Chongyang Palace, abandoned by Wang Zhongyang in the third year of Jin Dading (1 163), moved the tomb of the living dead to Mao Jie Temple in Liujiang Village (now Anzu Town) and preached. After eleven years of Dading (11), Chongyang disciple Ma Danyang. This is the yamen branch (1 197). The ancestral temple built by Lu and Bi Zhichang was named "Lingxu Temple" by the imperial court, which was the earliest formal Taoist temple in Quanzhen Taoism. 1236, the concept of mental deficiency was changed to Chongyang Wanshou Palace. From "buddhist nun" to "View" and then to "Palace" to win the prosperity of Chongyang Palace. 125 1 year, there are buildings such as Yunxi Daoyuan and Yuxian Palace in Chongyang Palace. At this time, Chongyang Palace has become a large-scale building complex. East to Donggan River, west to Gan Xi River, south to Zhongnan, and north to Weishui, there are more than 5,000 temples and pavilions inhabited by nearly 10,000 Taoist priests. In the second year of Yuan Shizu Zhiyuan (1265), Chongyang Palace was decorated and renamed as "Da Chongyang Wanshou Palace".
Ganheqiao was four years old (1 159), and Jin was 48 years old. It is said that on June 15 of this year, Wang Zhongyang first met Erxian Road in Qiaotou Restaurant, Ganhe Town, Zhongnan, and both of them (Zhong Liquan and Lv Dongbin in Eight Immortals) lived and died with it, and gave a recipe and passed away. Since then, his enlightenment has become a monk The Yuxian Bridge in Ganhe Village, Ganhe Township is still there.
In the second year of practicing Daoganhe Bridge in Shinan Village, that is, in the first year of Jin Dading (1 1), Shinan Village (Chengdao Palace under the jurisdiction of Jinanzu Town), located 3 miles northeast of the ancient town of Wang Zhongyang, dug its own grave, which was more than ten feet deep and built several feet. It was called "the ghost against the wind" and was named "the living dead". He lived alone in a cave and practiced for three years. He was detached from the world and realized that "to live is to die" and "to live in death". This kind of "living" is not based on material life such as whole grains, but on the cultivation of truth, alchemy and medicine, and the cultivation of Dan medicine inside and outside Taoism. "Preserving the spirit and nourishing the truth" (Wang Zhongyang's poems) is the focus of the whole truth teaching. Its main purpose is to improve the "truth" of internal strength to prolong life and obtain special functions, that is, to achieve enlightenment. He buried the "four fakes" in the "tomb of the living dead" and practiced hard for three years (so-called immortals). He also planted a begonia in the four corners of the tomb in order to make the four seas teach as one ear. Although his lofty ideal was not realized with his own eyes, through the efforts of his disciples Ma Danyang and Qiu Chuji, Quanzhen religion became an independent faction of Taoism in China, attracting many literati and popular in the north for nearly a century. Also won the extremely brilliant Chongyang Palace.
Liu Jiangcun preached in Jie 'an. After practicing Taoism in Tomb of the Living Dead, Wang Zhongyang filled the tomb pit in Jin Dading for three years (1 163) and moved to Liujiang Village (later renamed Anzu Town), where he lived. During his stay in Liujiang, he ran around, making friends and preaching. Be regarded as superior by people around you. From time to time, Ganquan, Qin Zhou, Yuchan (named Dejin) and Li Lingyang, a native of Jingzhao Zhongnan (now Zhongnan Town), lived with Chongyang in Dading for three years, leaving early and returning late to spread the teachings. Later, there was a history of Liquan people in Ganzhou, who advocated Taoism since childhood and came to form an alliance. He was accepted and trained as Toyoko. Liyang, Jing Yao (now Lintong County) is very strict, and Liu Jiang often worships Chongyang as his teacher. They are like-minded, work hard, and under the guidance of Chongyang, they are full of "truth" in self-study and "truth" in foreign studies, and spread their teachings widely. They have contacts with many people in Guanzhong area, and they are quite influential in society, which initially laid the foundation of "Quanzhen religion".
Danyang zu' an Hongdao
Wang Zhongyang decided to go to Penglai, Shandong Province, in order to realize his lofty ideal of "Great Harmony in the World". So in April of the seventh year of Jin Dading (1 167), people couldn't understand why. He smiled and replied, "It's been three years, and no one has repaired it." On April 26th, he bid farewell to Yan Chuchang and all the villagers in Liujiang Village. After passing through Xianyang and bidding farewell to my family, I began a long journey to Shandong to preach and collect disciples. After Chongyang left Liujiang, he went south with Yuchan and Li Lingyang and continued to preach, and the establishment and development of Quanzhen religion moved eastward. In Ninghai, Shandong Peninsula and other places, Wang Zhongyang publicized teachings, founded religious missions, developed Taoist priests, found the "Quanzhen seven sons" who trained the backbone of Taoist missions, and arranged the title of "Quanzhen Temple" for them in Ma Danyang. As a result, Quanzhen religion was formally established. In the tenth year of Jin Dading (1 170), Wang Zhongyang and his disciples Ma Danyang, Qiu Chuji and other "four truths" set out from Yexian County, Shandong Province, and passed the Bianjing feather to the west. On his deathbed, he said: "Danyang got the word, Changchun knew that I was carefree." He also told Danyang: "You can go to the former residence of Liu Jiangzhi in Central South." He died at 58. The following year, Danyang and others built a buddhist nun in Liujiang Village, which was the burial place of their teacher. In the twelfth year of Dading, they led the crowd to the border beam to move to Chongyang and return to their former residence. Three years after the shogunate, Guangting was built in Danyang with the inscription: "Zuting's heart died" to show his ambition to inherit the Tao. During his stay in Danyang, he traveled all over Zhou, Hu, Guanzhong and Longxi, preaching and teaching. Many bureaucrats and scholars came to the ancestral temple from all directions with sincerity. Worship Danyang as a teacher and return to the ancestral home. Many people teach Taoism in Danyang and practice for a long time, becoming the backbone of Quanzhen religion. For example, later hosted by Chongyang Palace, a generation of masters such as Lu and Bi Zhichang were all Danyang disciples. The rise of Quanzhen religion was actually founded by Chongyang, which became a grand view in Danyang and was passed down from generation to generation. In the ancient town, they devoted their lives and contributed to the establishment and development of Quanzhen religion.
The forest of steles in Chongyang Palace is listed in the national key cultural relics protection unit "Ancestral Temple Forest" and is a national treasure.
For a long time, there are 72 dragon monuments in Chongyang Palace. Why are these stone tablets everywhere? They can walk. When a tortoise carrying a stone tablet is jealous, it will walk with a stone tablet on its back. In fact, during the prosperous period, the scope of Chongyang Palace was very large, and the stone tablets of palaces and temples under the jurisdiction of Chongyang Palace were even more obvious. According to the distribution map of stone tablets, all the original stone tablets have certain positions. At the beginning of the founding of New China, the stele of Chongyang Palace was scattered in fields, tombs, palaces and scenic spots in Fiona Fang for nearly ten miles, which was eroded by wind and rain and man-made destruction, and faced with the situation of being lost. It has attracted the attention of religious circles and the government. 1956, "Anzu Stone Carving" is listed as a key cultural relic protection unit in Shaanxi Province. 1962, the provincial government allocated special funds to concentrate the stone tablet, which stood in the former site of the original Jade Emperor Hall; 1973, built 1 1 stele house, and built the ancestral temple Chongyang Palace stele forest. In June 1986, 1 1, 17, the stone carvings were moved to Qingyang Palace, Yuanmadian in Macun, Nanxian Retirement Hospital in Fengxian Fort Village and Anzu Town to protect the Chongyang Palace. 199 1, in front of the forest of steles, 12 east-west stone carving gallery. There are 3 1 steles in the stele hall, including 5 steles in Jin, Yuan and Mongolian. These steles have the distinctive features of Yuan Dynasty steles, which are tall, majestic and lifelike. According to the "Seventy-two Guanlong Monuments" circulated by the people, there are still differences. It is speculated that it has been damaged or has not yet been discovered.
There are 48 stone tablets (including 3 1 tablet), 33 inscriptions, 6 groups of poems (the first part), 2 portraits, 2 inscriptions and pictures 1 tablet. These inscriptions have high historical document value. Including sociology, history, religion, language and calligraphy, health and human science. Through the words on the stone tablet, we can get a glimpse of the ethnic contradictions and class relations in the Jin and Yuan dynasties. The origin of Taoism and the establishment and development of Quanzhen religion: the relationship between Quanzhen religion and the rulers of Jin and Yuan dynasties recorded the rise and fall history of Chongyang Palace. There are five imperial monuments in the forest of steles, which are combined with Mongolian and Chinese. It is the "Basiba" Mongolian language written on the basis of Tibetan letters in Yuan Shizu period, and it is an important material for the study of language and writing. Most of the inscriptions and calligraphy are written by famous artists. Sun Zhenren's Walking Monument and Dayuan's Imperial Clothes Monument were written by Zhao Mengfu, a great calligrapher in the Yuan Dynasty. For example, Dreamless Society, Quanzhen Jiaozu Monument, Ma Zhenren Daoxing Monument, etc. And Wang Zhongyang, Yin Zhiping, Li Daoqian and other powerful Mo Bao all have high artistic value of calligraphy.