Beijing Olympic Torch Taiyuan Passes Jin Ji Yuan Jinci

At the foot of the suspended urn, twenty-five kilometers away from the southwest suburb of Taiyuan, Shanxi, there is an ancient architecture garden named "Jinci" in the source of Jinshui.

Here, surrounded by mountains and rivers, ancient wood is towering. In the picturesque scenery, the working people of the past dynasties built nearly 100 pavilions, courts, buildings, pavilions, pavilions, terraces, bridges and pavilions.

Under the shadow of the luxuriant trees, the bottomless spring flows through the Temple Temples. The historical relics and the natural scenery gather together to make the visitors very busy.

Jinci, as one of the key cultural relics protection units in the country and a famous tourist attraction, receives thousands of tourists both at home and abroad.

The story about Jinci is a long story. According to Ji Ji Jin Shi Jia Ji, the son of King Wu of the Zhou Dynasty was named Tang Ji Yu.

The son of Uncle Yu, because of the Jin Shui in the territory, changed his name to Jin.

In order to worship the uncle, the descendants set up ancestral temple at the source of Jin River, and called Tang Shu Yu temple, also called Jinci temple.

Jinci's creation age is still hard to test.

The earliest records were found in Li Dao Yuan (466 or 472 AD) in the Northern Wei Dynasty.

"Water notes" in 527 years, the book reads: "there is a mountain pillow of water, a Tang Shuyu temple, a cold hall on the water side, and a beam on the water."

The scenery and cultural relics at the time of sitting have been quite impressive.

It can be seen that the history of Jinci, even from the Northern Wei Dynasty, has been one thousand hundreds of years ago.

During the long years, Jinci had been built and expanded many times.

In the southern and Northern Dynasties, Gao Yang, the emperor of Wen Xuan, overthrew the Eastern Wei Dynasty, established the Northern Qi Dynasty, established Jinyang as the other capital, expanded Jinci during the Tianbao period (AD 550 - 559), and built a large view of the building and built a pond.

Sui Kai Huang (AD 581 - 600), in the ancestral District of the southwest side of the building of the building.

In the twenty years (646 AD), Emperor Taizong went to Jinci, and wrote the inscription "Jinci Ming and preface" in.

Song Taizong and Zhao Guangyi in the Taiping Xingguo period (AD 976 - 983), in the Jinci big building renovation, completion of the completion of the stone tablets.

In the days of Saint Song Renzong (AD 1023 - 1032), Song Renzong and Tang Shuyu sealed up Tang Shuyu as the king of the East and built the Grand Hall of the Virgin Mary for Jiang Yu, the mother of Yu.

Since the construction of the temple of Notre Dame and the flying beam of the fish marsh in the Tiansheng period of the Northern Song Dynasty, the architectural layout of the shrine has changed greatly.

Since then, the iron man has been built to build the sacrificial hall, the bell tower, the drum tower and the water mirror.

The Tang Shuyu shrine, which is in the right place, is located next to it.

The buildings in the central axis of the ancestral temple are from east to West in turn: water mirror, Hui Xian bridge, Jin Ren Tai, Yue Fang, bell drum two floor, sacrificial hall, fish marsh flying beam and the temple of Notre Dame.

This group of buildings and its northern Tang Shuyu shrine, Hao Tian shrine and Wenchang palace, and the southern jellyfish building, the old spring Pavilion and the srelli Sheng tower form an integrated architectural complex.

The buildings on the main line of the East and the west, together with the two groups of buildings in the South and North, were originally built up in different periods, but they all seemed to be subordinated to an ingenious overall design. They did not mix and scrape together in a random way. They seemed to have a compact layout, both like the courtyard of Temple View and royal palace, reflecting the ingenuity created by the ancient Chinese people.

The front end of the central axis is the water mirror, which was built in the Ming Dynasty. It was the stage for acting at that time.

The front part is a single canopy, and the rear is a double eaves.

In addition to the more spacious stage in front, the other three sides have bright corridors, and the architectural style is unique.

The Empress Dowager Ci Xi built a the Summer Palace in the original.

From the water table to the west, there is a main canal of Jinshui - "Zhi Bo Qu", also known as Hai Qing North River.

At the end of the spring and Autumn period, in order to capture Zhao Xiangzi's land, he was dug in the late spring and Autumn period, and the canal was drawn from the two rivers of Fen and Jin.

Later generations were dredge on the foundation of the old canal to become a channel for irrigating fields.

Through the bridge on the river of Zhi Bo, it is the golden man stage.

The Jin Ren Tai is square, and each of the four corners is made of iron men, each with a height of more than two meters.

Among them, one of the southwest corner was cast in the four years of Shaoxing saints in the Northern Song Dynasty (AD 1097). The rain and snow and wind and frost that had gone through more than 800 years were so bright and rusty that it vividly reflected the high smelting and casting level of the working people in Northern Song Dynasty.

After crossing the Yue Fang and bell tower and Drum Tower, they arrived at the sacrificial hall.

The hall was originally a place for sacrificing offerings. It was built in eight years (1168), with a width of three and a depth of two. The beam frame is very distinctive. It only has a flat beam on the four rafter. It is simple and economical, and it is light and strong.

Apart from the front and rear doors, the hall is built with thick and thick walls, and a straight fence is built to make the whole hall like a pavilion.

In 1955, the sacrificial hall was renovated with raw materials according to the original pattern. It kept the architectural characteristics of the Jin Dynasty and was the gem of my ancient architecture.

West of the hall of sacrifice is the flying beam of the fish and marsh that connects the Virgin Mary hall.

The entire marsh is a square pool, which is the second source of Jinshui.

There are thirty-four small octagonal stone columns in the pool, and the cross beam is supported by the top frame, the brackets and the beams.

The East West Bridge is nineteen point six meters long, five meters wide, one point three meters above the ground, and the western end is connected with the sacrificial hall and the temple of the Notre Dame. The north and South deck is nineteen point five meters long and the width is three point three meters, and the ends of the bridge are parallel to the ground.

The whole shape is like a big bird that wants to fly, so it is called Flying beam.

The date and site of the construction of Fei Liang are not known. According to the notes of Shui Jing Zhu, there was a flying beam in the Northern Wei Dynasty.

The existing bridge may have been built at the time of the Northern Song Dynasty with the Virgin Mary.

It was renovated as usual in 1955.

The architectural structure has the characteristics of the Song Dynasty, the small octagonal stone column, and the double basin style lotus petals are still left behind by the Northern Wei Dynasty.

This kind of peculiar shape and beautiful cross bridge type has been recorded in ancient books, but occasionally seen in ancient faces.

It is of great value to the study of bridge construction in ancient China.

In the east of the north and South deck of the flying beam, a stone lion is carved on both ends of the bridge.

There are iron lions on the platform of Qiaodong. They are brave and brave. They were cast in the Zhenghe eight years of the Northern Song Dynasty (1118).

At the end of the central axis is the magnificent hall of the Virgin Mary.

The temple of Notre Dame relies on the dangling mountain, the other fish in the front, and the other two springs in Jinshui.

This hall was founded in the Northern Song Dynasty (1023 A.D. 1032). It was renovated in the first year of emperor Chong Ning (AD 1102). It is the oldest building in Jinci.

The hall is about nineteen meters high, and the double eaves rest on the top of the hill, with a width of seven, and a depth of six. The layout is almost square.

The hall is surrounded by corridors, two deep into the front porch, and spacious under the corridor.

In ancient Chinese architecture, the corridor around the palace is the earliest example.

The columns of the temple are slightly inward, and the four corner posts increase significantly, making the curve of the front eaves curve very large.

The lower corner of the hall and the two wings under the beam fall against each other, rising one by one, one by one, showing the cleverly flying beams and the opening of the main hall.

The hall, bridge, spring Pavilion and fish marsh are mutually integrated with the village.

The hall of Notre Dame was constructed by the method of "reducing columns", and sixteen columns were reduced inside and outside the temple, with the pillars and eaves columns supporting the roof of the hall. Therefore, the front porch and the palace are very spacious.

The "column reduction method" is used skillfully.

It shows that in Song Dynasty, the mechanics principle has been further grasped in architecture, and the proportion of bucket arch and column height is appropriate, which avoids the waste of materials in the Sui and Tang Dynasties, and is also more artistic in architectural style.

The timber structure in our country has gone through a strong and solid development from the Sui and Tang Dynasties to the magnificent and light development of Ming and Qing Dynasties, and Song Dynasty architecture is an important link in this process.

The temple of Notre Dame is a representative work of the Song Dynasty. It is of great value to study the development of Chinese architecture in the Song Dynasty and the history of architecture in China.

Without columns in the temple, it not only increased the majesty of the high shrine, but also provided a good condition for the statues.

A total of forty-three clay figurines were painted in the palace, except for two small images in the niches.

The statue of the Virgin Mary, the mother of Tang Shuyu and Zhou Cheng Wang, the wife of Zhou Wu King, and the daughter of Jiang Ziya, Yi Jiang, are located in the shrine in the middle of the hall.

The remaining forty-two attendants are symmetrical on both sides of the niches.

Among them, the eunuch is like five, the female officer of the male dress is four, and the maid is thirty-three.

The ginger of the Notre Dame, sitting on the wooden chair decorated with Phoenix heads, and the Phoenix crown robe, the summer bead and the face are dignified, showing the dignity and luxury of the ruler.

The forty-two attendants, who had served in their hands, served various services for the emperor, such as serving the ink and ink, sweeping the toilet, serving the food, serving the house, even playing music and dancing.

These statues are vivid and natural, especially the handmaiden image.

The artists of the Song Dynasty, with compassion, shaped a group of women who had been banned from the palace for life, lost their freedom and buried their youth.

These ladies' bodies are more elegant and elegant, and their clothing patterns are smooth and smooth.

Their age or age, or their body or plump or slender, face or rounded or delicate, demeanor or innocence, each character is distinct, natural expression, coupled with a high degree of real life, is more lifelike.

This group of statues broke through the old style of building the gods and Buddhas in the temple buildings, which truly reflected the spiritual outlook of the servants who were confined to the service of the deep palace, thus reflecting a side of the feudal society.

Technically, it is clear that the proportion and anatomical relationship of human body are fairly accurate.

They are treasures in ancient Chinese sculpture and occupy an important place in the history of fine arts.

When people talk about Jinci, they often talk about these wonderful song models.

In the south of the hall of Notre Dame, there is a pavilion of hard old spring built by the Northern Qi Tianbao (AD 550 - 559), and the star anise is spire.

The main source of Jinshui is very old, and the spring water flows out of the stone caves under the pavilion. It never ends, but it doesn't give up day and night. Therefore, in the Northern Qi Dynasty, it was called the "old hard snail" in the Book of Songs Lu Song.

The crystal is clear and pparent, and the stone of the long green Ping and the five colored patches in the water are dazzling in the sunlight.

Li Bai, a famous poet in the Tang Dynasty, praised the poem "Jinci's water like Jasper" and "microwave dragon scale grass green".

The old spring water comes from fault rock, and its water temperature is kept at 17 "C". It irrigated tens of thousands of rice fields nearby.

Fan Zhongyan, a poet of the Northern Song Dynasty, held a sentence: "thousand irrigation rice", "Mu Jiang Xiang Tian".

"All are like Jin temple. There is no drought year for the people."

It is to praise the spring of Jinci.

The jellyfish building is located in the west of the old spring Pavilion, also known as Crystal Palace. It was built in forty-two years in Ming Jiajing (1563), and the whole building was divided into two floors.

In the lower cave, there is a bronze jellyfish in the middle of the cave, sitting on the urn shaped seat.

Upstairs, set a shrine to the West and worship the jellyfish.

There are eight maid statues on both sides of the shrine. They are graceful in appearance, elegant in style and elegant in style, and are also rare art objects.

The famous Tang monument in the Jinci temple stands in the pavilion of Zhenguan Bao Han.

The inscription on this tablet is written by Tang Taizong and Li Shimin in twenty years (646 AD).

The whole monument has one thousand two hundred and three characters. It aims to promote the Tang Dynasty's rule of martial arts and consolidate its own political power by praising Zong Zhou politics and the policy of Tang Shuyu's founding.

Li Shimin is very fond of Wang Xizhi's calligraphy. He also has high attainments in calligraphy.

"Jinci's inscription and order" calligraphy free and easy, magnificent bones, strong strokes.

Engraving workers fully demonstrate the charm of original calligraphy with the method of washing.

"Tang stele" is the earliest piece of running script in our country. It has important value for studying calligraphy art in China.

There is a Tang Shuyu shrine on the north side of the temple.

According to Li Dao Yuan's "water classics Annotation", "there is a Tang uncle's temple in the west of the river."

In the tablet of the Taiping Xingguo Temple of the Northern Song Dynasty, it depicts its "front stream of marsh", "behind the crisis peak", and the location of the old temple is not in the same place as it is now.

The existing buildings are quite spacious in the front and back chambers.

There are corridors around the front yard, three backyards in the backyard, and Tang Shuyu hall in the north.

The hall is five wide and four deep, with Tang Shuyu statues in the middle shrine.

There are twelve statues from both sides of the shrine, mostly female, highly similar to human beings.

She still holds different musical instruments, such as flute, pipa, three strings, cymbals and so on, which seems to be a complete band.

Far from the works of the Ming Dynasty, far statues are invaluable materials to study the development of instrumental music and the history of Chinese phonology.

Born in the Sui Kai Huang period, it was rebuilt in the Song Dynasty, and sixteen years in the Qing Emperor Qianlong (1751).