A Record of Buddhist Monasteries in Luoyang, with Annotations (洛陽伽藍記校釋)

The Yongning Temple was established in the first year of the Xiping era by Empress Dowager Hu of the Ling family. (The "Treatise on Buddhism and Taoism" in the *Book of Wei* states: "During the Xiping era of Emperor Suzong (Yuan Xu), the Yongning Temple was built west of the Grand Altar within the city. Empress Dowager Hu personally led the officials to lay the foundation and erect the pagoda." Empress Dowager Hu was the consort of Emperor Shizong (Yuan Ke) and the mother of Emperor Suzong. She was the daughter of Hu Guozhen, the Minister of Works from Linjing, Anding. After Emperor Suzong ascended the throne, she was honored as Empress Dowager and assumed regency, overseeing all state affairs. Her aunt was a nun and well-versed in Buddhist teachings, which influenced Empress Dowager Hu to also revere the Three Jewels. See the "Biographies of Empresses and Consorts" in the *History of the Northern Dynasties*. According to the "Treatise on Buddhism and Taoism" in the *Book of Wei*, during the first year of the Huangxing era of Emperor Xianwen of the Northern Wei, a Yongning Temple was built in the capital of Dai, featuring a seven-story pagoda over three hundred feet tall. Its foundation was broad and magnificent, unparalleled in the world. The Yongning Temple in Luoyang, built at the beginning of the Xiping era, followed the design of the one in Pingcheng.) It was located one li south of the Changhe Gate in front of the palace, on the west side of the imperial road. (The character "west" is mistakenly written as "east" in the "Biography of Bodhiruci" in Volume 1 of the *Continued Biographies of Eminent Monks* and in Volume 6 of the *Kaiyuan Era Catalog of Buddhist Scriptures*. According to the *Book of Wei*, "the Yongning Temple was built west of the Grand Altar." The text below states, "the Grand Altar is located west of the imperial road in front of the Changhe Gate." From this, the temple's location is clear. Moreover, the *Commentary on the Water Classic*, Volume 16, notes: "The Yangqu Canal flows south of the Changhe Gate, then branches off and runs south along the road, passing between the offices of the Grand Commandant and the Minister of Works, known as the Bronze Camel Street. West of the water is the Yongning Temple." This further confirms that "west" is correct. The Changhe Gate mentioned here is the main southern gate of the palace city. Although it shares the same name as the western gate of the city, they are not the same gate.)

To the east of the temple was the Grand Commandant's Office. To its west was Yongkang Ward. To its south was the Office for the Management of Monks and Nuns. To its north was the Censorate.

East of the imperial way in front of the Changhe Gate was the Left Guard Office. South of this office was the Minister Over the Masses's Office. South of the Minister Over the Masses's Office was the National Academy. Inside its hall was a statue of Confucius, with Yan Yuan asking about benevolence and Zilu asking about governance at his side. South of the National Academy was the Imperial Clan Court. South of the court was the Imperial Ancestral Temple. South of the temple was the Protector of the Army Office. South of this office was the Robes and Caps Ward.

West of the imperial way was the Right Guard Office. South of this office was the Grand Commandant's Office. South of this office was the Office of Palace Construction. South of this office was the Nine-Rank Office. South of this office was the Altar of Soil and Grain. South of the altar was Lingyin Ward, which was the ice storage site from the time of the Four Dynasties.

There was a nine-story stupa, built of timber, rising ninety zhang high.(The figure "ninety zhang" is also cited in the Neidian Lu, volume four. The Weishu, "Treatise on Buddhism and Daoism," says: "over forty zhang high." The Shuijing Zhu, "Gu River Commentary," says: "The base of the stupa is fourteen zhang square, and from beneath the golden dew-basin down to the ground is forty-nine zhang." These differ from what this book records. Li Daoyuan also says the stupa "took as its model the seven-story pagoda of the capital at Dai, yet made it taller and broader; though the splendor of the two capitals and the wealth of the five metropolises (five is probably a mistake for three), no other sacred pagoda or numinous structure ever matched this edifice.") Atop it was a golden finial, rising another ten zhang;(In current editions the characters "shang" and "jin" are both missing; they are restored here on the basis of the Kaiyuan Shijiao Lu. The Neidian Lu reads "a jeweled finial atop it." For the meaning of "finial," see the preface.) making a total of one thousand chi above the ground.(The Xu Sengzhuan reads "one thousand chi above the ground," and the Neidian Lu reads "one thousand chi from the ground.") One hundred li from the capital,(The Xu Sengzhuan and the Shijiao Lu read "one hundred li from the terrace," while the Neidian Lu reads "one hundred li from the capital.") it could already be seen from afar.("Already," in the Neidian Lu, reads "at once.") When they first dug the foundation, down to the yellow springs,(The Xu Sengzhuan reads: "On the first day of building the foundation, they dug down to the yellow springs." The Neidian Lu reads: "When they first wished to lay the foundation, they dug down to the yellow springs.") they found thirty golden images.("Found," in the Xu Sengzhuan, reads "obtained." "Thirty" was originally written "three thousand"; a variant edition has "thirty," and the text is corrected accordingly here. The Xu Sengzhuan, Neidian Lu, and others have "thirty-two." ○ The Shuijing Zhu, "Gu River Commentary," says: "The site was the former residence of Cao Shuang. On the day construction began, in the southwest corner of the monastery they found Shuang's underground chamber, extending about a zhang into the earth, its walls and floor all laid with squared stone fitted together, the stonework fine and close, with nothing damaged; the stones were all used for the Dharma. Had it not been for Cao Shuang's ordinary craftsmen, it would have been hard to make such a thing again! As the Huan family said: 'Cao Zidan bore this suckling calf'—how true." This account of finding thirty golden images is probably not credible.) The Empress Dowager took this as a sign of true faith in the Dharma,(The Xu Sengzhuan reads: "The Empress Dowager took it as an auspicious sign, a token of reverent faith in the Dharma." The Neidian Lu reads: "The Empress Dowager believed it to be an auspicious token of exalting the Dharma.") and for this reason the construction was excessive.(The Neidian Lu reads: "For this reason the construction exhausted the utmost of worldly craftsmanship." The Shijiao Lu reads: "For this reason the ornamentation was made rare and wondrous, exhausting the world's splendor." The Xu Sengzhuan agrees with the present text. ○ Note: the Weishu, "Biographies of the Arts," states that for the building of the nine-story stupa of Yongning Monastery, Guo Anxing was the craftsman. The statement here that "the construction was excessive" is precisely Yang Xuanzhi's criticism.) On the finial was a golden jeweled vase,(The Xu Sengzhuan reads: "On top of the finial was placed a golden jeweled vase.") holding twenty-five hu.("Hu"—all editions read "shi"; this follows the Xu Sengzhuan and the Shijiao Lu. ○ Note: In India, jeweled vases are always placed atop stupa finials, as receptacles for relics.) Beneath the jeweled vase was a golden dew-collecting basin in eleven tiers,("Eleven tiers"—the present text reads "thirty tiers"; this follows the Xu Sengzhuan, Neidian Lu, and Shijiao Lu.) with golden bells hanging all around.(After "all around," the Neidian Lu has the two characters "outline." ○ The Rites of Zhou, "Director of Music," says that the Director of Music used golden bells to signal drums; Zheng's commentary says: "A bell is a large clapper.") There were also four iron chains, extending from the finial to the four corners of the stupa, and on the chains too were golden bells. The bells were each the size of a one-hu jar.(The Neidian Lu reads: "each the size of a one-hu jar.") The stupa had nine stories,(The Neidian Lu omits the character "had.") and at every corner golden bells were hung, totaling one hundred thirty bells above and below.("One hundred thirty"—all editions read "one hundred twenty"; this follows the Xu Sengzhuan, Neidian Lu, and Shijiao Lu.) The stupa had four sides,(The Neidian Lu omits the character "had.") and each side had three doors and six windows, the doors all lacquered in red.("Doors," in the Neidian Lu, reads "all.") On each door leaf were five rows of golden bells,(The character "each" is absent from the present text; it is restored here from the Neidian Lu. "Bells" was originally written "nails," which does not agree with the Neidian Lu and others. This follows the Yishi edition. After this sentence the Neidian Lu has the sentence: "Its twelve gates and twenty-four door leaves.") totaling five thousand four hundred pieces.(The Xu Sengzhuan and Shijiao Lu both say: "The pagoda had four sides and nine bays, six windows and three doors, all with red-lacquered door leaves, from which golden bells hung; each story had five thousand four hundred pieces." This differs slightly from the Neidian Lu.) There were also golden ring door-pulls,(The Neidian Lu reads: "Beneath the bells were further carved golden ring door-pulls." ○ Cheng Dachang's Yanfan Lu says: "The Fengsu Tongyi states: 'As for door-pulls, long ago Gongshu Ban saw a water snail drawing its shell closed over its doorway, so that it could never be opened, and he fashioned its likeness and set it on doors. Nowadays what stands out in rows on doors is the snail Gongshu Ban adorned. The Yixun says: door ornaments of gold are called pu, and pu is called ou; ou is pronounced "ou," and what is commonly called a floating-bubble nail today.'") exhausting the skill of wood and earth,(Before "exhausting," the original has a superfluous character "bu," which is absent from variant editions.) and utterly exhausting the cleverness of construction.(These two sentences read in the Neidian Lu: "Exhausting the cleverness of construction, utterly exhausting the work of wood and earth; the common people came like sons, and it was done in no time.") The Buddhist work was exquisite and wondrous, beyond imagination. Embroidered pillars and golden door-pulls("Golden door-pulls"—the door-pull ornament, made of gold. The Wenxuan, Sima Xiangru's "Changmen Fu," says: "Pushing the jade door to shake the golden door-pull.") dazzled the mind and eye.(The Shijiao Lu reads: "startling the mind and eye.") And when the high wind blew through the long night,(The Neidian Lu reads: "And in the autumn moon, through the long night's high wind.") the jeweled bells chimed in harmony,("Jeweled," in the Xu Sengzhuan and Shijiao Lu, reads "golden.") and the clanging sound("Sound," in the Xu Sengzhuan, reads "tone," as also in the Yishi edition.) was heard for more than ten li.

North of the stupa there was a Buddha hall, shaped like the Taiji Hall. (The Continued Biographies of Monks and the Record of the Teachings of Buddhism have: "North of the stupa there was a main hall, its form modeled on the Taiji Hall." The Taiji Hall was the main hall within the palace, completed in the third year of the Jingming era of Emperor Xuanwu. See the Annals of the Wei Book. Naming the central hall of the palace "Taiji" began under the Cao Wei. In the third year of the Qinglong era, Emperor Ming of Wei greatly expanded the Luoyang palace and built the Taiji Hall, modeling it on the Taiji, hence the name. See the Annals of Emperor Ming in the Wei Records of the Records of the Three Kingdoms.) In it were one gilt image sixteen feet tall, ten life-size gilt images, (The Yishi edition has the character "person" above "middle." Also, the two characters "middle" and "long" appear in the Inner Canon Record as "life-size.") three embroidered pearl images, (The Inner Canon Record gives "embroidered pearl images" as "woven true-pearl images.") five woven-gold images, (The present edition has "five woven," the text being abridged; here it follows the Inner Canon Record.) and two jade images. (This sentence is missing entirely from the present edition and has been supplied from the Inner Canon Record.) The workmanship was wonderfully skillful, ("Workmanship": all editions have "merit"; here it follows the Inner Canon Record.) unsurpassed in its day. (From "in it" down to this point, the Continued Biographies of Monks and the Record of the Teachings of Buddhism read: "In it were placed various images, of gold, jade, pearl, and embroidery, the workmanship cunning and elegant, surpassing all the world.") The monks' quarters and tower pavilions numbered over a thousand rooms, with carved beams and whitewashed walls, blue-latticed doors and figured windows, ("Latticed" was originally "silk," which is wrong. "Blue-latticed" refers to doors and windows bearing painted ornament. The Wenxuan, Zuo Si's Rhapsody on the Capital of Wu, says "blue-latticed doors and vermilion pillars," and Liu Kui comments: "Blue-lattice means that on both sides of the door a blue pattern is painted in latticework." Figured windows means window openings carved into figured patterns. "Shu" originally means to carve, and here refers to the windows themselves. The Wenxuan, Wang Yi's Rhapsody on the Lingguang Hall of Lu, says: "Sky-windows and figured windows." And an old poem says, "Cross-latticed windows bound with figured gauze, and a lofty pavilion of threefold steps"—this is the meaning. ) beyond words to describe. Junipers, cypresses, cedars, and pines ("Cedars and pines" was originally "pines and cedars"; the Yishi edition has "junipers, cedars, pines, and cypresses"; here it follows the Inner Canon Record.) spread their branches over the eaves and gutters, (All editions have "spread their branches and brushed the eaves"; here it follows the Inner Canon Record. "Eaves and gutters" stands in parallel with "steps and terrace" below, so "eaves and gutters" is correct. "Spread their branches" means foliage spreading in all directions. The Wenxuan, Sima Xiangru's Rhapsody on the Imperial Park, says: "Hanging branches spread abroad." And Tao Qian's poem "Reading the Classic of Mountains and Seas" says: "In early summer the plants grow tall, and around the house the trees spread abroad.") while clumps of bamboo and fragrant herbs ("Clumps" is the character for "thicket"; the Yishi edition has "emerald.") spread abundantly over the steps and terrace. (The Inner Canon Record gives "steps and terrace" as "stairs and courtyard." "Spread abundantly" means to spread and scatter everywhere. "Abundantly": the Yishi edition has "broadly," which is the same. The Wenxuan, Sima Xiangru's Rhapsody on the Imperial Park, says "spread broadly over the vast marsh," and Zuo Si's Rhapsody on the Capital of Wu says "spread broadly over the marshlands," both referring to fragrant herbs. "Spread their branches" and "spread abundantly" are both rhyming compounds. "Spread their branches" is also written "扶於," and "spread abundantly" is also written "尃濩." From "monks' quarters" down to this point, the Continued Biographies of Monks and the Record of the Teachings of Buddhism read: "The monks' quarters joined in a circle, over a thousand rooms. The terraces and towers were spread like stars, rising in uneven succession. Carved and adorned in red and purple, painted in vermilion and blue. Junipers, cypresses, pillars, and pines, with rare herbs in dense clusters.")

Thus, the inscription by Chang Jing states: "Even the Jeweled Hall of Mount Sumeru and the Pure Palace of the Tusita Heaven cannot surpass this."

The sutras and images offered by foreign countries were all kept in this temple. The courtyard walls were all fitted with short rafters and covered with tiles, like the palace walls of today. Each of the four sides had a gate.

The south gate had a three-story tower, connected by three covered walkways, rising twenty zhang above the ground. Its form resembled the present-day Duan Gate. It was painted with cloud patterns and colored paintings of immortal spirits. Rows of coins, blue latticed windows—resplendent and magnificent. The arched gate had four strongmen and four lions, adorned with gold and silver, set with pearls and jade—so splendidly adorned that the world had never heard of its like. The east and west gates were also like this; what differed was only that their towers had two stories. The north gate had a single passage and no roof above, resembling a crow-head gate.

Outside the four gates, all were planted with green pagoda trees and bordered by green water. Travelers in the capital often sheltered beneath them. The road was free of flying dust without depending on the moisture of rain clouds; clear breezes brought coolness—why need a round fan be waved?

An imperial edict ordered the Secretariat Drafter Chang Jing to compose the inscription for the monastery's stele. (In the Continued Biographies of Monks and the Record of the Buddhist Teachings, the character "乃" appears before "imperial edict.")

His courtesy name was Yongchang, and he was from Henei. (The History of the Northern Dynasties, volume 42, biography of Chang Shuang, says: "Jing's father was Wentong, grand administrator of Tianshui.") He was keen in study and broadly accomplished, and his fame was known throughout the land. In the nineteenth year of Taihe, he came to the attention of Emperor Gaozu, who promoted him to be Erudite of Law. (The Continued Biographies of Eminent Monks cites this as "promoted to be Erudite of Codified Law." His own biography says: "The Commandant of Justice, Gongsun Liang, recommended him as Erudite of Law." The present editions all read "Erudite of Legal Studies"; the character "studies" is likely a later interpolation and has now been deleted. On the Erudite of Law, see the "Offices and Clans" chapter of the History of Wei.) In matters of criminal law and doubtful cases, he was often consulted. At the beginning of the Zhengshi era, an edict was issued to revise the statutes and ordinances, to serve forever as universal norms. (In the twelfth month of the winter of the first year of Zhengshi of Emperor Shizong, an edict was issued commanding the assembled ministers to deliberate and fix the statutes and ordinances; see the annals of Emperor Shizong in the History of Wei and the "Treatise on Punishments.") Jing was ordered to join with the attending censor Gao Sengyu, (Sengyu's name was Chuo; he was from Bohai and a grandson of Yun. He was calm and refined, with a sense of measure, broadly read in the classics and histories, and once served as magistrate of Luoyang. In government he was firm and upright, and did not shrink from the powerful and noble. He successively held the offices of Right Assistant Director of the Department of State Affairs, Cavalier Attendant-in-Ordinary Sojourner, and provincial governor of Bing and Yu. In the winter of the third year of Zhengguang he died suddenly of illness at the age of forty-eight. See the biography of Gao Yun in volume 48 of the History of Wei.) the Imperial Insignia Supervisor Wang Yuangui, (Yuangui has no biography in the History of Wei.) the Department of State Affairs Gentleman Zu Ying, (Ying's courtesy name was Yuanzhen; he was from Daoxian in Fanyang. As a youth he loved learning, continuing by day what he had begun by night, and his reputation was very great. He once served as aide in the Legal Section of Pengcheng Prince Xie, and his literary talent stood out; he was equally famous with Yuan Fan of Chen Commandery. He rose successively to Libationer of the National Academy and concurrently Attending Gentleman of the Yellow Gate. He passed through the office of General of Cavalry and was promoted to the Three Excellencies, advancing in rank as a count. He had a collection of writings circulated in the world. See his biography in volume 82 of the History of Wei.) and the Supernumerary Cavalier Attendant-in-Ordinary Li Yanzhi and others, (Yanzhi's courtesy name was Jingzhen; he was from Didao in Longxi. He enjoyed early renown, serving as Court Author and compiling the national history. He successively held the offices of Supernumerary Cavalier Attendant-in-Ordinary, Left Vice Director of the Department of State Affairs, and the Three Excellencies; he died in the second year of Yongxi. See his biography in volume 47 of the History of the Northern Dynasties.) to compile and gather the relevant materials. An edict also commanded the Grand Preceptor Pengcheng Prince Xie, (Xie's courtesy name was Yanhe; he was the sixth son of Emperor Xianwen (Yuan Hong). As a youth he was precocious, and his bearing and nature were unmatched. In the ninth year of Taihe he was enfeoffed as Prince of Shiping; when the imperial carriage campaigned south, he was re-enfeoffed as Prince of Pengcheng. On Emperor Shizong's accession he was advanced to Grand Marshal. Soon he was appointed Director of the Department of State Affairs and Palace Attendant, and then made Grand Preceptor. In the first year of Yongping he was killed by Gao Zhao. See his biography in volume 21b of the History of Wei.) the provincial governor of Qingzhou Liu Fang, (Fang's courtesy name was Bowen; he was from Pengcheng. His talent and thought were deep and keen, and he was especially skilled in the meaning of the classics. Broadly informed and strongly retentive, he also surveyed the Cangjie and Erya works, and was especially strong in pronunciation and glossing, resolving doubts without error. When the Han (should be Wei) made the three-script stone classics at the Imperial Academy, scholars whose writing of characters was not correct often went to him for judgment. Contemporaries called him Liu of the Stone Classics. He successively held the offices of Libationer of the National Academy, Cavalier Attendant-in-Ordinary Sojourner, and provincial governor of Qingzhou. When Emperor Shizong issued the edict to deliberate and fix the statutes and ordinances, Fang weighed antiquity and modernity and was the chief of the great deliberations. Of the additions and deletions therein, many were by Fang's intention. He ended as Minister of the Imperial Sacrifices. He died in the second year of Yanchang at the age of sixty-one. See his biography in volume 55 of the History of Wei.) to enter and take part in the deliberations. Jing examined and corrected the regulations and articles, weighing ancient and modern practice, and had a very orderly arrangement; it was circulated in the world, and is the present code in twenty sections. (Note: these twenty sections are probably the old inheritance from the Jin dynasty, revised and fixed. Emperor Wu of Jin once commanded Jia Chong to assemble the Confucian scholars and fix the statutes and precedents in twenty scrolls, totaling more than two thousand nine hundred articles.) He also joined with Fang in creating the names of the palaces and halls of Luoyang and the gate towers, and the designations of the roads and wards. He was appointed magistrate of Chang'an, and contemporaries compared him to Pan Yue. (Pan Yue's courtesy name was Anren; he was from Zhongmou in Xingyang of the Jin. In the second year of Yuankang of Emperor Hui of Jin he became magistrate of Chang'an, and his "Rhapsody on the Western Campaign" records the matter. The History of Wei says: "At the beginning of Yanchang, Jing served as Army Records Officer, General of Xiangwei, and concurrently magistrate of Chang'an. He had very beneficial policies, and the people and officials praised him.") Afterward he successively held the offices of Secretariat Drafter, (At the beginning of Emperor Suzong's reign, Jing was appointed Director of the Receptionists, and concurrently held his own office as Secretariat Drafter.) Attending Gentleman of the Yellow Gate, (At the beginning of Xiaochang, he was made General of the Conquest of the Caitiffs and concurrently Attending Gentleman of the Yellow Gate.) Director of the Palace Library, (At the beginning of Putai of the deposed Emperor (Yuan Gong), he was appointed General of Cavalry, Right Grand Master of Splendid Happiness, and Director of the Palace Library.) provincial governor of Youzhou, (This is not recorded in his biography in the History of Wei.) and the Three Excellencies. (At the beginning of Tianping of Emperor Xiaojing, when the capital was moved to Ye, he was appointed to the Three Excellencies.) His students took this as an honor. (In the sixth year of Wuding, Jing left office due to old age and illness, and in the eighth year he died.) At court he took part in the close attendance, and abroad he served as a lordly shepherd; yet his household was poor and frugal, and his affairs were like those of a farming family. ("Like" is written as "as" in the Continued Biographies of Eminent Monks.) He had only classics and histories, filling his carts and shelves. (The History of Wei says: "From youth to old age, Jing constantly held office, kept himself pure and frugal, and did not manage property; as for clothing and food, he took only what sufficed. He was deeply devoted to the classics and histories and loved to savor literary phrases. If he encountered a new and unusual book, he sought it earnestly, or would buy it outright, without asking whether the price was high or low, and would make certain to obtain it. He was good at associating with others, the same from beginning to end; those who spent time with him all admired his far-reaching magnanimity.") His collected writings numbered more than several hundred pieces, and the Supervising Secretary Feng Weibo wrote a preface to them that circulated in the world. (The character "中" is missing in all editions and has been supplied from the Continued Biographies of Eminent Monks. ○ Weibo appears as Weibo in volume 32 of the History of Wei; he was from Tiao in Bohai and the son of Feng Gui. Broadly learned and talented, at the age of twenty he was appointed Erudite of the Imperial Academy. At every great court deliberation, Weibo took part. In the last years of Zhengguang of Emperor Suzong, the Vice Director of the Department of State Affairs Xiao Baoyin made him a Gentleman of the Guanzhong Field Headquarters; when Baoyin rebelled, Weibo plotted to raise righteous troops, and after the affair was discovered he was killed at the age of thirty-six. The History of Wei does not say he was Supervising Secretary; this was probably an omission. ○ Note: from "his courtesy name was Yongchang" to here is commentary. The Records of Buddhism cites the surrounding text but does not cite this passage, which is the proof. For this book of Xuanzhi takes the recording of monasteries as its main purpose; whoever records contemporary historical events and the deeds of one or two persons, all follow the example of appended notices, and is not the main text.)