On the western shore of Erhai Lake, Gusheng Fuhai Monastery stands as a physical manifestation of spiritual reconciliation. Established during the Nanzhao and Dali Kingdom periods between the eighth and thirteenth centuries, the temple originally stood north of the Yangxi stream. In those early centuries, worshippers entered to face Gautama Buddha and Vaisravana, the Northern Heavenly King who served as the local protector deity.

In 1716, during the Bing-Shen year of the Kangxi reign, local builders dismantled the sanctuary and reconstructed it at its current site. This relocation altered the temple's theological identity. The builders added altars for Confucius and Laozi alongside Gautama Buddha, creating a unified sanctuary for China's three major philosophical traditions. They moved the warrior deity Vaisravana to the adjacent Crystal Palace, which became the village's dedicated protector temple.

Directly opposite the temple gates, across a stone-paved square, stands the Gusheng Opera Stage, built in 1867. A three-hundred-year-old banyan tree rises between the two structures, its massive canopy filtering the lakeside sunlight and casting moving shadows on the stage's 1.8-meter-high stone base. On this stage, the late-Qing scholar Du Chaoxuan carved a couplet reflecting on moral consequence and contentment.

The monastery remains a functioning civic space. Members of the Baoshan Tan Xingru Dongjing Association gather here to play ancient instruments and chant the Wenchang Dadong Sacred Scripture. The building also houses the local Elders' Association, where residents meet to discuss village affairs. The scent of burning incense blends with the cool lake breeze, while the sound of stringed instruments echoes off the old timber walls, maintaining a living link to Dali's syncretic past.