歷史變遷
關于該寺(si)(si)(si)的(de)建筑年(nian)(nian)(nian)(nian)(nian)代,據1995年(nian)(nian)(nian)(nian)(nian)出版(ban)的(de)新《蔚縣志)已被確(que)認為(wei)遼代所建《大(da)約在公元卯丁(ding)年(nian)(nian)(nian)(nian)(nian)至公元年(nian)(nian)(nian)(nian)(nian)),據民間(jian)傳說,當(dang)時(shi)宋、遼對(dui)峙,兩國連(lian)年(nian)(nian)(nian)(nian)(nian).征戰(zhan),遼國太(tai)子反對(dui)戰(zhan)爭,憤而出家(jia)重泰(tai)(tai)寺(si)(si)(si)。從有確(que)切(qie)的(de)文(wen)字記載看,從明朝弘治九年(nian)(nian)(nian)(nian)(nian)(公元1496年(nian)(nian)(nian)(nian)(nian))真慧和(he)尚改建該寺(si)(si)(si),名(ming)為(wei)三圣(sheng)寺(si)(si)(si)「到明朝弘治十六年(nian)(nian)(nian)(nian)(nian)(公元卜03年(nian)(nian)(nian)(nian)(nian))又經重修,至嘉(jia)靖九年(nian)(nian)(nian)(nian)(nian)(公元卜30年(nian)(nian)(nian)(nian)(nian)),山西(xi)潞城王(wang)因避仇,曾駕幸該寺(si)(si)(si)個這段歷史有待于進不步(bu)研究考證),經重新整佑,一(yi)才賜名(ming)重泰(tai)(tai)寺(si)(si)(si)。清光緒(xu)時(shi),曾一(yi)度叫羅漢寺(si)(si)(si)。
建筑格局
重泰寺靜踞高丘,寺東西(xi)有(you)(you)兩條砂河環(huan)繞,民間有(you)(you)“二(er)龍戲(xi)珠(zhu)”和“龍播虎伏”之說。該寺占(zhan)地(di)面(mian)積六千五百八(ba)十平(ping)方米,有(you)(you)殿(dian)宇房(fang)舍(she)一酉二(er)十間,遠望樓(lou)(lou),閣、殿(dian)、臺塔、舍(she),錯落有(you)(you)致,蒼松有(you)(you)態(tai),甚是宏(hong)偉壯觀(guan)。重泰寺的主要(yao)建筑沿南北(bei)一條縱軸線(xian)上(shang)扮布(bu),東西(xi)橫軸線(xian)對稱排列。中軸線(xian)上(shang)共計入座(zuo)建筑,從(cong)南至北(bei)依(yi)次為(wei)戲(xi)樓(lou)(lou)、山(shan)(shan)門(men)彌勒殿(dian)、千佛殿(dian)、觀(guan)音(yin)殿(dian)、水陸殿(dian)、釋迎(ying)殿(dian)、三(san)教(jiao)樓(lou)(lou)。戲(xi)樓(lou)(lou),座(zuo)南朝北(bei),面(mian)對山(shan)(shan)門(men),單槍卷翻希瓦頂(ding)丁(ding)面(mian)寬三(san)間,進深二(er)間,六架梁。戲(xi)樓(lou)(lou)正南培壁上(shang)繪(hui)一疾走的旗(qi)成,高二(er)米有(you)(you)余,長四米多(duo)(duo)(duo),氣(qi)勢磅時,東西(xi)山(shan)(shan)墻保存(cun)多(duo)(duo)(duo)處(chu)清(qing)代戲(xi)曲題壁,是研究梨園舞(wu)臺的珍貴資料。昔日農歷重月十五日廟會(hui)期(qi),極為(wei)熱(re)鬧,好多(duo)(duo)(duo)戲(xi)班,來(lai)此(ci)演戲(xi)。清(qing)朝光緒年(nian)間,歸化城(即今呼和浩特)的著名演員買賣黑曾登(deng)臺表演。
山門(men)座北(bei)朝南,座落在高(gao)干米的(de)磚砌(qi)(qi)臺基(ji)上,單泊(bo)硬山市百頂,面(mian)寬蘭間(jian),進(jin)(jin)深(shen)二閱(yue),山門(men)拉(la).下,有石(shi)獅(shi)一(yi)對,臉(lian)皆微向里側,神態慈(ci)祥呻(shen)顯威嚴。現石(shi)獅(shi)已被移人(ren)縣城釋迎寺。兩(liang)壁(bi)門(men)神秦(qin)叔(shu)新彩繪,還新砌(qi)(qi)了一(yi)榴(liu)脊 ,中(zhong)寶、尉、遲恭和茶舉(ju)托迦,羅(luo)枯者重新彩繪,還新砌(qi)(qi)了一(yi)溜花磚,中(zhong)吻(wen)(wen)塔兩(liang)側,八仙(xian),其(qi)人(ren)才長小(xiao)(xiao)影,也能辨其(qi)為(wei)何仙(xian)。脊邊吻(wen)(wen)亦沉穩勝舊。人(ren)山門(men),院(yuan)北(bei)正中(zhong)頭層彌勒(le)殿殿前也有雙獅(shi)一(yi)對現已移山門(men)外,造(zao)型(xing)與(yu)原(yuan)石(shi)獅(shi)大同(tong)小(xiao)(xiao)異。院(yuan)內無別物東側有蒼松一(yi)株。彌勒(le)殿面(mian)闊三(san)間(jian),進(jin)(jin)深(shen)二間(jian),殿內壁(bi)畫十八羅(luo)漢斗彌勒(le)極(ji)為(wei)生動悅(yue)目。掖(ye)門(men)兩(liang)廁為(wei)鐘樓(lou),西為(wei)鼓(gu)樓(lou),其(qi)頂用十字形(xing)大脊交叉(cha)組成,加上搪口角的(de)新套(tao)獸(shou)(shou),套(tao)獸(shou)(shou)下的(de)新鑄鐵風鈴(現已丟失),小(xiao)(xiao)巧玲(ling)嚨(long),當(dang)年雙樓(lou)下設樓(lou)梯砌(qi)(qi)小(xiao)(xiao)炕,為(wei)值(zhi)更僧所居。重泰(tai)寺的(de)鐘聲(sheng)雖不及唐代(dai)張(zhang)繼(ji)《楓橋(qiao)夜泊(bo)》詩申肺提到(dao)的(de)鐘聲(sheng)聞(wen)名,但其(qi)悠遠的(de)音響,也是名揚蔚蘿(luo)山川。
清朝直臣、刑部尚書魏象樞(蔚州(zhou)人(ren)(ren)(ren))大約(yue)在(zai)公元?年(nian)與廣(guang)東(dong)(dong)名(ming)人(ren)(ren)(ren)凌(ling)十(shi)齋、善草書的江桂窿等人(ren)(ren)(ren)游覽了這所(suo)名(ming)剎(cha)i曾(ceng)寫下了二(er)首題為《游重(zhong)泰(tai)寺(si)(si)千(qian)同(tong)看五百(bai)鐵羅漢)的七(qi)律(lv)詩(shi),詩(shi)申末(mo)尾寫到'歸路茫(mang)茫(mang)春雨后,鐘(zhong)聲(sheng)(sheng)十(shi)里人(ren)(ren)(ren)斜晾。可見其鐘(zhong)聲(sheng)(sheng)悠遠。據民間(jian)傳說明(ming)伏有(you)(you)二(er)武僧(seng),在(zai)此寺(si)(si)燒香撞鐘(zhong)后,又至前、后太佛(fo)寺(si)(si)燒香,返回時音仍不(bu)絕(jue)。重(zhong)泰(tai)寺(si)(si)與后太佛(fo)寺(si)(si)山(shan)躇二(er)十(shi)里,鐘(zhong)聲(sheng)(sheng)猶聞(wen),似有(you)(you)夸張之(zhi)意,但可證明(ming)鐘(zhong)的曹[5] ?質名(ming)不(bu)虛傳。二(er)層殿(dian)(dian)為千(qian)佛(fo)殿(dian)(dian),此殿(dian)(dian)面(mian)闊三(san)(san)間(jian),進深二(er)間(jian)。院(yuan)東(dong)(dong)為二(er)郎廟(miao),三(san)(san)間(jian),進深廣(guang)間(jian)。院(yuan)西為關(guan)帝“期蘭(lan)郎廟(miao)”此廟(miao)除塑關(guan)羽(yu)像(xiang)外,統(tong)為懸(xuan)塑;懸(xuan)山(shan)上盡塑三(san)(san)國故事,如南壁(bi)“虎(hu)牢關(guan)三(san)(san)英戰呂(lv)布”,北壁(bi)“蕾口(kou)川水淹七(qi)軍”,極為生動傳神。千(qian)佛(fo)殿(dian)(dian)東(dong)(dong)側小院(yuan)為碑林,東(dong)(dong)西廊(lang)原有(you)(you)康熙、雍正、乾隆、嘉慶、道光、同(tong)治年(nian)間(jian)立碑十(shi)三(san)(san)通,現僅存碑座及壁(bi)渴一塊,此院(yuan)二(er)短廊(lang),一長廊(lang).,布局(ju)緊湊。
三(san)層為觀音(yin)殿,面闊(kuo)進深為一(yi)間(jian);殿內站觀昔高之米多,衣著簡疏,肌理細
膩,慈(ci)眉善眼,在纏枝寶相花和(he)蓮瓣佛(fo)座(zuo)的映襯下(xia),姿態端莊。此(ci)殿(dian)置于佛(fo)殿(dian)與(yu)水陸殿(dian)中(zhong)。殿(dian)東側為羅(luo)漢(han)殿(dian),面闊五(wu)(wu)間,進深一間,過去殿(dian)內(nei)四壁(bi)懸山上、下(xia)、左、右共五(wu)(wu)百尊;金光灼灼,形(xing)置銅色鐵佛(fo);琳瑯(lang)滿目,形(xing)象(xiang)逼真,栩栩如(ru)生,真可謂鬼斧神工五(wu)(wu)百羅(luo)漢(han)因隊(dui)伍龐(pang)大,耗資甚巨(ju),所以(yi)帶羅(luo)漢(han)殿(dian)的廟,多(duo)為大名(ming)剎。
現(xian)在全國保存最(zui)為(wei)(wei)完(wan)整的(de)五(wu)酉羅漢(han)堂(tang)一(yi)(yi)(yi)(yi)是(shi)北京(jing)西(xi)仙的(de)碧云(yun)寺,二(er)是(shi)杭州(zhou)的(de)靈隱寺。據說昔日一(yi)(yi)(yi)(yi)個賣氈帽的(de),留宿(su)重泰寺,由于數不甚數,即(ji)每干個羅漢(han)戴氈帽一(yi)(yi)(yi)(yi)頂,可(ke)最(zui)終仍(reng)無準數極見一(yi)(yi)(yi)(yi)堂(tang)濟濟之(zhi)狀。五(wu)百羅漢(han)在士龍年(nian)大(da)煉鋼鐵中化為(wei)(wei)爐渣,殘留下(xia)一(yi)(yi)(yi)(yi)、三(san)尊已不知所(suo)向。西(xi)側閻正殿也是(shi)懸(xuan)塑(su),造象工藝與關帝廟十樣精細。此殿南瞻下(xia)現(xian)存安徽桐城(cheng)楊裕于道光二(er)十九年(nian)九月攘(rang)碑(bei)一(yi)(yi)(yi)(yi)通,是(shi)研究該(gai)寺康熙前后歷史的(de)重要依據.
該寺四(si)個配殿二郎(lang)廟、關帝廟、羅漢(han)殿、閻(yan)三(san)殿皆為懸山造像,此乃該寺的一大特色。
四(si)層殿(dian)(dian)為(wei)(wei)(wei)水陸(lu)殿(dian)(dian),它面漓三(san)間,進深二(er)(er)間,此(ci)殿(dian)(dian)壁(bi)(bi)畫(hua)保存(cun)完整,殿(dian)(dian)東(dong)(dong)西(xi)側有(you)(you)藏(zang)經樓(lou)(lou)(lou)(lou)(lou),為(wei)(wei)(wei)明(ming)二(er)(er)暗「式(shi)樓(lou)(lou)(lou)(lou)(lou)閣。清(qing)代已塑像其(qi)中(zhong),藏(zang)經樓(lou)(lou)(lou)(lou)(lou)就名不(bu)(bu)副實了,此(ci)殿(dian)(dian)東(dong)(dong)西(xi)各設(she)丁磚(zhuan)(zhuan)砌小掖門(men),通(tong)間后院(yuan)釋(shi)迎殿(dian)(dian)。釋(shi)遮殿(dian)(dian),面闊三(san)間,進深三(san)間,內里方形,為(wei)(wei)(wei)重(zhong)泰寺(si)(si)(si)(si)最大殿(dian)(dian)堂,甚(shen)是寵偉、莊嚴(yan)。該殿(dian)(dian)單擅歇山(shan)頂(ding)五架梁(liang),前抱卷棚廈四(si)架梁(liang),通(tong)高也米,廈前臺(tai)階(jie)上三(san)層縷空磚(zhuan)(zhuan)雕(diao),龍、鳳等,細(xi)膩傳(chuan)神。椽頭(tou)均泥(ni)彩塑,鋪首(shou)環。該寺(si)(si)(si)(si)墻壁(bi)(bi)后出(chu)前收(shou),前壁(bi)(bi)硬(ying)墻直(zhi)接屋(wu)(wu)面,后壁(bi)(bi)硬(ying)墻上,皆(jie)以斗洪上托屋(wu)(wu)面,為(wei)(wei)(wei)不(bu)(bu)使壁(bi)(bi)柱(zhu)遭蟲矗,外墻基隨柱(zhu)數皆(jie)有(you)(you)¨大"字形鳳眼,且"大"字五個出(chu)頭(tou),皆(jie)巧(qiao)妙(miao)造形,可看出(chu)中(zhong)國古代勞動(dong)人(ren)民的高度智(zhi)慧(hui)。釋(shi)迦殿(dian)(dian)后有(you)(you)三(san)教(jiao)樓(lou)(lou)(lou)(lou)(lou),又名太子樓(lou)(lou)(lou)(lou)(lou)。樓(lou)(lou)(lou)(lou)(lou)正南(nan)原(yuan)置木梯(ti),到光緒(xu)年間改建成二(er)(er)十二(er)(er)級磚(zhuan)(zhuan)砌臺(tai)階(jie)。臺(tai)階(jie)下巧(qiao)設(she)一(yi)(yi)人(ren)高孔道(dao)(dao),連東(dong)(dong)西(xi)憎舍,從西(xi)舍獨門(men)人(ren),穿階(jie)下孔道(dao)(dao)即至(zhi)東(dong)(dong)舍。臺(tai)上磚(zhuan)(zhuan)欄(lan)(lan)圍樓(lou)(lou)(lou)(lou)(lou),樓(lou)(lou)(lou)(lou)(lou)檐配高利寺(si)(si)(si)(si)七十一(yi)(yi)羅老木工(gong)劉居的透(tou)雕(diao)飛龍極(ji)為(wei)(wei)(wei)精細(xi)。正脊、邊(bian)脊張嘴獸(shou)(shou)、合嘴獸(shou)(shou),脊梢吻都(dou)重(zhong)新砌過。樓(lou)(lou)(lou)(lou)(lou)內正壁(bi)(bi)正中(zhong)佛(fo)祖釋(shi)逝牟尼、孔子居左,老子居右,手(shou)中(zhong)均持(chi)(chi)圭牌侍者端盤分(fen)列其(qi)間。懦、釋(shi)、道(dao)(dao)由早期的水火不(bu)(bu)相容,發展(zhan)到三(san)教(jiao)合一(yi)(yi),兼容兼蓄(xu):最后竟薈萃一(yi)(yi)堂,也是明(ming)清(qing)宗教(jiao)發展(zhan)的必然結果。東(dong)(dong)西(xi)山(shan)墻上繪白象投胎、樹下誕生,九龍灑水、出(chu)游四(si)門(men)、逾城苦修"等佛(fo)教(jiao)故事,值年久畫(hua)面顏色氧化多已還鉛。登樓(lou)(lou)(lou)(lou)(lou)依欄(lan)(lan)北望(wang),囊(nang)凹連綿起伏(fu),南(nan)望(wang)全寺(si)(si)(si)(si)景(jing)觀盡收(shou)眼底(di)。;三(san)教(jiao)樓(lou)(lou)(lou)(lou)(lou)后有(you)(you)正屋(wu)(wu)九間,還有(you)(you)釋(shi)逝殿(dian)(dian)兩側配房(fang),昔(xi)皆(jie)住(zhu)憎眾。東(dong)(dong)西(xi)有(you)(you)角院(yuan),為(wei)(wei)(wei)方丈(zhang),道(dao)(dao)長撣室。香火最盛時,該專有(you)(you)萬丈(zhang)、道(dao)(dao)長各一(yi)(yi)人(ren),分(fen)僧道(dao)(dao)兩門(men)。有(you)(you)徒眾六十多人(ren)。東(dong)(dong)角院(yuan)前有(you)(you)庫(ku)房(fang)、餐(can)窒(zhi),寺(si)(si)(si)(si)內二(er)(er)郎廟(miao)前有(you)(you)碾房(fang),西(xi)角院(yuan)有(you)(you)井,供方丈(zhang)、住(zhu)持(chi)(chi)、僧眾、游方憎、施主游人(ren)吃用。寺(si)(si)(si)(si)西(xi)北有(you)(you)塔林,今(jin)僅存(cun)明(ming)嘉靖時靈(ling)骨塔一(yi)(yi)座(zuo),隔壑(he)西(xi)去也有(you)(you)塔林,今(jin)無存(cun)。該寺(si)(si)(si)(si)全部(bu)泥(ni)塑在"文革”中(zhong)毀于(yu)一(yi)(yi)旦。