Puji Temple: Witnessing the Historical Tracks and Spiritual Symbol of Mount Putuo's Main Monastery

In the sacred and spiritually rich realm of Mount Putuo in Zhejiang, if you could only choose one temple to visit, the top choice would undoubtedly be "Puji Temple." This temple was built during the reign of Emperor Yizong of the Tang Dynasty (approximately 860 to 874 AD). According to legend, Japanese monk Hui'e traveled across the seas to China in search of Buddhist teachings. During his pilgrimage to Mount Wutai, he encountered a revered statue of Guanyin and felt deep admiration. He decided to bring the statue back to Japan for worship. However, on his return journey, he repeatedly encountered obstacles in the form of iron lotus flowers blocking his way in the waters near Mount Putuo. Unable to take the statue away, Hui'e realized that Guanyin did not wish to leave. Thus, he built a shrine on Mount Putuo to enshrine the statue, marking the origin of the Guanyin sanctuary. Today, Puji Temple has become the largest ancient monastery on Mount Putuo and the core sanctuary of Guanyin worship in China, as well as a center for Buddhist activities. Located on the southern side of Mount Putuo's main peak, Foding Mountain, at the foot of Lingjiu Peak, Puji Temple enjoys a relatively flat and open terrain. Its position, with mountains at its back and the sea in front, exemplifies the architectural layout of Chinese Buddhist temples, blending the official architectural style of the Qing Dynasty. Arriving at Mount Putuo's oldest main monastery near dusk, the sunlight cast its glow on the weathered walls of Puji Temple, immersing the entire temple in a rhythm of another time and space. Stepping into this Guanyin sanctuary, the serene environment and spiritual aura felt like entering a sacred realm shrouded in the misty twilight of the mountains. White clouds gently encircled the area, light and shadow intertwined, and the mind felt like ripples in the Haiyin Pond, expanding inward in quiet contemplation. It seemed tranquil yet held infinite awareness. Our group of five wandered through various sites such as Xilai Chan Courtyard, Xilin Hall, Imperial Stele Pavilion, Hall of Heavenly Kings, Pumen Hall, and the Great Hall of Perfect Enlightenment. We realized that this architectural complex was not only a physical manifestation of the ancient monastery's outline but also a long-lost echo of the soul. It felt like a spiritual symbol where Zen aesthetics and architectural beauty merged into one. In this sacred mountain realm, our body, mind, and spirit intertwined with the sanctity of the surroundings. Being here meant truly being present; no concern for worldly matters, no use of phones, no checking messages, no responding to noise—just a moment of silence for oneself, enjoying the tranquil Zen atmosphere and the harmony of nature.