Since its establishment in 1934, successive abbots and abbesses of Chi Lin Nunnery have always aspired to build a monastery ideal for Buddhist monastics' religious practice. But for several decades, constrained by the state of the country and social conditions, they have not been able to spend much time and effort in it. Instead, Chi Lin has concentrated on the more urgent needs of social services, cultural and educational works. In 1989, the Tate's Cairn Tunnel that links Hong Kong and Kowloon to the New Territories was completed. The Hong Kong Government launched a town renewal plan. Seizing this opportunity, Chi Lin decided to build a Buddhist “conglin” to fulfill the wish of the predecessors and to carry on the Buddhist tradition of preaching and work on benefits of all sentient beings.

Monasteries are set up for Buddhist monks and nuns so that they can pursue their religious practice, preach the Buddha's teachings and enlighten the sentient beings. For Buddhism to thrive, monasteries must be built.

Buddhism was founded in India by Sakyamuni Buddha and spread to China more than two thousand years ago. With the passage of time, it has developed, evolved and taken roots in China into what is now called Chinese Buddhism. The Chinese have always been known for their broad-mindedness in accepting and absorbing foreign ideas and cultures. Buddhist teachings were absorbed within the context of Chinese culture. The spirit and teachings of Buddhism were integrated into people's livelihood such as architecture, sculpture and other art forms. By the Tang dynasty, Chinese Buddhism had reached its heyday and merged completely with Chinese culture, forming an important component of traditional culture.

Mahayana Buddhism originated in India and has flourished in many Asian countries. But it gradually declined or even vanished through changes in the history of time. Mahayana Buddhism had taken roots in China and from where it was spread east to Japan, Korea and then to Europe and America nowadays. The reasons behind this phenomenon may be attributed to the establishment of the “conglin” and “monastic rules of living” systems in Chinese Buddhism, the success of which owed much to Chinese architecture.

The Tang dynasty was the time when different schools of Chinese Buddhism were firmly established, including the Pure Land School. “Mazu sets up conglin and Baizhang stipulates monastic rules” —in the spirit of Chan Master Mazu Daoyi, Chan Master Baizhang Huaihai formulated a systematic “monastic rules of living”. Since then, the “conglin” system has been deeply embedded in monastic architecture.

The layout of the traditional Buddhist

monastery,

coordinated with the daily lives of the robust monastic order, lays the foundation of the “conglin” system. Traditional “conglin” architecture comprises two important zones, one for religious practices, one for daily living. Basic buildings include a main hall, a dharma hall, a meditation hall, living quarters, a storeroom, a kitchen and the main entrance, hence the appellation,

“Seven-hall Monastery”.

In ancient China, the donation of one's home as a temple was a popular practice. Thus, the construction style of a Buddhist monastery was not distinctly different from any secular building. The multi-house-courtyard layout, typical of Chinese architecture and

the basic layout of a “Seven-hall Monastery”

complemented each other. While exhibiting the characteristics of traditional Chinese architecture,

Chinese Buddhist monasteries

with their furnishing and decorations also reflected the cultural and artistic aspects of China.

Chi Lin Nunnery is a traditional Chinese monastery of the Pure Land School handed down by the founders to successive generations. It has always been the wish of the monastics living there to build a comprehensive “conglin” of the “Seven-hall Monastery” where monastics and laity alike can have access to Buddhist teachings and cultivate themselves on religious practice as well as providing the opportunity for all people to realize the truth and to be enlightened. Although Hong Kong was a colony before 1997, Chi Lin monastics have never forgotten their Chinese origins. For the sangha in Chi Lin, the construction of

a Chinese traditional

monastic complex

which integrates both Chinese Buddhism and Chinese art and culture, as well as commemorating Hong Kong's historical reunion with China, is a very meaningful task and has significant implication.

The reasons behind the redevelopment of Chi Lin Nunnery into a group of Tang style timber complex can be traced back to the heroic event over 1,200 years ago when Master Jianzhen of the Tang dynasty sailed east to Japan for the propagation of Buddhism.

Master Jianzhen

(AD 688-764) was a successor of the Nanshan branch of the Vinaya School of Buddhism and the Abbot of Daming Temple of Yangzhou. The Master was highly prestigious and well-versed in Vinaya. He had been preaching around the Huaihe River and Yangtze River regions for thirty years. He accepted the invitation of Japanese student monks delegated by the Japanese court to go to Japan to perform ordination rites. Determined to propagate the dharma at all costs and to follow the instructions of the Buddha, he went east to Japan.　　　

From AD 743 onwards, in the span of 10 years, Master Jianzhen had made

five attempts to sail east to

Japan,

but failed. Eventually he went blind. But he was not deterred. In AD 754,

in his sixth attempt,

he successfully arrived at the capital of Japan-Nara. For the next 11 years, Master Jianzhen preached the Buddha's teachings in Japan. He set up the ordination platform in

Todai Temple,

Nara for formal ordination rites for monks. Together with his disciples, he built the

Toshodai Temple

and became the founder of the Vinaya School in Japan. Moreover, he had made significant contributions to the cultural exchanges of the two countries by introducing Chinese architecture, sculpture, medicine, printing, literature, painting and calligraphy of the Tang dynasty into Japan. On 25 June, 763, the Master passed away in the Toshodai Temple at the age of 76.

The Japanese people hold Master Jianzhen in high esteem, calling him “Father of Culture”, “Founder of Vinaya”, and “Dream of the Tenpyo Era”. Besides being grateful for his cultural gifts, they are also moved by his unyielding spirit in keeping his words. The Toshodai Temple and the Buddhist statues inside are all national treasures. These treasures of the cream of Tang dynasty culture are well preserved there to the present day.

1963 marked the 1,200th anniversary of Master Jianzhen's death. Both the Chinese and Japanese Buddhist communities held large-scale commemorative activities. The Japanese Buddhist community declared the year as “Master Jianzhen Year” and expressed to China their immense gratitude, hoping that

their cultural benefactor

could return to his homeland.

Mr. Zhao Pochu, President of the Buddhist Association of China and Mr. Otani Yurun, leader of the Japanese Buddhist community represented the two countries in the Master Jianzhen Commemorative Committee and decided to build a Master Jianzhen Memorial Hall in Yangzhou, the hometown of Master Jianzhen and the ancestral court of the Chinese Vinaya School.

The Memorial Hall

was built in the compound of

Daming Temple

(it was renamed Fajing Temple in the Qing dynasty) where Master Jianzhen had been the Abbot. It was designed by Mr. Liang Sicheng, a famous Chinese architect. Construction started in 1973 and finished in 1974. Mr. Liang used the Toshodai Temple's Golden Hall built personally by Master Jianzhen in Nara as the blueprint for design. The Hall was the last posthumous work of Mr. Liang and also the only intact reproduction of an ancient architecture. The hall manifested the elegant simplicity of Tang architecture and was symbolic of the friendship and collaboration as agreed between China and Japan in 1963.

On 13 April 1980, Mr. Morimoto Kyojun, the 81st Abbot of Toshodai Temple arrived at the Shanghai Hongqiao International Airport from Osaka with

the dry-lacquer seated statue of Master Jianzhen.

The statue was then escorted by him and Mr. Zhao Pochu to Yangzhou.

The people of Yangzhou prepared a warm welcome with flowers, banners and banquets. The motorcade was greeted with firecrackers, drums and applause. The statue was exhibited in Yangzhou for a week from 19th April. Over 220,000 people came and paid their respect. The statue was then escorted to

the National Museum of China

and

the Fayuan Temple

in Beijing for people to pay their respect before it was returned to Japan at the end of May.

Mr. Zhao Puchu wrote a haiku

to commemorate this incident and presented it to Mr. Morimoto Kyojun, who would escort the statue back to Nara. In the couplet, he expressed his gratitude to Master Jianzhen on strengthening the relationship between Japan and China, which ensure Buddha's teaching could still be reached and would be enduring and everlasting.

The return of the statue of Master Jianzhen to his homeland was the first home visit made since Master Jianzhen sailed east to Japan 1,200 years ago. This was a major historical event in the diplomatic relationship between China and Japan. The idea was brewing since 1963 and took 17 years to materialize in 1980. It was the time when China was experiencing her internal and international political ups and downs. On 25 October 1971, the United Nations passed a resolution to restore the legitimate rights of the People's Republic of China in the United Nations. Through China's “pingpong diplomacy”, Sino-America relationship began to thaw in February 1972. The visit of US President Richard Nixon to China marked the normalization of relationship between the two countries. Japan also began making her efforts. In September 1972, Japanese Prime Minister Tanaka Kakuei paid a visit to China. The two countries issued a joint declaration ending the hostile state and realizing a harmonious diplomatic relationship. At this important historical moment, the return of Master Jianzhen to his homeland was as significant as the “pingpong diplomacy”. It was not only an important catalyst for the improvement of Sino-Japanese relationship, but has also opened formally the door for the cultural exchanges between the two countries.

Under the leadership of Mr. Zhao Pochu and the untiring efforts of the Chinese Buddhist community, the four Buddhist pilgrimage mountains in China and important historical conglins and monasteries were renovated and opened in the wake of China's reform and open policy. Chinese Buddhism that had been devastated during the Cultural Revolution underwent a complete revival within 30 years.

The journey east to Japan by Master Jianzhen and his return to China extended over a span of a thousand years. 1,200 years ago, Master Jianzhen crossed the sea to Japan amidst great hardship. Apart from promoting Buddhism, he also brought with him the essence of Chinese culture in the Tang dynasty to Japan and cemented the cultural bond between the two countries. The Toshodai Temple in Nara is a concrete example of his achievements. 1,200 years later,

Master Jianzhen's return to his homeland became the bridge for the

normalization of relationship of the two countries.

The Jianzhen Memorial Hall in Daming Temple is a small scale Toshodai Temple. It has become a symbol of the lasting friendship between China and Japan and the everlasting spirit of Master Jianzhen.

Looking at this remarkable event, Chi Lin clearly understood the special role and function of Buddhism in the progress of history. She also realized that apart from its functions, a building could possess great spiritual power, and exert a silent influence. These sentiments have deeply affected the monastics in Chi Lin and became the decisive ideology behind the redevelopment of Chi Lin.

Through learning about the historical event of Master Jianzhen's return to his homeland, Chi Lin first came to know the architect expert Mr. Liang Sicheng who designed the Jianzhen Memorial Hall. Through extensive reading of his works, and following in that direction of research, Chi Lin began to explore classical Chinese architecture in the hope of gaining more insights into the monastic buildings in Tang dynasty. It provided an increasingly clear path for her future redevelopment.

The works by Mr. Liang Sicheng, “master of classical Chinese architecture” were the main source of inspiration for Chi Lin's redevelopment.

Mr. Liang Sicheng,

a prominent architect in classical Chinese architecture, has devoted his whole life in the conservation of classical Chinese architecture and China's cultural heritage, as well as engaging himself in the relevant education and research work.

Mr. Liang was born in Japan and studied architecture in the United States. He felt deep regrets when he found out that Tang style architectures built over a thousand years ago in Japan were well preserved whereas in China, there were hardly any traces of them. After he returned to China in the 1930s, he led members of Yingzao Xueshe (the Society for Research in Chinese Architecture) in a series of field trips to conduct scientific surveys of ancient architectural sites in China.

They discovered, surveyed and confirmed that the Foguang Monastery Main Hall

in the Wutai Mountain of Shanxi Province was built in the 11th year of Daizhong (857) in the reign of Emperor

Xuanzong, Tang dynasty.

The discovery confirmed the existence of Tang classical architecture in China and left posterity with first-hand data on China's cultural treasures.

Mr. Liang Sicheng also studied under veteran master craftsmen who had participated in the construction of Qing dynasty palaces. He collected their handbooks passed down over the ages. He succeeded in interpreting the technical jargons used over different periods of time and published two valuable books on ancient timber architecture of China: the “Annotated Yingzao Fashi” (“Notes on the Code of Construction Practice”) and

“Code of Construction Practice in the Qing Dynasty”.

During years of war and hardship, Mr. Liang Sicheng published 18 articles on surveys of famous Chinese classical buildings, and the History of Chinese Architecture, the first of its kind in China. He stated that timber has remained the chief building material for Chinese buildings. The structures make full utilization of what a piece of wood can do and achieve a perfect form that is also practical. The Song style of building is bold and pleasant; the Qing style is compact and cramped; the Tang style is not only robust, but also known for its softness and exquisiteness. It looks dignified. From rare extant examples of Tang and Song buildings, one can see the highest artistic style achieved through over a thousand years' practical experience.

Since the 1980s, Chi Lin was heavily influenced by Mr. Liang Sicheng's ideas. Mr. Liang's works, including History of Chinese Architecture,

Collected Works of Mr. Liang Sicheng

, and

A Pictorial History of

Chinese Architecture

were studied in depth. Site visits were made to places which had been surveyed by Mr. Liang, from where knowledge and inspiration were gained.

During the latter part of World War II (1944), the Allied forces were making attacks on Japanese soil. Well aware that many precious Tang style Buddhist buildings were preserved in Kyoto and Nara, Mr. Liang Sicheng, through the liaison officer of the US Chongqing Office, presented to the Allied forces information reminding them the importance and urgency of protecting these historical buildings. In the document he submitted, he stated that architecture is the epitome of society, a symbol of a nation. But they do not belong to one particular nation. They are the common property of all mankind. Toshodai Temple in Nara is the earliest timber architecture in the world. Once it is destroyed, no reparation is possible. He instructed his student Mr. Luo Zhewen to mark out Nara and Kyoto in the map to prevent the heritage sites from being bombed. The US military accepted his proposal and these two ancient cities were spared.

Mr. Liang Sicheng was honoured by the Japanese as “benefactor of ancient

cities”.　

Mr. Liang Sicheng's insight into traditional Chinese architecture, in particular Tang dynasty architecture, and his determination to protect ancient buildings greatly impressed and inspired Chi Lin Nunnery. They became a driving force behind Chi Lin's wish to build a Tang style timber monastic complex. Mr. Liang's academic achievements were also important references for the redevelopment.

Years later,

Mr. Luo Zhewen,

a student of Mr. Liang Sicheng, who was then head of the classical architecture expert team of the State Administration of Cultural Heritage, became the consultant of the Chi Lin redevelopment committee, and offered valuable assistance for the redevelopment.

Based on the survey material of Mr. Liang Sicheng, the State Administration of Cultural Heritage continued the site survey of two individual buildings extant in China, the Foguang Temple and the Nanchan Temple. The data became a very useful basis for the design of the Chi Lin monastic complex. The State Administration of Cultural Heritage fully supported the Chi Lin project and took up the design tasks for timber structures and technical works.

During the course of studying ancient Chinese classical architecture, Mr. Liang Sicheng found important information of their forms from monastic buildings seen on frescos in the Dunhuang Caves. When he tried to find buildings from the Tang dynasty, the Dunhuang paintings also provided him with important clues. Japanese scholars had said that there was no timber structure before the Tang dynasty in China. One had to go to Nara, Japan in order to appreciate Tang buildings. In 1937, Mr. Liang Sicheng, his wife Lin Huiyin and assistants were looking for classical buildings in Shanxi, and they eventually found the Foguang Temple hidden in the quiet mountains of Doucun Town. The discovery of this Tang timber Buddhist hall built in AD 857 was a major breakthrough in the history of Chinese architecture. It shows clearly details of how a timber building was built and is a rare concrete example of late Tang timber structure. The discovery of this first national treasure could be attributed to the characters

“monastery of great Buddha light”

marked on

the Wutai Mountain diagram

in the Dunhuang frescos.

Mr. Liang Sicheng emphasied repeatedly on the value of the Dunhuang frescos in his writings.

“The wall paintings of Dunhuang, apart from several Tang style buildings in Japan during the Asuka period (AD 593-710), Nara period (AD 710-794) and early Heian period (AD 794-950), are the only source of knowledge of timber architecture before the Tang dynasty.”

“Most of the Chinese architectures built before mid-Tang that exist now are brick or stone Buddhist pagodas. Our knowledge of timber halls and houses is very limited indeed.” “Apart from historical records, luckily there are the Dunhuang frescos, which provide very important information.”

“In the Dunhuang frescos, there are thousands of large and small drawings of various forms and shapes of buildings from the Northern Wei time to the Yuan dynasty. They fill an empty chapter in the history of Chinese architecture.”

“The Dunhuang frescos provide many images of Buddhist monasteries. Although they are not actual structures, they are pictorial information for the history of architecture.” “Dunhuang is the best, most faithful and valuable information next to actual buildings.”

With the guidance of the works of Mr. Liang Sicheng, Chi Lin learned about the importance of the Dunhuang frescos to the research on classical Chinese architecture. Since the 1980s, a number of visits were made to the Dunhuang caves to collect information.

In

the Dunhuang mural “Amitāyurdhyāna Sūtra Transformation”

of the Buddhist Pure Land school, halls and pavilions on four sides were linked by covered corridors. In the centre, there are a jeweled pond and a platform for Bodhisattvas to pay homage to Buddha with dance and music. The layout has a central axis with balanced and symmetrical houses and courtyards. The courtyards are spacious and the houses are grand and aligned. The use of cavalier perspective gives a clear and accurate presentation of the buildings’ layout from the front, sides, upper and lower levels. The spatial beauty of a cluster of buildings with differing heights is particularly grand and magnificent. Also,

the details of the structure

such as the platforms, seats, steps, railings, columns, doors and windows, various dougongs, eaves, roofs, tiles, tile decorations, pagoda tops and decorations are depicted clearly. The mural paintings illustrate the unsurpassable magnificence of the architecture of the prime Tang era. Most importantly, they provide credible evidence for Chi Lin to make reference to its reincarnation of the Tang-style architecture.

Architecture is a complex art form. The monastery is a place for spiritual practice and purification of mind. The Pure Land school's practice emphasizes on meditation and the adornment of the pure land of the Buddha for the benefit of all sentient beings. The monastic architecture can be viewed as part of the adornment meditation. Turning the adornment into concrete objects can help people to view the buildings as a perfect aesthetic pure land, which in turn helps to purify the mind.

Chi Lin Nunnery is an establishment of the Buddhist Pure Land school. The design of the monastery follows the tradition of the pure land practice of China.

The mural of “Amitāyurdhyāna Sūtra

Transformation”

of the Pure Land school in the Tang dynasty portrays the grand layout of Tang monasteries and the magnificent buildings and presents an image which combines the ideal world of the Buddhist pure land with the man-made scenery in the real world. They represent the perfect aesthetic state of the Buddhist world. Chi Lin Nunnery's Tang style timber structures are based on the pure land sutra transformation painting of the prime Tang time in Cave 172 in Dunhuang.

The first courtyard

has “two towers and one hall” as the backdrop. Covered corridor on the four sides link the east gate, west gate and front mountain gate. There are four lotus ponds, which are symmetrically balanced, in the centre of the courtyard. The design is a three-dimensional representation of the magnificent view of the Dunhuang pure land sutra transformation painting.

5.  East Main Hall of Foguang Temple

The design of the most important building,

the Main Hall of Chi Lin's Tang style timber monastic complex

was modelled upon the extant East Main Hall of

Foguang Temple in Wutai Mountain

in China.

Foguang Temple is situated at the Foguang Village, Doucun Town, Wutai County, Shanxi Province, China. It is believed to be built by Emperor Xiaowen of Northern Wei (AD 471-499). In the Wutai Mountain diagram, which is a Song painting in Cave 61, the large Foguang Temple was marked clearly. This is an evidence of its prominent position among the famous Wutai monasteries in the Tang dynasty.

East Main Hall of Foguang Temple is the original Tang structure built in the 11th year of Dazhong reign of Emperor Xuanzong (AD 857). It is the third earliest preserved timber Buddhist hall in China.

Between 1931 and 1937, Mr. Liang Sicheng and members of The Society of Research in Chinese Architecture visited Shanxi six times to survey old buildings in preparation for compiling a book on the history of Chinese architecture. In June 1937, Mr. Liang Sicheng, Mo Zongjiang, Lin Huiyin and Ji Yutang formed a team and visited the Wutai Mountain in Shanxi. Riding on donkeys, the team followed the winding and dangerous paths on the mountain. They discovered the

Foguang Zhenrong Chan

Temple

, which was built over a thousand years ago, near Doucun Town.

The East Main Hall of Foguang Temple was built on a high platform of a slope. It faces east and is surrounded by old pines. Mr. Liang Sicheng made detailed remarks of this survey and gave a detailed account of the discovery in his essays.

“The Main Hall is grand and can be dated to the Dazhong period of Tang dynasty. Apart from structural evidence, there are inscriptions in ink from the Tang dynasty on the beams.”

“We suddenly found the use of the ancient ‘cha shou’ structure on the beam frame. It is the only example of timber construction found in China.” “When we climbed to the dark space in the ceiling, I was greatly surprised. I found that the truss of the roof was constructed in a way that has only been seen in Tang dynasty paintings.”

“We looked up at the Main Hall in surprise and admiration. Our belief that there must be Tang structures in China was proven here.”

After detailed studies, the dougong, beam and fang, the chess board ceiling and column base with carved lotus petals of the East Main Hall display distinct characteristics of the Tang dynasty. The statues, wall paintings and ink inscriptions are originals from the Tang time. In China where Tang buildings are nearly extinct, this timber structure that was clearly marked as built in the 11th year of Dazhong (AD 857) is undoubtedly a unique national treasure of China.

The detailed on-site survey of the East Main Hall

by Mr. Liang Sicheng is valuable and insightful. It facilitated further survey and study to be done by the State Administration of Cultural Heritage, providing more comprehensive data for research. Chi Lin's Tang monastic complex redevelopment received huge support from the State Administration of Cultural Heritage. The department assigned a team to design the Chi Lin Main Hall in accordance with the surveyed data and structural forms of the East Main Hall.

Every structural detail was backed

up by original items as evidence.

Due to space and environmental restraints,

the front width of the Main Hall of

Chi Lin was reduced to five bays,

as compared with the East Main Hall's seven bays. The depth of both halls was four bays. Chi Lin's Tang timber structure built in modern Hong Kong and modeled on Tang's East Main Hall of Foguang Temple, was a majestic single storey building with large and simple dougongs and extending eaves, in the same way as Mr. Liang Sicheng had described the East Main Hall.

Chi Lin used the construction techniques of Tang timber buildings to build a monastic complex and landscaped garden in the Tang style and scale in the hope to revive the bygone memories of the nation's glorious past in the land of China. The project has received ardent support from various departments concerned in China, in particular the recognition and support of the State Administration of Cultural Heritage. The project was recognized as a special task in the Administration's cultural work as it revived the Tang classical architecture.

Between 1994 and 1996, Chi Lin requested the support and assistance of the State Administration of Cultural Heritage for its redevelopment project. The Administration then commissioned the Chinese Academy of Cultural Heritage to help Chi Lin to redevelop the monastic complex in Tang style. The Classical Architecture and Monuments Protection Centre under the Chinese Academy of Cultural Heritage had been engaged in the investigation, survey, research, protection and preservation of classical Chinese architecture for a long time. It had participated in a series of state level technical research and engineering work. Experience accumulated through surveys and actual repair work enabled them to have a thorough understanding of the structure of classical timber buildings. It also helped them to prepare precise and meticulous drawing plans. The overall design and layout of the timber complex and individual buildings were of high standard and high quality. This ensured the construction could be carried out accurately without error.

During the process of data collection for timber architecture, the State Administration of Cultural Heritage had provided Chi Lin with the survey data of the only two extant Tang single buildings in China, which were originally surveyed by Mr. Liang Sicheng and followed up by the State Administration of Cultural Heritage. These data provided an important basis for Chi Lin’s redevelopment and enabled Chi Lin’s monastic complex to be redeveloped in strict accordance with the construction rules of Tang dynasty.

Mr. Luo Zhewen

, the then director of the Chinese Academy of Cultural Heritage, deputy director

Mr. Huang

Kezhong

, and classical architecture expert

Mr. Du Xianzhou

were highly supportive of Chi Lin's redevelopment plan. They became consultants of the redevelopment committee at the design stage of the project, and made timely discussions and amendments to the design plans. They were also responsible for assessing the timber building construction drawings prepared by the classical architecture expert team. Their assistance was invaluable to the Chi Lin redevelopment project.

The Chinese Academy of Cultural Heritage marshalled all staff to study and research on the format, structural characteristics and construction methods of Tang buildings. They took the East Main Hall of Foguang Temple in Wutai Mountain, the only extant large Tang timber monastic hall as blueprint for the redevelopment. Together they started to prepare the technical design and shop drawings for the Chi Lin redevelopment. They shared with Chi Lin in the pursuit of the craftsmanship of the highest standard. The whole project was meticulously designed. The hidden beam frame above the ceiling was also completed with genuine Tang timber structural techniques. The buildings are physical manifestations of the Tang culture.

Hong Kong lacks personnel for classical timber construction. Since over 70% of China's classical timber buildings are in Shanxi, the province has preserved traditional construction techniques and methods for classical buildings. The workers are well experienced and highly skilled. The classical architecture construction team of Anhui has a comprehensive organizational structure and work division system. The timber structure work team also has a firm knowledge of different skills. They can produce shop drawings and provide

perspective analysis of the assembly

of different components

. Their workmanship is very meticulous. So Chi Lin invited the classical architecture construction team of the Anhui Classic Architecture, Landscape and Municipal Construction Company Ltd to be responsible for the construction work, and the experts on classical architecture of Shanxi for supervision and inspection. The dual process was to ensure the quality of the project.

In building a Tang style timber monastic complex, the processing and

assembling of timber components are all

done manually

. High technical precision and exquisite craftsmanship are required. Hong Kong and Japan are both very strict on workmanship. The cooperative project enabled and encouraged Mainland workers to improve their quality of work and skill. During the three years of hectic and difficult construction, the Anhui team had been working very hard. They are no longer considered as conservative craftsmen. They cooperated smoothly with other parties on the construction project. They were successfully trained to become skilled and careful workers, the cream of those who specialize in classical Chinese architecture. Later, they continued to work for Chi Lin for the construction of a landscaped garden, and the maintenance of the monastic complex. They became key personnel in Chi Lin's sustained development.

From the start to the end, the redevelopment project received continuous support of experts from various disciplines.

Mr. Xiao Mo, a classical architecture expert, had drawn

a conceptual layout plan

for Chi Lin Nunnery based on Tang architecture in the Dunhuang frescos. This had provided valuable reference for the Tang timber structure design later.

Mr. Yu Zongqiao, a student of Mr. Liang Sicheng at the School of Architecture at Qinghua Universtiy, prepared

the general layout plan

to ensure that Chi Lin Nunnery would follow the Buddhist conglin system and the Tang style timber structure house-and-courtyard arrangement for the scale and layout of its monastic complex.

Ms. Zhang Zhiping, Director of the Classic Architecture Protection and Design Unit under

the Chinese Academy

of Cultural Heritage, the State Administration of Cultural Heritage,

led a team of more than ten experts. They spent more than two years to prepare a complete set of design plans and shop drawings for this huge project in accordance with Tang principles and rules. These drawings were inspected by classical architecture specialists Mr. Luo Zhewen and Mr. Du Xianzhou. This set of

hand-drawn shop drawings

, the last set of such drawings of the Chinese Cultural Heritage Research Institute are of great significance.

During the construction period, the Ancient Architecture Unit under the Chinese Academy of Cultural Heritage sent Mr. Zhang Shengtong, an experienced expert in classical architectural structures, to help solve any structural problems on-site.

The experts from the Wuhan Technical University of Surveying and Mapping followed closely the progress of the project. They measured all the timber components carefully and input the data into the computer for trial assembly to ensure the accuracy of the actual assembly. The entire process was strictly monitored and carefully inspected by them to ensure high standard and accuracy are maintained. They also set up a

3-D (three-dimensional) spatial

database

of the structures. Such computerized survey records have become valuable information for classical Chinese architecture.

The Anhui classical architecture team was responsible for preparing

the component drawings

and the

1:1 lofting of

individual components

and pre-assembly work.

All work processes

had to be approved by classical architecture experts of the State Administration of Cultural Heritage. Hong Kong architects and building contractors were also consulted and their advice sought. The whole project was carried out under the supervision of expert teams to ensure accuracy and orderly progress.

During the two hundred years reign of the Tang dynasty, China had been embracing various foreign cultures. China had evolved into a unique and powerful cultural force that exerted huge influences around the world, particularly in East Asia. The Tang dynasty was famous for its city development, temple buildings and landscape gardens. These knowledge and expertise was introduced to Japan. The Tang style had a major influence on Japanese architecture, as seen by the design of buildings in the Asuka period and Nara period. Up to the present time, Kyoto and Nara still preserve a large number of Tang style temples and landscaped gardens. One of the famous examples is the Toshodai Temple built by the Tang monk Master Jianzhen (AD 687-763) after he came to Japan. The main hall of the Toshodai Temple is recognized as the “ancient timber building that the world should be proud of today” in Japan. Mr. Suzuki Kakichi, a Japanese architectural expert, chairman of the Toshodai Temple Main Hall Maintenance Committee and former director of Nara National Research Institute for Cultural Properties, commented that the Toshodai Temple is “the largest in scale and highest in standard among the buildings in the Nara period that exist today”. It is the fruit of the cultural exchange between China and Japan in the Tang dynasty.

Japan has accumulated ample knowledge and experience in the study of the style of ancient timber structures and their maintenance. Chi Lin Nunnery's project of reviving Tang style timber structures has been highly appreciated by the Japanese experts. They took part in the project with enthusiasm. They were grateful that Japanese culture owed much to China. During the entire redevelopment, they actively shared the construction and repair techniques learned by their ancestors from the Tang dynasty, providing constructive ideas and reference materials.

Experts from both China and Japan emphasized on the importance of strict adherence to the Tang dynasty construction style for the project of Chi Lin monastic complex. Chi Lin accepted the advice of Mr. Takigawa Akio, a classical architecture expert, and produced

1:1 layout drawings

for the buildings from different angles to ensure the accuracy of the work. Mr. Sato Kazuhiko, a timber expert, provided a large quantity of excellent yellow cedar for the project. Thus Chi Lin was able to procure all necessary timber for the construction in a short time. Tile expert Mr. Kobayashi Akio provided the drawings and survey data of

the end tiles of the main ridge (the chiwei)

of the Toshodai Temple,

a national treasure of Japan. So

the chiweis of the Chi Lin's Main Hall

could be accurately replicated according to those of the Toshodai Temple. Chi Lin invited the timber craftsmen of Anhui for the redevelopment project. The decision was based on a general survey made by the Japanese Agency for Cultural Affairs on Chinese classical architecture work teams when it prepared to renovate Nara old city and rebuild Heijokyo on the blueprint of the Tang capital Changan.

In order to ensure the long life span of the timber structures, Mr. Takigawa Akio had drawn on the experience of restoring and maintaining the Suzaku Gate of Heijokyo, Nara and the Baekje Avalokitesvara Hall in Horyu Temple. He gave valuable suggestions for the necessary reinforcement measures of Chi Lin's timber monastic buildings. The measures were taken to prevent possible distortions after several hundred years. Japan and Hong Kong shared similar climatic conditions. Experience of the Japanese experts in structural reinforcement, damp-proof and pest control also provided valuable references for the Chi Lin redevelopment project.

The re-emergence of a Tang monastic complex in Chi Lin Nunnery was the fruit of the wisdom, enthusiasm, ideals and aspirations of many people. With the ardent support of Buddhist followers, prominent community members, and Chinese and Japanese experts on classical architecture, all conditions were favourable for the redevelopment. So eventually a Tang style timber monastic complex emerged on the soil of Hong Kong.

After the Cultural Revolution, China adopted the open door policy. This provided Chi Lin Nunnery with the opportunities to visit famous mountains and monasteries in China frequently. Apart from obtaining valuable information and knowledge, contacts were made with relevant personnel and organizations and good rapport was established. Since the late 1970s, Ven. Wang Fun had participated in the design and construction of

the Biechuan

Temple

in Danxia Mountain, and the design and construction of the redevelopment of

the Guangxiao Temple in

Guangzhou,

Guangdong Province. In the early 1980s, she participated in the construction of

the Tiantan Buddha

of Hong Kong, the redevelopment of

the Kwun Yum Temple

on Lantau Island, and

the Lian Shan Shuang Lin

Monastery

in Singapore. Through years of research in Chinese architecture and Buddhist art, she was able to make full use of her talents in these projects.

The construction of the Tiantan Buddha of Hong Kong was supported by the Ministry of Astronautics Industry of China. This large and complicated project was unprecedented in scale and technology. A large number of technical staff in China had worked hard for several years and overcome numerous difficulties to accomplish the project. Today, the Tiantan Buddha has become a landmark sculpture in Hong Kong with a huge and far reaching impact on local development. It also marked a major milestone in the cooperation between China and Hong Kong before Hong Kong’s return to Chinese sovereignty. As artistic director of the Tiantan Buddha project, Ven. Wang Fun managed and coordinated the work and gained hands-on experience. She also had a better understanding of the great strength of China and the necessity for China-Hong Kong cooperation. This valuable experience was vital to Chi Lin's monastic complex redevelopment later, and became the basis of its realization.

The Chi Lin redevelopment project had appealed to many in the community. Apart from some Buddhist followers who donated generously, other members of society, including those from the grass-root level, also responded and supported the project.

The

“A Wish for A Tile”

fund raising project was launched successfully and had attracted over three hundred thousand people to get involved. They contributed and sponsored the cost of the tiles for the timber monastic complex. These tiles and the majestic buildings will last for hundreds of years to come. Sharing the wish of Chi Lin, locals joined hands in accomplishing the redevelopment project. Simultaneously, they were the driving force that propelled the construction project to move forward.

The Chi Lin redevelopment project also received great support from the Chinese and Hong Kong Buddhist community. On 3 January, 1994,

Mr. Zhao Pochu,

President of the Buddhist Association of China;

Ven. Ming Yang, Vice President of BAC; Ven. Kok Kwong, President of the Hong Kong Buddhist Association;

Ven. Sing Yat, and Madam Sally Aw Sian, Chairman of the Chi Lin Board of Directors,

officiated

at the Foundation

Laying Ceremony of the monastic complex.

On 6 January, 1998 (the eighth day of the twelfth month of the lunar calendar in 1997) the opening ceremony for the completion of the Chi Lin monastic complex was held.

Prominent monks from Hong Kong and China were

invited to recite gatha and officiate at the Consecration Ceremony for the

Buddhist statues.

They included

Ven. Kok Kwong

, President of the Hong Kong Buddhist Association;

Ven. Sing Yat

, retired Abbot of Po Lam Monastery, Lantau Island; Ven. Chor Wai, Abbot of Po Lin Monastery, Lantau Island;

Ven. Wing Sing

, Abbot of Western Monastery, Tsuen Wan;

Ven. Yung Ling

, Abbot of Kwun Yum Temple, Lantau Island, and abbots of various temples from China including

Ven. Fo Yuan

of Nanhua Temple, Guangdong;

Ven. Yi Cheng

of Zhenru Chan Temple, Jiangxi;

Ven. Miao Shan

of Puji Temple, Zhejiang;

Ven. Ben Huan

of Hon Fa Temple, Shenzhen;

Ven. Song Chun

of Tianning Temple, Jiangsu;

Ven. Ren De

of Qiyuan Temple, Anhui;

Ven. Wei Xian

of Ciyun Temple, Chongqing;

Ven. Chuan Yin

of Donglin Temple, Jiangxi; Ven. Sheng Hui of Nanputuo Temple in Fujian; and Ven. Guang Xiu of Tiantong Temple, Ningbo.

Mr. Zhao Pochu, President of the Buddhist Association of China was the honorary Chairman of the Chi Lin Redevelopment Committee and was greatly concerned about the project. In 1987, taking a passage from the collected works of the eminent Buddhist Monk Master Ouyi of Ming Dynasty on the meaning and merits of making Buddha statues, he wrote

a calligraphic piece

to Ven. Wang Fun as support and encouragement for her efforts.

Mr. Zhao Pochu, President of the Buddhist Association of China

composed and wrote a couplet

on the occasion of the opening, lauding the achievement and significance of the project .

In his speech at

the opening ceremony

, Ven. Kok Kwong praised this as a remarkable achievement that could benefit both the monastics and people from all quarters for many years to come. It was really a great compliment.

The Hong Kong Government, the general public and the Buddhist community were unanimous in their praise of

the Chi Lin timber monastic complex

, predicting it would be a famous Buddhist venue in Hong Kong and a new landmark of the city.