廬山記 1.10.3

1.10.3

裴題其篇末云。 覽北海詞翰想見風采。 張亦作記于碑陰。 大中十年四月十三日。 沙門玄觀請河東裴光遠篆額。 光遠國子監太學博士。 初遠師欲徙香谷也。 山神告夢曰。 此處幽靜。 足以棲神。 忽於後夜。 雷雨震擊。 明旦視之。 惟素沙匝地。 兼有楩柵。 文梓良木既作殿。 故名神運。 牛僧孺大和四年。 自武昌還。 朝過之。 為書其牓神蓮□□四字。 又有木數尺。 南唐元宗題曰神運水。 今並存焉。 會昌中。 寺與林木。 並係戶部毀賣。 大中興復。 刺史崔黯為捐私錢。 以偈施者。 搢紳從者數百人。 姓名爵里。 今刊于名仍藏。 當時之疏亦崔之詞也。 崔又作復寺碑。 左散騎常侍柳公權書。 流泉臣寺下入虎溪。 昔遠師送客過此。 虎輒號鳴。 故名焉。 時陶元亮居栗里山南。 陸脩靜亦有道之士。 遠師甞送此二人。 與語道合。 不覺過之。 因相與大笑。 今世傳三笑圖。 蓋起於此。 神蓮殿之後。 有白蓮池。 昔謝靈運恃才傲物。 少所推重。 一見遠公。 肅然心服。 乃即寺翻涅槃經。 因鑿池為臺。 植白蓮池中。 名其臺曰翻經臺。 今白蓮亭即其故地。 遠公與慧永。 慧持。 曇順。 曇恒。 竺道生。 慧叡。 道敬。 道昺。 曇詵。 白衣。 張野。 宗炳。 劉遺民。 張詮。 周續之。 雷次宗。 梵僧佛駄耶舍。 十八人者。 同修淨土之法。 因號白蓮社。 十八賢有傳附篇末。 池上昔有文殊瑞像閣。 今像亡閣廢。 有文殊殿瑞像者。 晉陶侃初為廣州刺史。 海濱漁人□見夜有光艶。 遂網之。 得金文殊菩薩之像。 旁有誌云。 昔阿育王所鑄。 後商人於東海亦獲圓光。 持以就像。 若彌縫焉。 侃以送武昌寒溪寺。 主者僧珍常往夏口。 夢寺火。 而像屋獨有神物圍繞。 珍馳還。 寺果已焚。 惟像屋並存。 侃移督江州。 以像神靈。 使人迎以自隨。 復為風濤所溺。 時荊楚為之謠曰。 陶惟劍雄。 像以神標。 雲翔泥宿。 邈何遙遙。 可以誠致。 難以力招。 至遠公剏寺。 乃禱於水上。 其像復出。 始迎置神運殿。 後造重閣。 以奉香火。 故李邕寺記云。 育王贖罪。 文殊降形。 蹈海不沈。 驅於陶侃。 迫火不熱。 夢於僧珍。 蓋謂此也。 至會昌毀寺。 二僧負像。 藏之錦繡谷之峯頂。 其後寺復。 訪之藏處不獲。 二僧相疑或匿之。 俄見圓光瑞色現於空裏。 故至今遊人至峯頂。 佛手巖天池有見光相者。 寺有晉輦。 備虬龍之飾。 舊號亘帝輦。 故貫休詩云。 亘玄舊輦殘雲濕。 耶舍孤墳落照遲。 今人題誅謂安帝輦。 按晉大亨二年。 亘玄篡位廢帝。 為平固王。 遷于尋陽。 及義師之起。 玄□奔尋陽。 旌旗輿服猶備帝者之義。 於是迫平□西上奔竄之際。 因留輦東林。 舊稱亘輦蓋有由也。 亘安音相近。 後人不察而改之耳。 經藏院在寺東廡。 經之跋尾有曰。 貞元十三年寫者。 經藏碑。 元和七年歲次壬辰九月兩辰朔十五日庚午。 朝請郎試太常寺協律郎李肇撰。 略曰。 元和四年。 雲門僧靈徹。 流竄而歸棲泊此山。 將去言於江南西道觀察使武陽公韋公丹。 韋之夫人蘭陵簫氏卒。 甞有服珥之資。 買田荊州。 收其租入。 以奉檀施。 至是取之。 益以己俸。 即洪州抄騰而致之。 仍建堂殿。 又命浮槎。 寺僧義䑣以主祕藏。 會昌之厄。 僧道深竊藏之石室。 後寺復。 而經出然亡失者過半。 僧正言稍補之。 大中十二年。 武陽之子宙復世廉察。 因施錢再作堂宇。 仍誌其事。 故有韋丹韋宙寫真。 咸通八年。 刺史苗紳有二韋寫真贊。 紳宙之外孫也。 又有一人物色題曰。 紀王寺僧曰。 其旁舊有具銜。 江州刺史德化王楊澈也。 文字剝落不□者因粉飾而漫滅之。 今寺有下平林口田。

Pei inscribed at the end of the text, saying, "Reviewing the calligraphy and composition of Beihai, I can imagine his imposing style." Zhang also composed an inscription on the back of the stele. On the thirteenth day of the fourth month of the tenth year of Dazhong, the śramaṇa Xuanguan requested Pei Guangyuan of Hedong to write the seal-script header. Guangyuan was a Erudite of the National Academy in the Directorate of Education. Earlier, when Master Yuan wished to move to Incense Valley, a mountain spirit appeared to him in a dream, saying, "This place is secluded and quiet, sufficient to lodge your spirit." Suddenly, the next night, thunder and rain struck violently. Looking out the next morning, there was only white sand covering the ground, along with trees like nanmu and梓 with fine grain. Once these fine timbers were used to build the hall, it was therefore named Divine Transport. In the fourth year of Dahe, when Niu Sengru was returning to court from Wuchang, he passed by and wrote the four characters "Divine Lotus [...]" for its plaque. There was also a piece of wood several feet long, which Yuanzong of the Southern Tang inscribed as "Divine Transport Water"; both survive today. During the Huichang era, the temple and its forest were confiscated by the Ministry of Revenue to be torn down and sold off. During the Dazhong restoration, Prefect Cui An contributed private funds and gave them through verse offerings; several hundred gentlemen of the gentry followed suit, and their names and official titles are engraved today upon the lists and preserved. The appeal of that time was also written by Cui. Cui also composed the stele for the temple's restoration, which was calligraphed by Liu Gongquan, Left Policy Advisor. A flowing stream [runs through] the lower part of the temple and enters Tiger Creek. In the past, whenever Master Yuan saw off guests beyond this point, a tiger would always roar, hence the name. At that time, Tao Yuanliang lived at Lili south of the mountain, and Lu Xiujing was also a man who possessed the Dao. Master Yuan once saw these two men off; engrossed in conversation that harmonised with the Dao, they crossed it without realising, whereupon they all burst into hearty laughter. Today the "Picture of the Three Laughers" handed down in the world had its origin here. Behind the Divine Lotus Hall is the White Lotus Pond. In former times, Xie Lingyun relied on his talent and looked down on things, seldom esteeming anyone; yet as soon as he met Master Yuan, he was awed and submitted from the bottom of his heart. He then translated the Mahāparinirvāṇa Sūtra at the temple, and for this reason excavated a pond to make a terrace, planting white lotuses in the pond, and named the terrace "Sūtra-Translating Terrace". Today's White Lotus Pavilion is its former site. Master Yuan, along with Huiyong, Huichi, Danshun, Danheng, Zhu Daosheng, Huirui, Daojing, Daobing, Danxian, and the laymen Zhang Ye, Zong Bing, Liu Yimin, Zhang Quan, Zhou Xuzhi, and Lei Cizong, as well as the Indian monk Buddhabhadra—eighteen people in all—together practiced the teachings of the Pure Land, and it was therefore called the White Lotus Society. Biographies of these eighteen worthies are appended to the end of the work. Above the pond there was formerly the Pavilion of the Auspicious Manjuśrī Image, but today the image is lost and the pavilion in ruins. As for the auspicious image in the Manjuśrī Hall, when Tao Kan of the Jin was initially Inspector of Guangzhou, a fisherman on the coast saw a radiant light at night and cast his net, obtaining a golden image of Manjuśrī Bodhisattva. On its side was an inscription saying: "Cast in antiquity by King Aśoka." Later, a merchant also found a halo in the Eastern Sea and held it up to the image, fitting it as if seamlessly. Kan sent it to Hanxi Temple in Wuchang. The temple prior, the monk Sengzhen, once traveled to Xiakou, and dreamt that the temple was on fire, but the shrine containing the image alone was surrounded by spirits. Zhen hurried back; the temple was indeed already burned down, yet the shrine of the image alone survived. When Kan was transferred to govern Jiangzhou, considering the image miraculous, he had someone fetch it to accompany him, but it was swallowed by wind and waves. At that time, the people of Jingchu made a ballad about it, saying: "Tao was solely a hero of the sword; / The image was marked by spiritual marvel. / Soaring into clouds or lodging in mud, / How far and distant! / It can be brought by sincerity, / But hardly summoned by force." When Master Yuan founded the temple, he prayed over the waters, and the image re-emerged; it was then initially welcomed and enshrined in the Divine Transport Hall. Later, a multi-storied pavilion was built to offer incense and lamps. Therefore, Li Yong's temple record states: "Aśoka expiated guilt; / Manjuśrī manifested his form. / Treading the sea, it did not sink; / It was driven along by Tao Kan. / Threatened by fire, it did not scorch; / It appeared in a dream to Sengzhen." This was surely what it referred to. When the temple was destroyed during the Huichang era, two monks carried the image on their backs and hid it at the summit of Jinxiu Valley. Afterwards, when the temple was restored, they searched the hiding place but could not find it; the two monks suspected each other of concealing it. Suddenly they saw a halo of auspicious colours appear in the sky. Therefore, down to the present day, when travelers reach the summit, there are those who behold this radiant manifestation at Buddha-Hand Rock and Tianchi. The temple has a Jin-dynasty palanquin decorated with horned dragons, formerly called the Palanquin of Emperor Huan; hence Guanxiu's poem says: "Huan Xuan's old palanquin is damp with remaining clouds; / The solitary grave of Yeśas lingers in the setting sun." Today people label it as the palanquin of Emperor An. Upon examination, in the second year of Daheng of the Jin, Huan Xuan usurped the throne and demoted the emperor to King of Pinggu, exiling him to Xunyang. When the righteous army arose, Xuan fled to Xunyang, with his banners, carriages, and robes still prepared according to imperial rites. At the juncture when he forced Ping[gu] to flee westward, he consequently left the palanquin at Donglin. That it was formerly called Huan's palanquin was indeed for good reason; "Huan" and "An" sound close, and later people changed it without careful scrutiny. The Sūtra Canon Cloister is in the eastern corridor of the temple. Among the colophons of the sūtras, there are some that say they were copied in the thirteenth year of Zhenyuan. The stele for the Sūtra Canon was composed on the fifteenth day, gengwu, of the ninth month, beginning with the new moon on bingchen, in the seventh year of Yuanhe, the year renchen, by Li Zhao, Court Gentleman for Consultation and Acting Director of Music of the Court of Imperial Sacrifices. It says in brief: In the fourth year of Yuanhe, the monk Lingche of Yunmen, having been exiled and returned to lodge on this mountain, was about to depart and spoke to the Surveillance Commissioner of Jiangnan West Circuit, Duke Wei Dan, Duke of Wuyang. Wei's wife, Lady Xiao of Lanling, had died, and had formerly used her jewelry and clothing funds to purchase fields in Jingzhou, collecting their rent to make charitable donations. At this time he took them, supplemented them with his own salary, and had copies made in Hongzhou and sent over, subsequently building a hall; he further appointed the monk Yizhou of Fucha Temple to oversee the secret treasury. During the calamity of the Huichang era, the monk Daoshen secretly concealed them in a stone cave. Later, when the temple was restored, the sūtras were brought out, but more than half had been lost. The monk Zhengyan gradually supplemented them. In the twelfth year of Dazhong, Wuyang's son Zhou again inherited the office of surveillance commissioner; he thereupon donated money to rebuild the hall and recorded the matter, so there are portraits of Wei Dan and Wei Zhou. In the eighth year of Xiantong, the prefect Miao Shen wrote an encomium for the portraits of the two Weis; Shen was a maternal grandson of Zhou. There is another figure whose caption reads: "Monk of the Prince of Ji's Temple"; beside it there was formerly a full official title: Yang Che, Prince of Dehua and Prefect of Jiangzhou. The text was peeling off and missing characters, and through whitewashing was obliterated. Today the temple owns fields at the lower mouth of Pinglin.