The only Ming Dynasty dharma post in China that retains its original stone.

The historical evolution and inheritance of "Baoxiantang Collection of Ancient Dharma Tie": The "Baoxian Tang Ji Ancient Dharma Tie", which occupies an important position in the history of Chinese Tie studies, is the only Ming Dynasty Tie that retains the original stone in the country and is now in Yongzuo Temple, Taiyuan. The birth of this royal masterpiece is closely related to the strict vassal system of the Ming Dynasty and the background of the vassal government keeping a low profile and seeking self-protection. 1. Selection and engraving stage: In the autumn of the second year of Hongzhi in the Ming Dynasty (1489), Zhu Qiyuan, the prince of Jin Dynasty, selected the "Chunhua Tie", "Jiang Tie", "Daguan Taiqing Lou Tie" and "Baojinzhai" in his collection. In the Yangde Academy of the Jin Dynasty, the selected contents were engraved on 180 stones (162 were eventually preserved). In the ninth year of Hongzhi (1496), after seven years of hard work, the stone publication was completed. 2. Turbulence and loss stage: During the revolution between the Ming and Qing Dynasties, the last King of Jin was killed. A large number of rare ancient books accumulated by the Jin Palace over the years flowed into the public, and most of them were destroyed and burned. In the 13th year of Shunzhi's reign in the Qing Dynasty (1655), Bai Rumei, the governor of Shanxi, ordered people to search for the remains of the Jin Dynasty's dharma calligraphy. In the 16th year of Shunzhi (1659), Zong Yi, the prefect of Taiyuan, built the Baoxian Pavilion in the back garden of Taiyuan Prefecture and stored the found scraps in it. 3. Re-engraving and migration stage: In the 19th year of Kangxi's reign, Fu Shan and others found rubbings from the old collection, found someone to copy and engrave, and made up for the missing fifty-three pieces. In the 20th year of Kangxi's reign, the stone carvings were moved to Sanli Academy (Jinyang Academy) in Houjiaxiang. In the fifty-fifth year of Kangxi (1716), Li Qingyao, the prefect of Taiyuan, continued to engrave the "Baoxiantang Dharma Post", a total of forty-eight pieces, imitating Chu Suiliang of the Tang Dynasty, Su Dongpo of the Song Dynasty, Huang Tingjian, Zhao Mengfu, Zhu Xi, Tang Yin of the Ming Dynasty, Wen Zhengming And calligraphy works by famous artists such as Dong Qichang, Wang Duo and Fu Shan in the early Qing Dynasty. In the fifty-seventh year of Kangxi's reign, the engraving was completed. In the twenty-seventh year of Qianlong's reign (1762), three more stones were engraved on Su Shi's "Ci of the Great Jiangdong". 4. Modern changes and protection stages: During the Guangxu period, Jinyang Academy (formerly "Sanli Academy") was occupied by the Patrol Road Department, and no one cared about the Buddhist scriptures. During the Taiyuan Uprising in the Revolution of 1911, the big and small fatem moved to the backyard of the Shanxi Office. In the sixth year of the Republic of China (1917), two sets of Buddhist scriptures were successively moved from Jinyang Academy to Fu Gong Temple in Dongjihuying. In November 1920, a Japanese Buddhist delegation came to Fu Gong Temple and made six rubbings. In 1951, Zheng Yufu liked to collect ancient books and tablets, so he added additional stone carvings and added the "Preface to the Baoxian Tang Collection of Ancient Dharma Calligraphy" written by him. In 1980, two additional rubbings were engraved according to the original rubbings; in the same year, these dharma stickers, which had gone through many twists and turns and experienced extraordinary experiences, were all moved to Yongzuo Temple, a place of humanity. In 2017, another 6 pieces were engraved. Summarize: "Baoxiantang Collection of Ancient Dharma Calligraphy" has its historical evolution from the selection and engraving during the Hongzhi period of the Ming Dynasty, to the loss after the Ming and Qing Dynasties revolution and turmoil, to the supplementary and additional engravings during the Kangxi and Qianlong years, to the changes and protection in modern times. and inheritance are full of twists and turns and hardships. But it is these experiences that make this Dharma calligraphy occupy an important position in the history of Chinese calligraphy and become the only Ming Dynasty calligrapher in the country that retains its original stone. Today, it lies quietly in Yongzuo Temple in Taiyuan, showing its unique artistic charm and historical value to the world.