《唐嵩高山启母庙碑铭》

The Dao (the Way) is what we call the course of Heaven and Earth as they bring forth the myriad things and carry them along according to natural law. Shen (spirit) is what we call the profound and unfathomable working of Yin-Yang (yin and yang) as they drive each other onward. Things sometimes respond to one another, and affairs shift with change: when the heavens tilt, the sun, moon, and stars travel north; when the earth splits, the rivers rush east. When the Yellow River overflowed, the commanderies and counties around Yuexi were drowned in floodwater; when Liyang was struck by flood, the local officials and people were said to have turned into giant turtles. Search for traces at Nüxia, and one finds only desolate wind and rain; ask about the past at Guquan, and it seems that singing still echoes there. Rise and decline follow no fixed measure, and gathering and parting are forever changing. Are all the changes of the world not manifestations of a numinous power?

I have looked into the origin of the Temple of Qi's Mother. Qi's mother was the mother of Qi, Lord of Xia. In the Han dynasty, to avoid the personal name of Emperor Jing, Liu Qi, the character "Qi" was changed to "Kai," and so the title "Kai's Mother" later arose. Gu Yewang in his Yudi zhi (Gazetteer of the Lands) and Lu Yuanming in his Songgao ji (Record of Mount Song) did not examine the reason for this taboo. They mistook Qi's mother for an ordinary woman of Yangzhai, and so judged the relevant records to be inconsistent with the classics and worthless.

All things in Heaven and Earth take the "mother" as their root. Qi (vital energy) is the mother of the myriad things, which sprout from it; the sun is the mother of light, illuminating everything; the earth is the mother who bears all things; and when a ruler and consort are wise, the state is secure and prosperous. In ancient tradition, Huaxu conceived through a spiritual response; Nüdeng gave birth to Yandi (the Flame Emperor) by communing with a divine being; the White Emperor was born of starlight, and the Black Emperor of moonlight. When the Xia dynasty rose, Mount Song stood in solemn majesty. Yu of Xia took a daughter of the Tushan clan as his wife at Duodi, while Qi's mother was linked with Taisang. Ancient books and traditions all record marvels concerning Qi's mother: some who sought enlightenment were still left perplexed; Han Fei called Qi a worthy man whose name would never perish. Han-era writings preserved the fair name of Qi's mother, and Lü Buwei, chancellor of Qin, also praised the auspicious signs in his precious chapters. Southern songs mention Yu's travels, and the splitting of a northern stone was taken as an omen of Qi's birth. Guo Pu said there was a Stone of Qi's Mother west of Yangcheng, and Li Tong said there was a Shrine of Qi's Mother south of Mount Song; the account in the Suichaozi has a sound basis, and the statements in the Huainanzi are not mistaken.

In old traditions, some mothers appeared from hollow mulberry trees, and some men were born from bamboo; a beautiful woman turned into a rainbow, and an immortal lady into a toad. Jingwei carried twigs to fill the sea and avenge her wrong; a woman, after death, turned into grass and showed her spirit. When the mountains collapsed along the Shu road, someone built a terrace to wait for a wife's return; at Wuchang a stone stood, and someone ascended a pavilion to gaze for a husband. As for lineage, no one is more exalted than an emperor; as for transformation, ordinary people can scarcely respond to such marvels. The story of Qi's mother is truly wondrous, beyond full telling.

The great Tang swept away old abuses and opened a new age; rising in accord with the turn of fortune, it received the Mandate of Heaven to govern the realm. The emperor holds the power of creation and transformation, reviving all things under Heaven; he has widened the borders and brought peace to the state in every direction. Receiving the mandate and following the calendrical numbers, he combines civil and martial accomplishment; at court he carries on the work of his ancestors, sits in majesty to govern, and brings the lords to pay homage. The Tang's way of rule is as radiant as under Kings Cheng and Kang of Zhou, and its moral influence as deep as under Emperors Wen and Jing of Han. Its teaching spreads from east to west; distant lands are at peace and near ones respectful. For years there have been no storms on the sea, and auspicious clouds linger for months. Heaven sends omens and Earth shows its corresponding signs: colorful phoenixes arrive in the parks in season, and divine dragons rise and sink in the ponds.

The meaning of ritual lies not merely in bowing and saluting; the meaning of music lies in transforming customs. The deities who govern emolument bring wealth to families and the state, and those who govern longevity extend people's years. The wise ruler is ever wary, never forgetting to guard himself with caution, while the ministers beside the Son of Heaven give their full strength in aid. The common people live in peace and enjoy their work, listening to the neighbor's rooster at dawn; people live in harmony, as carefree as wild deer. The prophetic charts and River Diagram of auspicious signs record forty-six kinds of omens, and the Feng and Shan sacrifices on Mount Tai and Mount Liangfu are recorded seventy-two times, a splendor beyond compare.

The Three Sovereigns and Five Emperors each had their own way of governing. The Heavenly Sovereign followed Heaven's will, opening up the primordial Qi at the beginning of Heaven and Earth. The Human Sovereign followed the hearts of the people, ascending to Heaven in a chariot drawn by six feathered steeds and traveling through all nine provinces. Fuxi created writing, taught people to fish and hunt, observed the stars, and arranged the four seasons. Shennong promoted farming, tasted the hundred herbs to save people, and eased the realm's affairs through trade in goods. Xuanyuan drilled his troops and waged war, relying on the Mandate of Heaven and divine aid to remove calamity from the human world. Emperor Hao unified weights and measures and laid out the capitals; Emperor Zhuanxu kept his sacrifices pure, distinguished clearly between ghosts and spirits, and governed affairs by the seasons; Emperor Xin followed the movements of the stars and set out ordinances, bringing order to human affairs. Emperor Yao's virtue moved like the sun and moon, so that the people did not notice his achievement; Emperor Shun listened to good counsel and promoted the worthy, making his accomplishments plain. The Three Unities are the root of the great Dao, and the Five Phases (Wuxing) are the source from which the myriad things grow. The Three Sovereigns established themselves by the Dao, and the Five Emperors ruled by De (Virtue); other than the supreme sage, who could combine all these virtues?

Though his accomplishments are brilliant, he is not complacent; though he has attained much, he continues to be humble. The emperor issues edicts, honors Heaven and values the people, and tours the realm. When his carriage sets out, he summons the Wind Lord to sweep the roads and commands the mountain spirits to guard the countryside; passing through Luoyi and Xiangcheng, his procession is accompanied by clouds and mist. King Mu of Zhou once visited Mount Taishi to seek the old dwelling of Qi of Xia; Emperor Wu of Han sacrificed at Mount Song and likewise sought the stone image of Kai's Mother, the lady of the Si clan.

The Temple of Qi's Mother had long fallen into disrepair, its painted colors peeling and worn by years of wind and frost. The emperor, concerned, ordered it restored. The temple stands among the ancient sites of Mount Song, near the center of the capital region. Its winding altar-terraces stretch far into the distance, facing the Jade Maiden Terrace; its steles and gate-towers look toward one another, close to the Temple of the Stone Man. Five-colored spirit herbs grow here, and jeweled trees bloom with rare flowers; purple clouds gather in the ravines, and white mist shrouds the ridges. Judged by the Yilin (Forest of Changes), this is truly where the divine dwell; judged by the art of Dunjia, it too appears solemn and awe-inspiring.

The emperor ordered officials to build the temple in their spare time, examining the old foundations according to the lay of the mountain, measuring the heavens, and surveying the ruined structure. The builders followed the established standards, and their craft was so skilled that the work seemed to follow the transformations of nature itself. Red patterns glowed in the sunlight, and towers and pavilions were set high among the mountains; winding galleries were raised at treetop height, immortals were painted on the beams, and goddesses on the windows. The eaves were adorned with tortoiseshell, the roof covered with glazed tiles, the steps paved with red jade, and the gate-towers decorated with gold.

The mountains were like white banks, and the forests like green streams. Water-plant offerings were set out before the courtyard, and fresh herbs were arrayed along the rear path; the scent of orchids hung over the water, and the shadows of bamboo met the wind, leading people far from the dust of the world. Divine images were installed within the temple, solemn and majestic. Curtains and brocades were bright, and the furnishings included mandarin-duck mats, kingfisher pillows, white feather fans, and green silk shoes; the images wore jade pendants and golden hairpins, and their garments shone like rosy clouds. In the ritual vessels were offered precious foods, and the drink included wood honey, golden ointment, jade nectar, and jeweled wine.

At the time of sacrifice, the spirits of the Five Peaks assemble, and offerings are announced to the divinities of every quarter. An auspicious hour is chosen and the gate of the spirits is opened. Feng Yi beats the drum and Nüwa sings in a clear voice; the Azure Dragon plays the pipes and the White Tiger performs the music. Golden Perfected ones attend in their seats, and Jade Maidens burn incense. Heavenly maidens arrive on the wind and divine ladies descend; peacocks fly and phoenixes dance. Immortals such as Nongyu, Zhi Qiong, and Magu come to the banquet, and Fufei, goddess of the Luo River, and the River Consort appear in turn; the True Mother of the Nine Heavens, the Lady of the Eight Extremities, and other immortals gather in the temple. Clad in azure mists and emerald clouds, they come on the wind and in an instant vanish again.

In former times, the legend of the spirit of Yao's mother lingered at Mount Jiyin, and traces of Shun's consorts were said to remain beside the Xiang River. If the altars and temples still stand, people may yet hear of the names invoked for blessing; if the buildings are left unrepaired, how can one identify the places where the spirits sang and played music? The Temple of Qi's Mother lies in a blessed land of immortals and is also revered by the people; it stands near the imperial capital, at a time when a wise and sagacious Son of Heaven makes his tours. With sacrificial animals, jade, and silk, one can harmonize Qi and honor the spirits; with phrases such as "Young Woman and Maternal Grandson," one can use words to make a meaning plain. Now, in reverent obedience to the emperor's command, a magnificent temple has been built. The men of Zhou composed odes describing the beauty of the royal consorts, and the ministers of Wei presented rhapsodies, yet they could hardly rival works that depict divine women. I venture to compose the inscription as follows:

The Nine Provinces are strategically formidable, and the Five Sacred Peaks tower into the sky. Dragons hide in caves, and the sun and moon seem to dwell in immortal palaces. Clouds and mist gather and disperse among the mountains, while thunder, lightning, wind, and rain shake the heights; nearby there seems to be the sound of pipes and song, and from far away comes what seems the tolling of bells and drums.

In remote antiquity, the great flood had not yet receded, the people suffered disaster, and the waters spilled across the Central Plains. The great Yu displayed the De (Virtue/Power) bestowed on him by Heaven. Guided by auspicious signs such as the Dragon Chart and the Conch Writings, he wore the written plans for taming the waters and surveyed the lands of the south; returning from Jieshi, he came to Taisang. In keeping with ritual he took a wife, and so his state flourished. For eight years he labored at controlling the flood and had no time to go home, and he spent many more years in arduous travel. After ascending Mount Wanwei, he cleared a road and prepared to open the mountain and cut through the rock. His wife once wandered into his dwelling by mistake and happened upon him as he was transformed into a bear. The Dao (the Way) of Heaven is profound and hard to fathom, and the circumstances of human life are tangled and complex; though Yu's bodily form changed, his divine spirit remained lodged within it. The lodge where the Dark Consort dwelt and the terrace that the immortal maidens climbed are all bound up with this miraculous tradition. All things respond to one another, and essences and souls pass between them; a shrine was built at Mount Wu, and a temple was set up on the Han River as well. The ancient altar still stands, though the temple has long fallen into disrepair.

The great Tang is radiant and sacred, accords with the Mandate of Heaven, and carries on the orthodox line. Emperors Gaozu and Taizong received their mandate from Heaven and achieved brilliant deeds; the state's fortunes then flourished, and civil and martial accomplishment followed one another. The emperor, with the palace towers at his back, governs the realm and attends court by means of Wuwei (non-action). Heaven, earth, and humanity are in harmony, and the qi (Qi, vital energy) of Yin-Yang (Yin-Yang) is in concord; fish and turtles are at ease, and people live peaceably with birds and beasts. Envoys from distant lands come to seek instruction, and neighboring states follow the Tang calendar. Moral instruction spreads in every direction, and customs return to sincerity and simplicity; ritual order is well regulated, and the people live in contentment. The Fen River can be crossed by boat, yet Mount Kunlun remains distant and hard to reach.

The legends of the old affairs of Suichao and the dwelling Qi of Xia left behind both show that the virtue of the ancient worthies endures and their fame is handed down. A king of Zhou once halted his carriage here, and a Han emperor also turned his imperial carriage back to gaze upon the place; with reverence in their hearts, they looked down upon the sacrificial grounds and allowed the offerings to continue. The officials in charge of the mountain forests managed the timber, and skilled craftsmen repaired the temple. Its roof beams span like rainbows, and its cassia-wood pillars coil like dragons; the courtyard is overgrown with plants and trees, and flowing water encircles the hall. Stone chambers can scarcely match it, and even the palace of the Yellow Emperor could serve only as its foil.

The pearl curtains are gently rolled up, and the jade seat is cool and clear; gold and kingfisher-blue gleam, and the hangings are bright. The divine images seem about to move, and the attendants seem truly present; in a trance one feels a spirit is there, yet the sound of prayer falls silent. The Imperial Daughters of the Xiang River and the Celestial Granddaughter of the Han River's bend appear and vanish, indistinct, as though wandering. The divine maiden plays with her precious pearl, and the numinous consort opens the jade gate; they come and go in an instant, like twinkling stars and illuminating lightning.

The temple is magnificent, and the spirits lend their ears; the gods are keen and discerning, and the blessings they bestow will surely not be empty. A lady built a lodge for the spirits, and a young woman carved the inscription. May the imperial house's foundations stand mighty and enduring, extending through ten thousand generations.

Brick inscription from the Temple of Qi Mu (Mother of Qi) on Mount Songgao, Tang dynasty.