
媕Y看時,卻是冊頁一般裝的,多年不經裱褙,糨氣已無,周圍
知出在那堙C”眾人道:“且到贖時再做計較。眼下只是米要緊,
。師父且與我看看再商量。”辨悟在道人手堭給L包來,打開看
那堿O素紙!剛是揭開頭一張,看得明明白白的。”眾人疑惑,
討看了。船到山邊,眾人各自上岸散訖。辨悟自到寺堥荂A說了
下在死囚牢堙A一面叫個禁子到衙來,悄悄吩咐他道:“你到監
!”辨悟就央原差領了到監堙A把這些話一一說了。住持道:“既
了一個高手的裱匠,買了作料,一同到寺堥荂C盤桓了幾日,等
在夫妻堶情A更為希罕。自古書畫琴棋,謂之文房四藝。只這王
性近這一家,又且耽在媕Y,所以轉造轉高,極窮了秘妙,卻又
The work opens with a reflective essay on the nature of strange tales, questioning whether the marvels in paintings and legends are real or merely the product of imagination. It weaves references to ancient masters and classic collections, noting how storytellers have long balanced truth and illusion to delight and instruct their audience. The author positions these anecdotes as a bridge between scholarly discourse and popular curiosity.
From this framework emerges a vivid episode set in a drought‑stricken province, where a modest monastery faces starvation. A monk named Bianwu proposes exchanging a treasured copy of the Diamond Sutra—said to have been penned by a Tang‑era official—for enough rice to sustain the community. The ensuing negotiation with a local magistrate highlights the clash between sacred reverence and desperate practicality, inviting listeners to ponder the value we assign to cultural relics.
Language
zh
Duration
~5 hours (336K characters)
Publisher of text edition
Project Gutenberg
Release date
2008-01-04
Rights
Public domain in the USA.

1580–1644
A lively writer of the late Ming period, he is best known for story collections that turned everyday life, coincidence, and moral puzzles into gripping fiction. His work helped shape the Chinese vernacular short story and kept readers hooked with sharp plots and vivid social detail.
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