Linqing Sheli Pagoda

Linqing Sheli Pagoda, along with Tongzhou Randeng Pagoda, Hangzhou Liuhe Pagoda, and Zhenjiang Wenfeng Pagoda, is known as one of the "Four Famous Pagodas of the Grand Canal." These pagodas together witness the rise and fall of the Beijing-Hangzhou Grand Canal over the years. This pagoda was built in the 39th year of the Wanli period of the Ming Dynasty (1611), standing 61 meters tall with nine levels and eight sides. It is a pavilion-style structure, nearly vertical in its entirety, imitating wooden construction. The top of the pagoda is shaped like a general's helmet, a unique feature in the province. The base is octagonal, and the overall space covers up to 7,000 square meters. Records show that the original pagoda spire, nearly seven meters high, was destroyed in an earthquake during the Kangxi period of the Qing Dynasty. The existing "general's helmet" is believed to be the lower part of the original spire. The entrance fee is 15 yuan, and visitors can enter the pagoda. The pagoda stands 2.5 kilometers north of Linqing City on the east bank of the Weiyun River. The entire structure is majestic and grand, with a thick and generous style, serving as a testament to Linqing's prosperity. The lintel above the southern wall gate is inscribed with the words "Sheli Pagoda," written by Wang Chengde, a native of Linqing and then Inspector of Shanxi. The dense eaves are 1.55 meters wide, with ceramic dougong brackets. Each eave corner is supported by lotus flowers, with fine and symmetrical decorations. Wind chimes are hung on the eave corners, and their sound resonates far and wide when the wind blows. "Hearing the Bell from the Pagoda Bank" is one of the eight ancient scenic spots of Linqing. From the second level upwards, each of the eight sides has a door, with a clever and meticulous layout. The sixth level is the most exquisite, with a plaque inside inscribed with "Beauty Gathered in the Mid-Heavens." The horizontal inscriptions above the east and west windows read "Extending to Mount Tai in the East" and "Connecting to the Taihang Mountains in the West." From here, one can see the distant mountains 300 miles away, a rare sight in the plains of Linqing. Inside the pagoda, there is a spiral staircase with a central wooden pillar, allowing visitors to ascend to the top. The pagoda's body tapers very little from top to bottom, maintaining a nearly vertical form. From the top level, one can enjoy a panoramic view, with distant sails and the Grand Canal appearing like a ribbon, bringing a sense of tranquility and joy. Since the Ming Dynasty, many poets and scholars have written poems about the pagoda, with lines such as "The solitary pagoda stands by the riverbank, towering into the blue sky; the sail's shadow disappears in the distance, and the bell's sound echoes in the background," still recited by people today. In fact, the Sheli Pagoda was not built for "relics" but for feng shui. The builders believed that this location, where the Wen and Wei rivers converge and flow north, was the "Heavenly Gate," capable of "blocking the water mouths of the two rivers and opening the Heavenly Gate for thousands of miles." Each level of the pagoda has stone carvings recording the purpose of building the pagoda, fundraising, and other details, leaving detailed accounts. In 1796, British painter William Alexander's oriental art paintings were exhibited at the Royal Academy of Arts in London. One of the watercolor paintings, "Linqingzhou Pagoda," rich in oriental charm, deeply attracted people's attention. This painting was created during his first visit to China in 1793 with the British mission to China, based on his on-site sketching at the Linqing Canal Tower Bay Wharf. The painting features a corner of the wharf, using mid-range perspective, placing the Sheli Pagoda at the center of the composition. To the north of the pagoda is the Shuicheng Temple, to the south is the Lotus Temple, and the distant background depicts the North Water Gate, canal transport sailboats, sampans, ferries, and fishing boats. Using William Alexander's original painting as material, another famous British architect and painter, Thomas Allom, reinterpreted the composition from a different angle, creating a new artwork titled "Playing Shuttlecock under the Linqing Pagoda." His work, with modern artistic touches, vividly depicts the leisurely, affluent, and mysterious social scenery of the Qianlong period, corroborating local documents. Before the advent of photography, his realistic and proportionally accurate depiction, with lively characters, provided valuable material for studying the social, economic, and cultural customs of Linqing in the mid-Qing Dynasty.