Chinese
大正藏第 51 册 No. 2093 寺塔记 No. 2093 寺塔记 唐段成式 武宗癸亥三年夏。予与张君希复善继。同官秘丘郑君符梦复连职仙署。会暇日游大兴善寺。因问。两京新记及游目记多所遗。略乃约一旬寻两街寺。以街东兴善为首。二记所不具。则别录之。游及慈恩。初知官将并寺。僧众草草。乃泛问一二。上人及记塔下画迹。游于此遂绝。后三年。予职于京洛及刺安成。至大中七年归京。在外六甲子所留书籍揃坏居半。于故简中睹与二亡父游寺。沥血泪交。当时造适乐事邈不可追。复方刊整。才足续穿蠹。然十亡五六矣。次成两卷。传诸释子。东牟人段成式字柯古。 靖恭坊大兴善寺。寺取大兴两字。坊名一字为名。新记云。优填像。总章初为火所烧。据梁时西域优填在荆州。言隋自台城移来此寺非也。今又有旃檀像。开目其工颇拙。犹差谬矣。 不空三藏塔前多老松。岁早则官伐其枝。为龙骨以祈雨。盖三藏役龙意。其树必有灵也行香院堂后壁上。元和中。画人梁洽画双松。稍脱俗格。曼殊堂工塑极精妙。外壁有泥金帧。不空自西域赍来者。 旃檀像堂中。有时非时经。界朱写之。盛以漆龛。僧云。隋朝旧物。 寺后先有曲池。不空临终时。忽然涸竭。至惟宽禅师止住。因潦通泉。白莲藻自生。今复成陆矣。 东廊之南素和尚院。庭 现代汉语译本 大藏经第 51 册 No. 2093 寺塔记 No. 2093 寺塔记 唐 段成式 唐武宗会昌三年（843年）夏天，我与张君希复、善继，以及同在秘书省任职的郑君符梦复一同在仙署供职。适逢闲暇之日，我们一同游览大兴善寺（位于今陕西省西安市）。我因此问道，‘两京新记’及‘游目记’多有遗漏。’于是我们约定用大约十天的时间寻访两京（唐朝的长安和洛阳）的寺庙，以街东的大兴善寺为首。对于‘二记’没有记载的内容，则另外记录下来。游览至慈恩寺（位于今陕西省西安市）时，才知道官府即将合并寺庙，僧众也十分仓促。于是我大致询问了一两位上人，并记录了塔下的画迹。自此之后，我便不再游览寺庙。三年后，我先后在京洛一带任职，又出任安成（位于今江西省九江市一带）的刺史。直到大中七年（853年）才回到京城。在外六年，甲子轮回，所留下的书籍损坏过半。在整理旧书简时，看到了与两位已故父亲一同游览寺庙的记录，不禁悲从中来，泪流满面。当时快乐的情景已经无法追回。现在我重新整理这些记录，希望能勉强弥补被虫蛀蚀的部分。然而，十之已失五六。最终整理成两卷，流传给佛门弟子。东牟（位于今山东省潍坊市一带）人段成式，字柯古。 靖恭坊大兴善寺。寺名取‘大兴’二字，坊名取一字为名。‘新记’中记载，优填王像在唐总章年间（668-669年）被火烧毁。根据梁朝时西域优填王像在荆州（位于今湖北省荆州市）的记载，说是隋朝时从台城（位于今江苏省南京市）移来此寺的说法是不对的。现在又有一尊旃檀像，开眼仪式的手艺非常粗糙，仍然存在谬误。 不空三藏（705-774）塔前有很多老松树。如果遇到旱年，官府就会砍伐这些松树的树枝，用作龙骨来祈雨。大概是因为不空三藏能够役使龙，所以这些树一定有灵性。行香院堂后壁上，元和年间（806-820年），画家梁洽画了双松，稍微摆脱了俗气。曼殊堂的塑像非常精致巧妙，外壁有泥金画框，是不空三藏从西域带回来的。 旃檀像堂中，有时会诵读非时经，用界朱书写，盛放在漆龛中。僧人说，这是隋朝的旧物。 寺后原来有一个曲池。不空三藏临终时，曲池忽然干涸。等到惟宽禅师在此居住时，因为雨水连绵，池水与泉水相通，白莲和水藻自然生长。现在又变成陆地了。 东廊的南边是素和尚院，庭院
English
English version Taisho Tripitaka Volume 51, No. 2093, Records of Temples and Pagodas No. 2093 Records of Temples and Pagodas Tang Dynasty, Duan Chengshi In the summer of the third year of the Kuichou reign of Emperor Wuzong of Tang (843 AD), I, along with Zhang Jun Xifu, Shanji, and Zheng Jun Fumenfu, who also served in the Secretariat, were colleagues in the immortal's office. During a leisure day, we visited the Daxingshan Temple (located in present-day Xi'an, Shaanxi Province). I asked, 'The 'New Records of the Two Capitals' and the 'Records of Sights' have many omissions.' So we agreed to spend about ten days visiting the temples in the two capitals (Chang'an and Luoyang of the Tang Dynasty), starting with the Daxingshan Temple in the east of the street. For the contents not recorded in the 'Two Records', we recorded them separately. When visiting Ci'en Temple (located in present-day Xi'an, Shaanxi Province), I learned that the government was about to merge the temples, and the monks were also very hasty. So I roughly asked one or two senior monks and recorded the paintings under the pagoda. Since then, I have not visited temples again. Three years later, I served in the Jingluo area and then as the governor of Ancheng (located in present-day Jiujiang, Jiangxi Province). It was not until the seventh year of Dazhong (853 AD) that I returned to the capital. After six years outside, the books I left behind were more than half damaged. When sorting out the old letters, I saw the records of visiting temples with my two deceased fathers, and I couldn't help but feel sad and shed tears. The happy scenes at that time could not be recalled. Now I am reorganizing these records, hoping to barely make up for the parts that have been eaten by insects. However, five or six out of ten have been lost. Finally, it was compiled into two volumes and passed on to Buddhist disciples. Duan Chengshi, styled Kegu, from Dongmou (located in present-day Weifang, Shandong Province). Daxingshan Temple in Jinggong Ward. The temple name takes the two characters 'Daxing', and the ward name takes one character as the name. The 'New Records' records that the Udayana statue was burned in the early years of the Tang Dynasty's Zongzhang era (668-669 AD). According to the record of the Udayana statue in Jingzhou (located in present-day Jingzhou, Hubei Province) in the Liang Dynasty, the statement that it was moved from Taicheng (located in present-day Nanjing, Jiangsu Province) to this temple in the Sui Dynasty is incorrect. Now there is another Chandana statue, and the craftsmanship of opening the eyes is very rough, and there are still errors. There are many old pine trees in front of the pagoda of Amoghavajra (705-774). If there is a drought year, the government will cut off the branches of these pine trees and use them as dragon bones to pray for rain. Probably because Amoghavajra can employ dragons, these trees must have spirituality. On the back wall of the Xingxiangyuan Hall, the painter Liang Qia painted a pair of pine trees in the Yuanhe period (806-820 AD), which slightly got rid of the vulgarity. The statues in Manshu Hall are very exquisite and ingenious, and the outer wall has a gold-painted frame, which was brought back from the Western Regions by Amoghavajra. In the Chandana statue hall, the non-seasonal sutras are sometimes recited, written in red ink and placed in lacquer shrines. The monks said that this is an old object from the Sui Dynasty. There was originally a curved pond behind the temple. When Amoghavajra was dying, the curved pond suddenly dried up. When Zen Master Weikuan lived here, the pond water was connected to the spring water due to continuous rain, and white lotuses and algae grew naturally. Now it has become land again. The south side of the east corridor is the Suhe Shangyuan courtyard, the courtyard --------------------------------------------------------------------------------
Chinese
有青桐四株。素之手植。元和中卿相多游此院。桐至夏有汗。污人衣如輠。脂不可浣。 左顾蛤像。旧传云。隋帝嗜蛤。所食必兼蛤味。数逾数千万矣。忽有一蛤。推击如旧。帝异之置诸几上。一夜有光。及明肉自脱。中有一佛二菩萨像。帝悲悔誓不食蛤。非陈宣帝 于阗玉像。高一尺七寸阔寸余。一佛四菩萨。一飞仙一假玉成。截肪无玷。腻彩若滴。 天王阁。长庆中造。本在春明门内。与南内连墙。其形大为天下之最。太和二年敕移就此寺。折时腹中。得布五百端漆数十筒。今部落鬼神形像堕坏。唯天王不损。 长乐坊安国寺红楼。睿宗在藩时舞榭。 东禅院。亦曰木塔院。院门北西廊五壁。吴道玄弟子释思道画释梵八部。不施彩色。尚有典刑。 光明寺中鬼子母。及文惠太子塑像。举止态度如生。工名李岫。 山庭院。古木崇阜。幽若山谷。当时辇土营之上座璘公院。有穗柏一株。衢柯偃覆。下坐十余人。 常乐坊赵景公寺隋开皇三年置。本曰弘善寺。十八年改焉。南中三门里东壁上。吴道玄白画地狱变。笔力劲怒。变状阴怪。睹之不觉毛戴。吴画中得意处。 三阶院西廊下。范长寿画西方变及十六对事宝池。池尤妙绝。谛视之。觉水入深。壁院门上。白画树石。颇似阎立德。予携立德行天词粉本。验之无异。 西中三门里门南。吴生画龙。及刷天王须。笔迹如 铁。有执炉天女。窃眸欲语。 华严院中鍮石卢舍立像高六尺。古样精巧。 塔下有舍利三斗四升。移塔之时。僧守行建道场出舍利。俾士庶观之。呗赞未毕。满地现舍利。士女不敢践之。悉出寺外。守公乃造小泥塔及木塔。近十万枚葬之。今尚有数万存焉。 寺有小银象六百余躯。金佛一躯长数尺。大银象高六尺余。古样精巧。又有嵌七宝字多心经小屏风。盛以宝函。上有杂色珠及白珠。骈甃乱目。禄山乱。官人藏于此寺。屏风十五牒三十行。经后云。发心主司马恒存。愿成主上柱国索伏宝息。上柱国真德。为法界众生造黄金牒。善继疑外国物。 游目记所说刺柏。太和中伐为殿材。 道政坊宝应寺韩干。蓝田人。少时常为贳酒家送酒。王右丞兄弟未遇。每一贳酒漫游。干常徴债于王家。戏画地为人马。右丞精思丹青。奇其意趣乃成。与钱二万。令学画十余年。今寺中释梵天女。悉齐公妓小小等写真也。寺有韩干画下生帧。弥勒衣紫袈裟。右边仰面菩萨及二狮子。犹入神。 西北角院内。有怀素书颜鲁公序。张渭侍郎钱起郎中赞。 平康坊菩萨寺 食堂东壁上。吴道玄画智度论色偈变。偈是吴自题。笔迹遒劲。如磔鬼神毛𩬊。次堵画礼骨仙人。天衣飞扬。满壁风动。 佛殿内槽后壁面。吴道玄画消灾经事。树石古险。元和中上欲令移之。虑其摧坏。乃下诏。择画手写进。 现代汉语译本：铁制香炉旁，站立着一位执炉天女（Deva），她眼神流转，似乎有话要说。 华严院中，有一尊用鍮石（黄铜）铸造的卢舍那佛（Vairocana）立像，高约六尺（约1.8米），造型古朴而精巧。 塔下藏有舍利（Śarīra）三斗四升。在迁移宝塔的时候，僧人守行（Shouxing）建造道场，取出舍利，让士人和百姓观看。赞呗之声尚未结束，满地都显现出舍利。士女们不敢踩踏，全部走出寺外。守行于是制造了近十万枚小泥塔和木塔，将舍利埋葬其中。如今还存有数万枚。 寺中藏有小银象六百多躯，金佛一躯，高数尺。大银象高六尺多（约1.8米），造型古朴而精巧。另有镶嵌七宝的多心经小屏风，盛放在宝函之中，上面用杂色珠和白珠密集镶嵌，令人眼花缭乱。安史之乱（755-763）时，有官员将此物藏于此寺。屏风共十五牒（扇），三十行。经文后写道：‘发心主司马恒存（Sima Hengcun），愿成主上柱国索伏宝息（Suofu Baoxi）。上柱国真德（Zhende），为法界众生造黄金牒。’善继（Shanji）怀疑这是外国之物。 《游目记》中所说的刺柏，在唐太和年间（827-835）被砍伐用作宫殿的建材。 道政坊宝应寺的韩干（Han Gan），是蓝田（位于今陕西省西安市蓝田县）人。年轻时常为卖酒的人家送酒。王右丞（王维）兄弟尚未发迹时，经常赊酒漫游，韩干常到王家讨债。他曾在地上画人马嬉戏，王右丞精通绘画，觉得他的意趣奇特，于是给了他两万钱，让他学画十余年。如今寺中的释梵天女（Brahma and Deva）像，都像齐公的妓女小小（Xiaoxiao）等人。寺中藏有韩干所画的下生帧，弥勒（Maitreya）身穿紫色袈裟，右边仰面的菩萨和两只狮子，都画得栩栩如生。 西北角院内，藏有怀素（Huaisu）所书写的颜鲁公（颜真卿）序，以及张渭侍郎（Zhang Wei）和钱起郎中（Qian Qi）的赞语。 平康坊菩萨寺的食堂东壁上，吴道玄（Wu Daozi）画了《智度论》色偈变。偈语是吴道玄自己题写的，笔迹遒劲，如同用刀劈开鬼神的毛发。旁边还画了礼骨仙人，天衣飞扬，满壁生风。 佛殿内槽后壁面，吴道玄画了《消灾经》的故事。树石古朴险峻。唐元和年间（806-820），皇帝想让人将画移走，但又担心损坏，于是下诏，挑选画师临摹进献。
English
English version: Beside the iron incense burner, stood a celestial maiden (Deva) holding the burner, her eyes moving as if she wanted to speak. In the Huayan Temple, there is a standing statue of Vairocana Buddha made of brass, six feet (approximately 1.8 meters) tall, with an ancient and exquisite design. Beneath the pagoda are stored three dou and four sheng of Śarīra (relics). When the pagoda was moved, the monk Shouxing built a Dharma hall and took out the Śarīra for the gentry and common people to view. Before the chanting of praises was finished, Śarīra appeared all over the ground. The gentry and women dared not step on them and all went outside the temple. Shouxing then made nearly one hundred thousand small mud pagodas and wooden pagodas to bury the Śarīra in. Tens of thousands of them still exist today. The temple houses more than six hundred small silver elephants, one golden Buddha statue several feet tall, and a large silver elephant more than six feet (approximately 1.8 meters) tall, with an ancient and exquisite design. There is also a small screen inlaid with seven treasures and the Duoxin Sutra, stored in a treasure box, with densely inlaid colorful and white pearls that dazzle the eyes. During the An Lushan Rebellion (755-763), an official hid this item in the temple. The screen has fifteen leaves (panels) and thirty lines. The inscription after the sutra reads: 'Initiator Sima Hengcun, wish fulfiller Shangzhu Kingdom Suofu Baoxi. Shangzhu Kingdom Zhende, made golden leaves for all sentient beings in the Dharma realm.' Shanji suspected that this was a foreign object. The juniper mentioned in 'Youmu Ji' was felled during the Taihe period of the Tang Dynasty (827-835) to be used as palace building materials. Han Gan of Baoying Temple in Daozheng Ward, was a native of Lantian (located in Lantian County, Xi'an City, Shaanxi Province today). In his youth, he often delivered wine for wine sellers. When the Wang Youcheng (Wang Wei) brothers were still unknown, they often ran up debts for wine. Han Gan often went to the Wang family to collect debts. He used to draw people and horses playing on the ground. Wang Youcheng, who was skilled in painting, found his ideas unique, so he gave him 20,000 coins to study painting for more than ten years. Now, the Brahma and Deva images in the temple resemble Qi Gong's courtesan Xiaoxiao and others. The temple houses a Nativity painting by Han Gan, with Maitreya wearing a purple kasaya, and a Bodhisattva and two lions looking up on the right, all painted vividly. In the northwest corner courtyard, there is a preface by Yan Lugong (Yan Zhenqing) written by Huaisu, as well as praises by Zhang Wei, Vice Minister, and Qian Qi, Secretary. On the east wall of the dining hall of Pusa Temple in Pingkang Ward, Wu Daozi painted a transformation of the verse on color from the *Mahaprajnaparamita Sastra*. The verse was inscribed by Wu Daozi himself, with powerful brushstrokes, as if splitting the hair of ghosts and gods. Next to it is a painting of a polite skeletal immortal, with flowing celestial robes, and the entire wall seems to be moved by the wind. On the back wall of the inner alcove of the Buddha hall, Wu Daozi painted the story of the *Disaster Relief Sutra*. The trees and rocks are ancient and precipitous. During the Yuanhe period of the Tang Dynasty (806-820), the emperor wanted to have the painting moved, but fearing damage, he issued an edict to select painters to copy and present it. --------------------------------------------------------------------------------