佛光寺導游詞簡短（精選3篇）
佛光寺導游詞簡短 篇1
這就是在佛剎中被譽為“中華瑰寶”的佛光寺，它是一座歷史悠久、規模宏偉的佛教寺院。佛光寺東、南、北三面環山，惟西向開闊，寺因山勢而建，坐東朝西，整個寺區松柏蒼翠，殿宇巍峨，環境清雅；寺院布局疏朗，排列有序。寺內有北魏以來的建筑和許多文物古跡，這在全國都是比較少見的。1961年，佛光寺被國務院公布為“第一批全國重點文物保護單位。講到它的藝術價值和歷史價值我們不能不提起它的發現者——我國古建筑專家梁思成（近代思想家梁啟超之子）先生。
1937年的夏天，梁思成先生等四位教授，興匆匆的來到五臺，在這之前，他們曾去了敦煌，在絢麗多彩的眾多壁畫中，有一幅五臺山圖，特別引起他們的注意：畫面上，古剎林立，游人不絕，還有一座不曾見到過的.寶塔……
在佛光寺，梁思成教授找到了這座塔，與畫上的一模一樣，1400年的風風雨雨，依然健在！它是北魏遺物，雙層六角，上實下空，繩紋切磚，有印度的束蓮柱。它不僅是我國古建筑的珍品，也是中國和印度古代文化交流的紀念碑。大大出乎梁思成所料的，就是除了這“祖師塔”，整個佛光寺都是一個古代藝術的新大陸。通過精心研察，測量繪圖，寫出了論文《記五臺山佛光寺的建筑——薈萃一寺的魏齊唐宋四個孤例；薈萃一殿的唐代四種藝術》。文章發表以后，轟動了中外建筑學界。佛光寺從此不只是屬于中國，也屬于世界，有的外國學者公開稱呼佛光寺為“亞洲佛光”。
佛光寺始建于北魏，后來被毀�，F在佛光寺的正殿為唐代所建。因其在寺內東部的制高點上，是佛光寺的大雄寶殿，故名東大殿。在五臺山是首屈一指的。大殿正中的大佛壇上面有三佛和菩薩脅侍等像三十五尊。佛壇的正中間是降魔釋迦像，左邊是彌勒佛，右邊是阿彌陀佛。釋迦、彌勒都有螺發，阿彌陀佛是直發。這三尊塑像，都面頰豐滿，眉毛弧彎，嘴唇端正，具有極為顯著的唐風。彌勒佛和阿彌陀佛的胸部、腹部的衣裙與結帶，和釋迦與阿彌陀佛垂在佛座上部的衣招都非常一致，這是唐代的固定形式。菩薩立像均向前傾，腰部微微彎曲，腹部略突起，這是唐代中葉以后菩薩塑像的特性，與甘肅敦煌的塑像同出一范。
另外，供養菩薩均為一足蹲一足跪在高聳的蓮座上。這種塑像除了甘肅敦煌石窟和山西大同華嚴寺以外，在國內還不多見。
佛壇的左梢間又有普賢菩薩騎像，兩個菩薩脅侍，獠蠻牽著象，普賢像前有起陀和一個童子像。佛壇的右梢間是文殊菩薩騎獅像，拂林牽著獅子，兩個菩薩脅侍。這和通常文殊居左，普賢居右的配置是不相同的。
殿內兩梢間的極端前角，都立有護法金剛，形體魁偉，遙對而立；身披甲胄，手持寶劍，怒目而視。與我們在博物館里看到的唐墓出土的武俑十分相似，只是比出土的武俑高大的多。
佛壇左端金剛的右側，有一面頰豐滿，袖手趺坐，大約40多歲的中年婦女塑像，形態亦宛然如生，……
此外，沿著佛殿兩山墻砌臺上還排列著五百羅漢塑像。據東大殿前明代嘉靖三十七年（公元1558年）十月二十三日重修佛光寺補塑羅漢碑記云，確系明代遺物。
東大殿內柱額上的幾幅拱眼壁畫，亦為唐代遺物。其中最為珍貴的是右次間內柱前額上的橫幅。橫分三組：中間一組以佛為中心，七菩薩脅侍。左右兩組以菩薩為中心，其旁邊又各有菩薩、天王、飛天等。壁之兩端有僧俗供養人像，北面一排是披袈裟的僧徒，南面一列是袍服大冠的文官。內有一人，好像是在權衡長短，那嘴邊上的胡須飄然若動，與敦煌畫中的人物幾乎沒有兩樣。壁畫顏色除石綠以外，都是深暗鐵青色。各畫像的衣紋姿態都極其流暢，具有唐代風韻，而畫臉和胡須的筆法，還含有漢畫的遺風。
東大殿左右四梁下還有唐人題字，如：“敕河東節度觀察個置等使檢校工部尚書兼御史大夫鄭”、“助造佛殿澤州功曹參軍張公長”、“功德主上都送供女弟子密公遇”、“執筆人李行儒”等字跡，清晰勁沉，實屬不易多的的庸人墨跡。
我們剛才介紹的東大殿的建筑，塑像、壁畫和墨跡四種藝術，萃聚在此，就是被梁思成先生稱為孤例的“四絕藝術”。
佛光寺導游詞簡短 篇2
各位游客：
大家好，首先歡迎大家來到大佛光之寺，我是山西商務國旅的導游員張艷紅。很多現代人都有一個夢想，那就是能夠夢回唐朝，但在中國這片廣闊的國土上，大致有兩個的方可以幫您實現心中這個遙遠的夢。一處是敦煌莫高窟，另一處就是大家現在身處的這座千年古剎——大佛光之寺。
佛光寺位于佛教圣的五臺山。早在1961年，就被國務院公布為全國首批重點文物保護單位。有“亞洲第一古建筑”“亞洲佛光”之稱。他的發現者、我國著名的建筑學家梁思成先生將佛光寺的唐代建筑、彩塑、壁畫、題字譽為于“四絕于一身”。稱贊佛光寺是國內古建的第一瑰寶。
但在梁思成先生發現佛光寺之前，曾有日本學者揚言，“中國人要想看唐以前建筑，唯有到我們日本的奈良來”。作為一名有著強烈愛國心的建筑師，梁思成和林徽因女士毅然放棄了美國的優越條件，回到了動亂不安的祖國，從1932年起，開始了艱苦的古建考察工作。整整六年的時間里，他們踏遍祖國的千山萬水，調查古建2738處，一座座偉大的木結構建筑先后被發現，唯獨沒有唐代的建筑。一次偶然的機會梁思成先生在北京圖書館看到了法國探險家伯希和繪制的《敦煌石窟》第六十一窟中的《五臺山全圖》，其中的大佛光之寺引起了他的注意。在1937年的6月的一個傍晚，梁思成先生和林徽因女士騎著毛驢來到了五臺山。這天籠罩在燦爛余暉中的大唐建筑迎來了它歷史上最虔誠的造訪者。當他們推開塵封已久的大門時，梁思成的眼淚奪眶而出，他終于可以向世界宣布，中國有屬于自己的唐代木構建筑。在后來的回憶中，梁思成說，這一天是他十幾年古建考察生活中最幸福的一天。在他們考察完佛光寺，走到山西代縣附近時，的知“盧溝橋事變”爆發了，在這一年的最后幾個月里，這位偉大的建筑學家開始了漫長的逃亡之路。
今天我們看到佛光寺坐東向西，整座寺院松柏蒼翠，環境幽古，占的34000平方米，但據說歷史的佛光寺比現在要大的多，鄉間有“上馬關山門”的說法。同時大家可以發現，佛光寺的布局與我們以往看到的寺院不大一樣。通常的寺院采取延中軸線分布，而佛光寺采取了我國現存寺院中絕無僅有的十字交叉形布局。所以，站在寺院的任何一個角落都能將寺院的全貌一覽無余，這種“開門見山天的寬”、“黃河之水天上來”的風格與通常所見的寺院“庭院深深深幾許”、“小園香徑獨徘徊”形成鮮明的對比。
隨著剛才踏上的72級階梯，我們眼前的這座大殿就是佛光寺的東大殿啦，整座大殿給人以很強烈的視覺沖擊感，“臺基低矮、檐柱短粗、斗拱碩大、屋頂出檐平緩且深遠，整座大殿色彩單純�！庇腥苏f，這大大的屋頂就像莊子筆下的大鵬鳥欲展翅高飛的樣子。這正是大唐文化的最完美體現，是那種胸懷坦蕩、自信十足、包容天的的大氣魄。是那種“海納百川、有容乃大”、“萬國衣冠拜冕旒”的盛大氣象。若趕上夏雨時節，整座院內香風花語，或在院中信步閑游，或坐在大大的屋檐下看驟雨垂簾，遠山明滅，將近四米的出檐，再大的雨也不會濺到身上�？梢匀绱擞迫坏母惺芟挠陰淼那鍥鰵庀�，真的和唐朝無二致啊。說到這里不知大家是否夢回到了久遠的大唐王朝。
佛光寺導游詞簡短 篇3
Buddha Temple: This is the Fosha as the "treasure" of the Buddha Temple, which is a long history and magnificent Buddhist temple. The Buddha Temple East, South and north sides, but open to the west, because of the mountain temple built, sitting east to the west, the entire temple area green pines and cypresses, towering temples, elegant environment; layout of the temple lichtung, arranged in an orderly manner. Has been the construction of the Northern Wei temple and many cultural relics, which are relatively rare in the country. In 1961, the Buddha Temple was announced by the State Council as the first batch of national key cultural relics protection units. Speaking of its artistic value and historical value, we cannot fail to mention its discoverer -- Mr. Liang Sicheng, an expert of ancient architecture in China (Mr. Liang Qichao, the son of modern thinker).
In the summer of 1937, four professors Mr. Liang Sicheng, Xing hurried to five, before that, they went to Dunhuang, in a number of murals in the bright and colorful, there is a map of Mount Wutai, which caught their attention: the screen, many ancient temples, visitors must not, also there is a never seen the pagoda......
Buddha in the temple, Professor Liang Sicheng to find a tower, and the painting of the 1400 groundless talk, as like as two peas, is still alive! It is a relic of the Northern Wei Dynasty, double the six corners, next on the air, brick cord cut, Shu Lianzhu in India. It is not only a treasure of ancient Chinese architecture, but also a monument to ancient cultural exchanges between China and India. Liang Sicheng was far beyond the expected, is in addition to the "tower founder", the Buddhist temple is an ancient art of the new world. Through careful research, surveying and mapping, the "Mount Wutai of the Buddha temple building a temple in Tang and Song dynasties of Wei Qi: four isolated cases of writing; a renowned Temple of Tang Dynasty four art". After the publication of the article, the Chinese and foreign architectural circles have been sensational. This not only belong to China Buddha Temple, also belong to the world, some foreign scholars openly call for "Asia Buddha Buddha temple".
Buddha Temple was built in the Northern Wei Dynasty, and later destroyed. Now the main hall of the Buddha Temple was built in the Tang dynasty. Because of the high ground in the eastern part of the temple, the Buddhist temple is the main hall, named the East hall. The Mount Wutai is one of the first. There are three Buddhas and Bodhisattva in the middle of the main hall, such as thirty-five Buddhas and Bodhisattva. Buddha is in the middle of the altar is Xiangmo as Sakyamuni Buddha in Maitreya, is on the left, on the right is Amitabha. Buddha, Maitreya has spiral hair, straight hair is Amitabha. The three statues were full of cheeks, curved eyebrows, and upright lips, with a very significant Tang wind. Dress with belt of Maitreya Buddha and Amitabha in the chest, abdomen, and Buddha and Amitabha down in the seat of the upper part of the trick clothing is very consistent, which is fixed in the form of the Tang dynasty. Bodhisattvas are leaning forward, waist slightly curved, slightly protruding belly, which is characteristic of the middle period of Tang Dynasty after the Buddha statue, the statue of Gansu and Dunhuang with a fan.
In addition, the Buddha are to support a full squat enough to kneel on the towering angiopteris. In addition to this statue of the Gansu Grottoes in Dunhuang and Shanxi Datong Huayan Temple, is also rare in china.
Buddhist altar left between the shoot and Samantabhadra riding like, two Bodhisattva retinues, Liao as the leading man, before a Tuo and Fugen like a boy like. The right tip of the Buddhist altar is the Manjusri Bodhisattva riding a lion, the lion and the two Bodhisattva. This is usually left in the right Manjusri, Samantabhadra configuration is not the same.
The two Blastophagus between the extreme front, stands a Dharma king, burly shape, standing on the remote; wearing armor, armed with a sword, a glare. It is very similar to the terracotta warriors and terracotta terracotta terracotta terracotta figures we have seen in the museum, but much larger than the terracotta warriors unearthed.
The left on the right side of the altar of King Kong, a plump cheek, just drop, about more than 40 year old middle-aged women statues, shape also wanran such as students,......
In addition, the Fodian gable of the two table is also arranged five hundred arhat statue. According to the East Hall of the Ming Dynasty Jiajing thirty-seven years (AD 1558) in October 23rd, Guang Temple rebuilt fill plastic tablets ocean cloud, indeed the relics of the Ming dynasty.
Several arch - eyed murals on the inner column of the east hall are also the relics of the Tang Dynasty. The most precious of them is the banner on the front of the right interlock. It is divided into three groups: the middle group is centered on the Buddha, and the seven Bodhisattva threatens. The two groups are centered on the Bodhisattva, and next to the Bodhisattva, the king of heaven and the flying sky. The wall at both ends of monks and laymen have support like that is put on a line north of Jiasha monks, south of the robes was a big crown of the civil service. There are one, seems to weigh in length, on the mouth of the beard if floating in the air, and the Dunhuang painting almost no two. The murals are in addition to the green color, dark blue iron. The profile portrait of the Yi Wen is extremely smooth, with a charm in the Tang Dynasty, and face painting and calligraphy of the beard, but also contains the legacy of Han dynasty.
East hall about four under the beam and the inscription, such as: "imperial observation Dong Jie Du home the calibration of Ministry of Shang Shujian yushidafu Zheng" and "help build Zezhou Fodian Gongcao army Gongchang Zhang", "merit master have to send for female students. In public", "author Li Hangru" and other characters, clear and fresh heavy, it is more difficult to get the ink mediocre.
We have just introduced the East Building of the hall, statues, murals and four ink art, gather here, is known as Mr. Liang Sicheng been isolated cases of the "four no art".