Fusheng Temple

Fusheng Temple

Fusheng Temple is a Major Historical and Cultural Site Protected at the National Level.

Fusheng Temple, a Major Historical and Cultural Site Protected at the National Level, is located north of Guang Village, Zezhang Town, Xinjiang County. According to the "Edict from the Ministry of Rites" preserved in the temple, it was commissioned by Emperor Taizong of the Tang Dynasty during the Zhenguan era (627–649 AD). It was bestowed the name "Fusheng Monastery" in 1163 AD during the Jin Dynasty's Dading era. The temple was repaired during the Song and Yuan dynasties, and further renovated in 1498 AD during the Ming Dynasty's Hongzhi era. The entire temple complex features an elegantly arranged layout with buildings of varying heights, all facing south. Along the central axis are four courtyards: the Mountain Gate, the Heavenly King Hall, the Amitabha Hall, and the Rear Main Hall. On either side stand the Bell and Drum Towers, complemented by side halls and auxiliary shrines, all arranged in an orderly fashion.

Structures such as the Heavenly King Hall and the Goddess Hall still stand, but all the polychrome sculptures have been completely lost. A small memorial archway for the charitable school was built during the Qing Dynasty.

The Amitabha Hall is five bays square, surrounded by corridors, with a double-eave hip-and-gable roof. It features Dougong bracket sets with double ang, and its beams and brackets intersect above the golden pillars. This structure dates back to the Yuan Dynasty, with records indicating renovations during the Hongzhi era of the Ming Dynasty. The hall houses statues of the Amitabha Buddha along with attendant bodhisattvas Guanyin and Mahasthamaprapta. Behind the Amitabha Buddha’s throne, suspended sculptures depict the Goddess of Mercy of the South Sea, the Boy Sudhana, Wisdom Kings, and worshippers. These polychrome sculptures are in the style of the Song Dynasty, exquisitely crafted with extremely high artistic value. The gracefully proportioned Goddess of Mercy of the South Sea, with delicate features and a kind expression, is shown stepping on auspicious clouds supported by a "roaring dragon," floating gracefully. Her attendant, the Boy Sudhana, is never far behind. The Wisdom King, revered in Buddhism as a figure of wisdom, authority, and power to conquer all demons, follows closely, with a backdrop of turbulent seas. The artist skillfully uses dynamic cloud formations to convey the ethereal sense of the Goddess riding the wind across the sea. Soft bluish-green hues emphasize the vastness and turbulence of the ocean, while high and low relief techniques depict patterns of ocean waves. These methods enhance the three-dimensional effect of the sculptures against the flat background, showcasing a rather unique artistic approach. On both sides of the Amitabha Hall are 18 Arhats added during the Jin Dynasty and the Four Heavenly Kings added in the Ming Dynasty. The Arhats display diverse expressions and postures, sitting or lying in lifelike positions. The Four Heavenly Kings in the temple each have distinct titles, costumes, and ritual implements: the Eastern Heavenly King Vaishravana (white, holding a pipa), the Southern Heavenly King Virudhaka (blue, wielding a sword), the Western Heavenly King Virupaksha (red, grasping a dragon banner), and the Northern Heavenly King Dhritarashtra (green, holding an umbrella in the right hand and a silver mouse in the left). Commonly referred to as the "Four Great Kings," they are also said to govern the winds, rains, and seasons.

The Rear Main Hall, also known as the Scripture Repository, has seven bays and two stories. The upper level is the scripture depository, while the lower level contains three Buddha Caves. These caves house sculptures of Sakyamuni flanked by Guanyin and Ksitigarbha, Amitabha with Manjushri and Samantabhadra, and Bhaisajyaguru with Suryaprabha and Candraprabha. All are polychrome sculptures from the Yuan Dynasty. As these areas were not open to the public, the sculptures are extremely well-preserved, looking as vivid as if newly created. They hold extremely high artistic value.

Further Reading:

· Fifth Batch of Major Historical and Cultural Sites Protected at the National Level