174 lines
30 KiB
JSON
174 lines
30 KiB
JSON
{
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"event": {
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"canonicalName": "会昌灭佛（会昌法难）",
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"aliases": ["会昌毁佛", "会昌废佛", "唐武宗灭佛"],
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"era": "唐·武宗会昌年间",
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"date": "842—846年；会昌五年（845年）七月达到全国性并省佛寺高峰，后续恢复延至大中元年（847年）",
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"place": "长安、洛阳及唐朝各州府",
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"summary": "唐武宗朝逐步收紧佛教政策，并在845年以并省寺院、没收寺产和勒令僧尼还俗推至全国；武宗去世后，唐宣宗开始纠正过度措施并允许部分旧寺重修。"
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},
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"narration": {
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"language": "zh-CN",
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"estimatedSeconds": 88,
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"fullText": "会昌二年起，唐武宗朝对佛教的限制逐步收紧。武宗以僧尼脱离赋役、寺院占有田产财货为由，要求清查僧籍与寺产；他又亲近道士赵归真等人，排佛之议不断加码。会昌五年春，日本求法僧圆仁也被命还俗。他蓄发易服，于五月离开长安，亲历的法难还在继续。七月，长安发出全国性敕令：两京仅留少数寺院，各州也按等级限额存留，其余限期拆撤。御史分道督办，寺院财货田产没官，寺材用于公廨驿舍，铜像、钟磬铸钱，铁像改铸农具。《旧唐书》汇总称，这轮政策拆寺四千六百余所、招提兰若四万余所，二十六万零五百名僧尼被令还俗，十五万寺院奴婢编入税户；大秦、穆护、祆僧等也遭勒令归俗。对朝廷而言，这是户籍、税役与财货重新归公；对无数寺院和僧众而言，却是身份、居所与传承被强行截断。会昌六年武宗去世，宣宗即位后很快增置寺院。大中元年，他又承认此前厘革过当，允许旧日名僧重修部分废寺。寺门重新打开，但会昌法难留下的断裂，已经无法原样复原。"
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},
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"scenes": [
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{
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"id": "01",
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"title": "禁令收紧",
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"timePlace": "842—845年，长安宫廷与中央政令系统",
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"purpose": "交代会昌灭佛并非单日突发，而是财政、户籍与宗教立场共同推动下逐步加码的政策过程。",
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"narration": "会昌二年起，唐武宗朝对佛教的限制逐步收紧。武宗以僧尼脱离赋役、寺院占有田产财货为由，要求清查僧籍与寺产；他又亲近道士赵归真等人，排佛之议不断加码。",
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"overlay": {
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"heading": "禁令收紧",
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"line": "真正落到寺门前的敕令，早已在宫廷里酝酿多年。"
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},
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"people": [
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{"name": "唐武宗李炎", "office": "唐朝皇帝", "action": "主导会昌年间限制佛教并最终并省天下佛寺的政策"},
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{"name": "赵归真", "office": "武宗亲近的道士", "action": "与刘玄靖等排毁释氏，推动宫廷排佛气氛"},
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{"name": "李德裕", "office": "唐朝宰相", "action": "参与会昌朝中央政务与敕令执行；本素材不把他写成唯一策划者"}
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],
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"image": {
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"original": "images/01-edicts-tighten.png",
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"delivery": "images/01-edicts-tighten.webp",
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"alt": "晚唐宫廷小朝会上，唐武宗面对僧籍与寺产文卷听取官员陈奏，赵归真肃立一旁。",
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"prompt": "Use case: historical-scene. Asset type: Digital Me historical event story frame, scene 1 of a consistent five-image 16:9 sequence. Primary request: A restrained visual reconstruction of policy formation during the Huichang suppression of Buddhism, Chang'an, 842–845 CE. Tang Emperor Wuzong holds a small private audience in a late-Tang palace hall. The favored Daoist Zhao Guizhen stands respectfully to one side in plain period Daoist robes, while sober court officials and clerks present sealed registers of monasteries, land, and households on a low table. The image should show imperial policy tightening through administration and patronage, not a theatrical conspiracy. Scene/backdrop: modest inner audience hall of the Daming Palace in late Tang Chang'an, dark timber columns, pale plaster walls, grey tiled eaves visible through an open side, distant autumn haze, low desks and document bundles without visible writing. Subjects: Emperor Wuzong, early thirties, lean face, short moustache and trimmed beard, dark ochre round-collar imperial robe with restrained woven pattern and black futou, seated upright but not on an exaggerated dragon throne; Zhao Guizhen, middle-aged Daoist, narrow calm face, dark teal-grey cross-collar robe and simple black Daoist headcloth, deferential rather than sinister; two senior civil officials in muted crimson and deep green late-Tang round-collar robes; clerks handling blank sealed scroll bundles. Style/medium: cinematic historical realism, credible ninth-century Tang China, natural human proportions, subtle film grain, high-detail film still, sober political drama. Composition/framing: wide 16:9 strategic interior; Emperor Wuzong in middle distance, policy registers and officials forming a diagonal; ample dim negative space in upper left for later overlay; nobody looks at the camera. Lighting/mood: cold daylight from the courtyard meeting limited warm lamp light; administrative pressure, solemn, irreversible, no melodrama. Color palette: ash blue, smoke grey, dark cinnabar, aged bronze, muted ochre and restrained amber; keep this exact palette and naturalistic rendering across all five scenes. Materials/textures: aged silk, worn lacquered wood, bamboo and paper document rolls, matte woven robes, grey ceramic roof tiles. Constraints: period-accurate late Tang court dress, futou, architecture and furniture; respectful portrayal of all religious groups; no readable text on documents, banners, seals or props; no baked-in names, subtitles, calligraphy, logos or watermark; visual reconstruction only, no claim of a verbatim meeting. Avoid: Ming or Qing clothing and buildings, Qing queue hair, giant dragon throne, bright red-and-gold fantasy palace, opera costume, fantasy crowns, Buddhist monks being mocked, cartoon villain expressions, supernatural effects, halos, modern paper folders, modern objects, crowds, violence.",
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"visualInference": "把武宗亲近道士、宰相议政与寺产清查压缩为一场小朝会；具体座次、文卷、人物外貌、季节光线均为可视化重构，不声称赵归真与李德裕曾在同一时刻共同陈奏。"
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},
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"sources": ["《旧唐书·武宗本纪》卷十八上", "《资治通鉴》卷二百四十八", "圆仁《入唐求法巡礼行记》卷四"]
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},
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{
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"id": "02",
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"title": "易服出城",
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"timePlace": "845年五月，长安",
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"purpose": "以亲历者圆仁的个人遭遇呈现政策如何先于七月总敕令改变僧人的身份与去留。",
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"narration": "会昌五年春，日本求法僧圆仁也被命还俗。他蓄发易服，于五月离开长安。一个远道而来的求法者，就这样抱着收起的袈裟走出寺门，而全国性的法难还在继续。",
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"overlay": {
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"heading": "易服出城",
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"line": "先被改变的不是寺门，而是一个人被允许拥有的身份。"
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},
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"people": [
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{"name": "圆仁", "office": "日本入唐求法僧", "action": "被命还俗、蓄发易服，于845年五月离开长安"},
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{"name": "杨敬之", "office": "长安信士", "action": "为圆仁离京饯行"},
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{"name": "李元佐", "office": "长安信士", "action": "为圆仁离京饯行，并请求留取僧衣纪念"}
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],
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"image": {
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"original": "images/02-ennin-leaves-changan.png",
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"delivery": "images/02-ennin-leaves-changan.webp",
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"alt": "长安寺门外，已经易服蓄发的圆仁抱着袈裟与行囊，同两名信士克制告别。",
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"prompt": "Use case: historical-scene. Asset type: Digital Me historical event story frame, scene 2 of the same consistent five-image 16:9 sequence. Input images: use the immediately previous generated palace scene only as the visual style, palette, lighting realism, lens language, and late-Tang material reference; do not reuse its composition or people. Primary request: Japanese pilgrim monk Ennin (Chinese name Yuanren) leaving Chang'an in spring 845 CE after being forced to return to lay status during the Huichang suppression. He stands just outside a Buddhist monastery gate in plain lay clothing with very short newly grown hair, holding a small wrapped travel bundle that includes his folded dark kasaya. Two Tang lay supporters say a restrained farewell. The scene conveys an identity and scholarly journey forcibly interrupted, not an arrest. Scene/backdrop: outer gate and side lane of a late-Tang Chang'an monastery at cool dawn, timber gate, pale plaster, grey tiled roofs, muted spring mist, a distant city ward gate; the monastery entrance is quiet and partially closed, with an official notice board that has absolutely no readable writing. Subjects: Ennin, about fifty-one, weathered Japanese pilgrim, calm round face, short dark hair just beginning to grow after tonsure, simple ash-brown late-Tang lay robe, straw travel shoes, small cloth bundle and folded kasaya visible without ritual spectacle; two middle-aged Tang lay supporters in plain muted robes, one offering a travel flask, grief held in their posture; no soldiers physically touching anyone. Style/medium: cinematic historical realism, credible ninth-century Tang China, natural proportions, subtle film grain, high-detail film still, quiet human-scale historical drama. Composition/framing: wide 16:9 exterior, Ennin and farewell group in the middle-left, receding road toward the ward gate, a different open and asymmetrical composition from scene 1; broad misty negative space in upper right for later overlay; no one looks at camera. Lighting/mood: blue-grey dawn with one faint warm lantern under the gate; restrained loss, dislocation, uncertain departure. Color palette: match the reference exactly—ash blue, smoke grey, dark cinnabar, aged bronze, muted ochre and restrained amber. Materials/textures: worn hemp robes, folded silk kasaya, travel cloth, weathered timber, damp packed earth, grey ceramic tiles. Constraints: period-accurate late-Tang garments, architecture and travel objects; respectful Buddhist imagery; portray a forced change of status and departure, not imprisonment; no readable text, seals or symbols; no baked-in names, subtitles, calligraphy, logos or watermark; keep the visual realism and grading consistent with scene 1. Avoid: modern Japan clothing, samurai styling, Chinese Qing queue hair, shaved bald head with supernatural glow, ornate ceremonial robes, giant Buddha statue, temple burning, soldiers beating monks, chains, blood, melodrama, modern backpacks, modern signage, Ming/Qing buildings, fantasy elements.",
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"visualInference": "圆仁年龄、面貌、寺门位置、饯行站位、行囊样式与清晨雾气为可视化重构；图中两名信士借杨敬之、李元佐饯行之事实组织画面，不作肖像还原。"
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},
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"sources": ["圆仁《入唐求法巡礼行记》卷四", "《旧唐书·武宗本纪》卷十八上"]
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},
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{
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"id": "03",
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"title": "七月并寺",
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"timePlace": "845年七月，长安政令下达至两京与天下州府",
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"purpose": "呈现全国性并省佛寺敕令正式落地，以及限额留寺、限期拆撤和御史督办的行政机制。",
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"narration": "七月，长安发出全国性敕令：两京仅留少数寺院，各州也按等级限额存留，其余限期拆撤。御史分道督办，一纸敕令从宫廷走到每一座寺门前。",
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"overlay": {
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"heading": "七月并寺",
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"line": "从这一刻起，寺院能否继续存在，变成了朝廷核定的名额。"
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},
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"people": [
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{"name": "唐武宗李炎", "office": "唐朝皇帝", "action": "颁布并省天下佛寺的敕令；不在本幕画面"},
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{"name": "分道御史", "office": "奉命分赴各地的监察官群体", "action": "督促各州按期限拆撤不在留额内的寺院"},
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{"name": "寺院僧众", "office": "被核定、裁撤的佛教僧团", "action": "在寺门前接收敕令并等待僧籍、寺产与建筑处置"}
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],
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"image": {
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"original": "images/03-july-closure-order.png",
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"delivery": "images/03-july-closure-order.webp",
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"alt": "雨后寺院门前，官员展开空白敕书宣令，僧众列队静听，吏员已开始丈量登记。",
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"prompt": "Use case: historical-scene. Asset type: Digital Me historical event story frame, scene 3 of the same consistent five-image 16:9 sequence. Input images: use the immediately previous generated Ennin departure scene only as the visual style, palette, lighting realism, lens language, and late-Tang architectural reference; do not reuse its composition or people. Primary request: In the seventh lunar month of 845 CE, an imperial order to consolidate and close Buddhist monasteries is formally announced at the gate of a large late-Tang monastery. A traveling censor or court messenger stands on the lower gate steps holding an opened pale silk decree with absolutely no visible characters. A grave elderly abbot and a small line of monks listen in silence. Government clerks begin registering buildings and property with blank tally boards and measuring cord. A few soldiers remain at a respectful distance as enforcement, with no physical abuse. Scene/backdrop: broad outer courtyard of a Buddhist monastery in a provincial or metropolitan Tang city, timber gatehouse, pale walls, grey tiled roofs, stone lantern base and old trees; main doors still open but the side gates are being controlled; cool midsummer morning after rain, low clouds. Subjects: late-Tang messenger in muted dark-cinnabar round-collar robe and black futou, posture formal not triumphant; elderly abbot with weathered face and plain grey-brown kasaya; six to eight monks of varied ages in restrained robes; two civil clerks with bamboo tallies and cord; four guards in simple late-Tang lamellar and cloth caps, spears grounded. Style/medium: cinematic historical realism, credible ninth-century Tang China, natural proportions, subtle film grain, high-detail film still, institutional pressure rather than battle spectacle. Composition/framing: wide 16:9 low eye-level view across the courtyard; decree group in the middle ground, clerks measuring a side structure to create narrative depth, broad pale wall and clouded sky providing negative space in upper left; clearly different frontal courtyard composition from scenes 1 and 2; nobody looks at camera. Lighting/mood: diffuse cold daylight, a thin warm glow still visible inside the temple hall; solemn, tense, procedural, a threshold moment. Color palette: match the reference exactly—ash blue, smoke grey, dark cinnabar, aged bronze, muted ochre and restrained amber. Materials/textures: wet flagstones and packed earth, weathered timber, aged silk, woven hemp, lacquered tally boards, grey ceramic tiles, restrained late-Tang lamellar. Constraints: period-accurate late-Tang clothing, futou, monastery architecture, armor and administrative objects; respectful Buddhist figures; all documents and boards blank with zero readable writing; no baked-in names, subtitles, calligraphy, logos or watermark; portray state enforcement without graphic violence; maintain the same realistic color grading as the earlier scenes. Avoid: visible Chinese text, banners with characters, burning temple, smashed Buddha close-up, soldiers attacking monks, chains, kneeling humiliation, cheering crowd, villain caricature, Ming/Qing architecture or costume, winged helmets, fantasy armor, modern surveying gear, modern paper clipboard, supernatural effects.",
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"visualInference": "史书只说明御史分道督之，未保留所有宣令官姓名；具体寺院、雨后时刻、丈量方式、僧众人数和站位为行政过程的视觉重构。"
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},
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"sources": ["《资治通鉴》卷二百四十八", "《旧唐书·武宗本纪》卷十八上"]
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},
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{
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"id": "04",
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"title": "钟磬归官",
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"timePlace": "845年夏秋，唐朝各州府寺院",
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"purpose": "把宏观统计还原为寺产没官、器物拆卸与僧众被迫还俗的具体动作。",
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"narration": "寺院财货田产没官，寺材用于公廨驿舍，铜像、钟磬铸钱，铁像改铸农具。《旧唐书》汇总称，拆寺四千六百余所、招提兰若四万余所，二十六万零五百名僧尼被令还俗，十五万寺院奴婢编入税户；大秦、穆护、祆僧等也遭勒令归俗。",
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"overlay": {
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"heading": "钟磬归官",
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"line": "钟声停下之后，寺院被重新计算成木料、铜钱、田地与税户。"
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},
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"people": [
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{"name": "州县官吏", "office": "地方行政执行者群体", "action": "登记并接收寺院财货、田产、器物与建筑材料"},
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{"name": "被勒还俗僧尼", "office": "原佛教僧团成员", "action": "脱离僧籍、改着俗服并被编回户籍与赋役体系"},
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{"name": "寺院奴婢", "office": "原属寺院人口", "action": "被收编为两税户；本幕不以具体人物形象突出表现"}
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],
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"image": {
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"original": "images/04-bell-and-registers.png",
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"delivery": "images/04-bell-and-registers.webp",
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"alt": "寺院后院里，工匠用麻绳拆卸铜钟，官吏登记木料与箱笼，已经换上俗服的僧人背包离去。",
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"prompt": "Use case: historical-scene. Asset type: Digital Me historical event story frame, scene 4 of the same consistent five-image 16:9 sequence. Input images: use the immediately previous generated monastery decree scene only as the visual style, palette, lighting realism, lens language, and late-Tang architectural reference; do not reuse its composition or specific people. Primary request: The concrete aftermath of the Huichang suppression at a provincial Buddhist monastery in late summer 845 CE. Under civil officials' supervision, skilled workers carefully lower a large bronze temple bell from a simple wooden bell frame with thick hemp ropes for state confiscation. Nearby, clerks inventory blank wooden chests and stacked building timbers. Several former monks, now wearing plain lay robes, leave through a side gate carrying small cloth bundles; one elderly former monk pauses once to look back. The image should show confiscation, forced laicization, and institutional rupture without sensational destruction. Scene/backdrop: inner service courtyard of a late-Tang monastery, weathered timber galleries, pale plaster, grey tile roofs, partly dismantled side hall with orderly roof beams, sealed storeroom, late-summer overcast sky; no central Buddha image. Subjects: heavy aged bronze bell suspended low by hemp ropes; four artisan laborers in worn hemp work clothes controlling the ropes; two civil officials in muted dark green and cinnabar late-Tang robes recording property on completely blank tally boards; five former monks in simple ash-brown lay robes walking away with modest bundles, hair only just beginning to grow, no guards striking or dragging them. Style/medium: cinematic historical realism, credible ninth-century Tang China, natural proportions, subtle film grain, high-detail film still, sober documentary-like historical drama. Composition/framing: wide 16:9 side-on courtyard composition, the suspended bell as central visual weight, departing former monks receding through the left gate, officials and stacked timber creating layers on the right; generous overcast sky and pale upper wall in upper right for later overlay; clearly different diagonal labor scene from earlier frames; nobody looks at camera. Lighting/mood: cool diffuse daylight with a last restrained amber reflection inside the bronze bell; heavy, quiet, irreversible, no action spectacle. Color palette: match the sequence exactly—ash blue, smoke grey, dark cinnabar, aged bronze, muted ochre and restrained amber. Materials/textures: patinated bronze, coarse hemp rope, worn timber grain, grey roof tiles, clay and wet earth, plain woven lay robes, blank lacquered tally boards. Constraints: period-accurate late-Tang architecture, clothing, tools and administrative practice; respectful portrayal; no readable writing anywhere; no baked-in names, subtitles, calligraphy, logos or watermark; physical labor must look plausible and safe; non-graphic, no destruction of sacred imagery in close-up; keep same realism and grading as the prior scenes. Avoid: furnace or molten metal in the monastery courtyard, giant smashed Buddha head, gleeful soldiers, monks being beaten, chains, blood, mass panic, cheering crowd, modern crane or pulley hardware, modern clipboard, modern clothing, Ming/Qing costume and buildings, fantasy armor, fire, explosions, supernatural effects.",
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"visualInference": "将寺材拆卸、钟磬接收、财货登记与僧人还俗合并在同一寺院后院；吊装结构、箱笼、人物去向与具体寺院均为不改变政策性质的视觉补全。"
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},
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"sources": ["《旧唐书·武宗本纪》卷十八上", "《资治通鉴》卷二百四十八"]
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},
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{
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"id": "05",
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"title": "寺门重开",
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"timePlace": "846年五月至847年闰三月，长安与天下州府",
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"purpose": "交代武宗去世后的政策纠偏，同时强调恢复有限且无法消除此前造成的制度与传承断裂。",
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"narration": "会昌六年武宗去世，宣宗即位后很快增置寺院。大中元年，他又承认此前厘革过当，允许旧日名僧重修部分废寺。寺门重新打开，但会昌法难留下的断裂，已经无法原样复原。",
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"overlay": {
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"heading": "寺门重开",
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"line": "允许重修，不等于失去的一切都能回到原处。"
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},
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"people": [
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{"name": "唐宣宗李忱", "office": "唐朝皇帝", "action": "即位后增置长安寺院，并承认此前厘革过当，允许部分旧寺重修；不在本幕画面"},
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{"name": "宿旧名僧", "office": "获准重新住持、修创旧寺的僧人群体", "action": "与地方信众重开寺门并修补残存建筑"},
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{"name": "地方信众与工匠", "office": "寺院恢复的参与者", "action": "搬运瓦木、清理庭院并进行有限修缮"}
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],
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"image": {
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"original": "images/05-limited-restoration.png",
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"delivery": "images/05-limited-restoration.webp",
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"alt": "残破寺院重新开门，老僧与地方百姓进入庭院，工匠正用木架修补屋梁，大片空缺仍清晰可见。",
|
||
"prompt": "Use case: historical-scene. Asset type: Digital Me historical event story frame, scene 5 and final image of the same consistent five-image 16:9 sequence. Input images: use the immediately previous generated bell-removal scene only as the visual style, palette, lighting realism, lens language, and late-Tang architectural reference; do not reuse its composition or specific people. Primary request: A limited reopening of a damaged Buddhist monastery under Emperor Xuanzong's early restoration policy, spring 847 CE. An elderly former abbot, now again in a plain grey-brown kasaya, and local lay supporters push open a weathered timber gate. Inside, artisans carefully raise one modest replacement roof beam while others sweep debris and repair tiles. Empty spaces where buildings and the bell once stood remain clearly visible. The scene should suggest permission to rebuild and continuity returning slowly, never an instant triumphant restoration. Scene/backdrop: same type of late-Tang provincial monastery after winter, partially dismantled side hall, surviving gate and main gallery, bare earth with small spring grass, stacked salvaged grey tiles, no grand new construction; cloudy morning beginning to clear. Subjects: elderly abbot with the same restrained dignity as the earlier monk figures, plain repaired kasaya, hands on one gate leaf; three local men and two women in accurate late-Tang commoner clothing bringing baskets, rope and tiles; four artisans using wooden supports and hemp rope to raise a simple beam; one young novice sweeping but no crowd or ceremony. Style/medium: cinematic historical realism, credible ninth-century Tang China, natural human proportions, subtle film grain, high-detail film still, quiet historical aftermath. Composition/framing: wide 16:9 view from just outside the gate looking diagonally inward; opened gate frames the rebuilding activity and missing structures; foreground threshold and scattered old tiles lead the eye inward; generous pale morning sky and bare wall in upper left for later overlay; composition distinct from all prior scenes; nobody looks at camera. Lighting/mood: cool clouded daylight with a very restrained warm break in the clouds touching the doorway; cautious relief, persistence, incompleteness, no celebratory spectacle. Color palette: preserve the sequence palette—ash blue, smoke grey, dark cinnabar, aged bronze, muted ochre and restrained amber—allow only a slight warm lift in the final light. Materials/textures: weathered timber, chipped grey tiles, coarse hemp rope, packed earth, repaired woven robes, woven baskets, old plaster. Constraints: period-accurate late-Tang clothing, monastery architecture, tools and rebuilding methods; respectful Buddhist imagery; visible damage and absences must remain; no readable text, banners or plaques; no baked-in names, subtitles, calligraphy, logos or watermark; no implication that all losses were immediately reversed; same realistic grading as the sequence. Avoid: fully restored golden temple, giant new Buddha statue, festival procession, imperial visit, cheering crowd, miracle glow, pristine modern renovation, modern scaffolding or tools, cement, modern clothing, Ming/Qing architecture, fantasy palace, fire, violence, supernatural effects.",
|
||
"visualInference": "诏令只允许部分名僧修创旧寺，未记某一座寺院的具体复工场面；寺门、老僧、男女信众、修梁方法与春日天光均为有限恢复的视觉化表达。"
|
||
},
|
||
"sources": ["《旧唐书·宣宗本纪》卷十八下"]
|
||
}
|
||
],
|
||
"bgm": {
|
||
"catalogId": "seed-music-v1:linjiu:广陵散·今译",
|
||
"title": "广陵散·今译",
|
||
"version": "建议制作 68 BPM、无主唱纯伴奏的会昌法难剪辑版",
|
||
"status": "pending-export",
|
||
"pathOrUrl": "",
|
||
"usage": "以项目设定中的箫起头、弦乐垫底为骨架，保留克制古琴与低弦；如加入钟磬残响，必须使用项目自录或自生成素材。若后续只导出含人声版本，仅使用伴奏或去人声 stem，并始终让位于旁白。",
|
||
"reason": "这场事件的核心不是战场冲锋，而是政令逐步收紧、身份被改写、钟声被截断与有限重建。《广陵散·今译》的古曲骨架和现代低弦适合表现制度压力；把英雄性鼓点压到最低，又能在第四幕以单次钟磬残响制造结构断点。",
|
||
"cues": [
|
||
{"from": "00:00", "to": "00:17", "scene": "01", "direction": "低箫气声与单个古琴散音进入，低弦极弱铺底；宫廷文卷出现时不加鼓点。"},
|
||
{"from": "00:17", "to": "00:34", "scene": "02", "direction": "撤去低弦，只留疏淡古琴与脚步般的木质轻击；圆仁走向城门时留出一拍空白。"},
|
||
{"from": "00:34", "to": "00:52", "scene": "03", "direction": "低弦重新进入并缓慢收紧，敕令展开时加入一次低频擦弦，不做胜利或反派主题。"},
|
||
{"from": "00:52", "to": "01:12", "scene": "04", "direction": "铜钟离架时出现一次项目自生成的低沉钟磬残响，随后迅速截断；余段仅留古琴断奏与低音持续音。"},
|
||
{"from": "01:12", "to": "01:28", "scene": "05", "direction": "恢复开头的箫与古琴动机，和声略微变暖但不完全解决；寺门打开后留一秒环境空白。"}
|
||
]
|
||
},
|
||
"sources": [
|
||
{"claim": "会昌五年七月并省天下佛寺、两京与州府留寺限额、寺产没官、钟磬铸钱及御史督办", "citation": "《资治通鉴》卷二百四十八：https://zh.wikisource.org/zh-hans/資治通鑑/卷248"},
|
||
{"claim": "武宗亲近赵归真等、七月敕令细目，以及拆寺、还俗僧尼和收编寺院奴婢的官方汇总数字", "citation": "《旧唐书·武宗本纪》卷十八上：https://zh.wikisource.org/zh/舊唐書/卷18上"},
|
||
{"claim": "限制政策自842年前后逐步收紧，以及圆仁被迫还俗、易服离开长安的亲历记录", "citation": "圆仁《入唐求法巡礼行记》卷四：https://zh.wikisource.org/zh/入唐求法巡禮行記/卷四"},
|
||
{"claim": "宣宗即位后增置长安寺院，并于大中元年承认厘革过当、允许部分旧寺重修", "citation": "《旧唐书·宣宗本纪》卷十八下：https://zh.wikisource.org/zh/舊唐書/卷18下"},
|
||
{"claim": "现代研究将会昌灭佛理解为政治、财政、社会与宗教因素共同作用，而非单一动机", "citation": "Chang Mi Ran, The Buddhism Suppression Policy of T'ang Emperor Wu-tsung and the Rise of Zen Buddhism：https://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART001441655"},
|
||
{"claim": "项目 BGM 曲目、作者身份、古曲改编属性及箫起头、弦乐垫底的创作设定", "citation": "digital-me-backend/scripts/seed-music.js：seed-music-v1 / linjiu / 广陵散·今译"}
|
||
],
|
||
"blacklist": [
|
||
"不把会昌灭佛简化成赵归真一人操纵武宗；现有史料同时涉及皇帝意志、财政户籍、寺院经济、官僚政治与宗教竞争。",
|
||
"不把李德裕画成亲自带兵砸寺或唯一策划者；本素材仅确认其处于会昌朝宰相与政策执行中枢。",
|
||
"不把二十六万零五百僧尼写成被杀人数；官方记录的核心措施是勒令还俗、编户、没产和并寺。",
|
||
"不把四千六百余所寺与四万余所招提兰若混成同一类别，也不把官方汇总数字伪装成现代精确普查。",
|
||
"不声称全国执行绝对一致；圆仁记录河朔部分藩镇并未完全毁寺条疏僧尼。",
|
||
"不声称佛教被永久消灭；宣宗即位后已增置寺院并允许部分旧寺重修，但恢复并非瞬间或完整。",
|
||
"不把大秦、穆护、祆僧受整肃的史实省略成只针对佛教，也不在缺乏依据时给具体信众编造姓名和受难桥段。",
|
||
"不画武宗或李德裕亲临寺院砸佛像，不画大规模焚僧、斩首、血腥佛像碎片或群众欢呼。",
|
||
"不使用明清宫殿、清代发式、明清僧服、现代吊车、现代告示牌、火药爆炸、奇幻法术、佛光或道法斗法。",
|
||
"不在图片内烘焙姓名、字幕、诏书文字、牌匾书法、Logo 或水印。"
|
||
]
|
||
}
|