang (1575~1629), together with Tang Yesheng, Lou Jian, and Cheng Jiaxuan, was collectively known as "Mr. Jiading Si", and his calligraphy and paintings were all influenced by Dong Qichang.
Zhu Guosheng is an official with a way, and his calligraphy and paintings are also unique, and his work "Mijia Yunshan" has been praised by Dong Qichang many times. Zhu's calligraphy is very rare, and this piece was written a year before his death, and it is still fluent and free.
The Complete Works of Jiading Li Liufang
Zhu Guosheng calligraphy part
In the "Gu Jingyan Collection" of The Spring Preview exhibition of Shanghai Duoyunxuan, another important collection of Gu Jingyan's "Lu Shen Xing Shu Jiangdong Poems and Eight Posterities of Qiu Xing" collected during his lifetime is partly the same as the Lu Shen "Eight Songs of Qiu Xing" collected by the Shanghai Museum.
There are three pieces of paper: one paper is slightly shorter, the five-word poem of the book, the word "Jiangdong" is signed, and the white text seal of "Lu Shi Ziyuan" is the handwriting of Lu Shen, a scholar of the Ming Dynasty and a shanghainese; the other two papers, namely Ye Fengmao, Chu Tingzhang, Wang Wenzhi, Weng Fanggang and other inscriptions, Liu Quanzhi's guan section, and Lu Shen's poem from the seventh grandson Lu Xixiong have Wang Zaoguan at the end of the paper. The length of these three papers is not the same, but the height is 24.3 cm.
The "Lu Shen Xing Shu Jiangdong Poems and Qiu Xing Eight Posters Inscribed Scrolls" has three pieces of paper: one paper is slightly shorter, the xingshu is five words of poetry, and the word "Jiangdong" is signed
Ye Fengmao, Chu Tingzhang, Wang Wenzhi, Weng Fanggang and other inscriptions (partial)
It is worth mentioning that the book has two pieces of inscription and inscription poems, all of which are famous artists of the Qing Dynasty, but the poems he narrates have nothing to do with the content of the five-character poem of "Jiangdong", but there are many references to another work of Lu Shen. For example, Ye Fengmao said, "Right Lu Wenyu Gong wrote the Eight Songs of Qiu Xing...", Wang Wenzhi said, "Mr. Wen Yu Gong wrote the Qiu Xing Poems by Himself...", and Weng Fang Gang Bao said: "Ershan Du Zhi is known for his ancestor Wen Yu Gong's "Qiu Xing Poems" Ink Scroll Title ...". "Ear Mountain", that is, Lu Xi Bear. Among the poem titles of Lu Xixiong, there is also "Prince Binghuan's ink scroll qinggeng of the ink scroll of the ancestor Wen Yugong's "Qiuxing Poems" in his collection,...... Remembering his life, he fulfilled the rhyme of the second original rhyme "clouds and clouds." The researchers found that relying on the information in Weng Fanggang's inscription that Lu Shen's Xingshu Qiuxing Eight Poems were "composed in the second year of Jiajing", the only ones who matched it were the "Eight First Volumes of Lu Shen XingShu Qiu Xing" (referred to as the "Eight Songs of Qiu Xing" scroll) now in the Shanghai Museum. This is a national second-class cultural relic, but also an important work in the history of Chinese calligraphy, it was once collected by Wu Hufan, and it was called "the essence of maritime cultural relics".
It is reported that Mr. Gu Jingyan (1898-1970), who originally collected these volumes, was a famous local literature scholar in modern Shanghai and one of the founders of the Shanghai History Museum. Gu Jingyan was good at collecting and studying Shanghai local literature and Xiangxian calligraphy and painting relics, and by the mid-to-late 1930s, he had accumulated a considerable amount, and compiled a book on the identification records into the book "Shanghai Xiangxian Cultural Relics Passing Eye", and he exchanged his painstakingly managed family wealth for a piece of cultural materials closely related to Shanghai. Whether during the War of Resistance Against Japanese Aggression or in the turbulent years, he and his family devoted their lives to protecting them from loss and separation, and continued the academic context of Shanghai.
Proofreader: Luan Meng