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

If you could only choose one temple to visit in the sacred and spiritually rich Mount Putuo in Zhejiang, the top choice would undoubtedly be Puji Temple. This temple, built during the reign of Emperor Yizong of the Tang Dynasty (circa 860–874 AD), is said to have originated from a story involving a Japanese monk named Hui'e. Hui'e traveled across the sea to China in search of Buddhist teachings. While on a pilgrimage to Mount Wutai, he encountered a statue of Guanyin and was deeply moved. He decided to bring the statue back to Japan for worship. However, during his return journey, he repeatedly encountered obstacles in the form of iron lotus flowers blocking his way in the waters near Mount Putuo. Realizing that Guanyin did not wish to leave, Hui'e 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 temple 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 Foding, at the foot of Lingjiu Peak, Puji Temple is situated on relatively flat and open terrain, with its back to the mountain and facing the sea. Its architectural layout is considered a model of Chinese Buddhist temple architecture, blending the official architectural style of the Qing Dynasty. Arriving at the historic main monastery of Mount Putuo near dusk, the sunlight cast a golden glow on the weathered walls of Puji Temple, as if the entire temple had entered a different rhythm of time and space. Stepping into this Guanyin sanctuary, the serene and spiritual atmosphere felt like walking into a misty sacred realm nestled among twilight mountains. White clouds drifted gently, light and shadows intertwined, and the mind became as tranquil as the ripples in the Haiyin Pond, expanding inward in quiet circles. It seemed calm 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 concrete manifestation of an ancient temple's outline but also a long-lost echo of the soul. It felt like a spiritual symbol where Zen simplicity and architectural aesthetics merged into one. In this sacred mountain sanctuary, our body, mind, and spirit intertwined with the holy environment. Being here meant truly being present; no worldly concerns, no phones, no messages, no responding to the clamor of the outside world. It was a moment of silence for ourselves, enjoying the Zen tranquility and the harmonious atmosphere of nature.