《茅山誌》Vol. 31

This passage from The Records of Mount Mao documents the travels and reflections of Yuan Dynasty literati at this sacred Daoist mountain.

The description of Delightful Spring recounts the author's pilgrimage: carried in a bamboo sedan to Great Mao Peak's summit, he beholds the celestial market where immortals dwell, then bows to Immortal Maiden Sun while gazing back at the spring. The crystalline waters mirror the sky like polished jade, as if some immortal lord commanded the black dragon to spew forth ten thousand pearls. When visitors clap, the spring gushes from stone crevices with renewed vigor. The writer marvels how this inanimate water responds to human joy—a profound mystery that invites contemplation. He longs to ladle its waters to nourish all beings, concluding with poetic gratitude to the mountain spirits before standing pensively in the wind.

"Realm of Pure Clarity" depicts the mountain's transcendent landscape: Here in this exalted pure realm, perpetual joy pervades the lofty terrain. Winding paths trace emerald slopes while worldly glory fades like dew on grass, replaced by the eternal music of wind through pines. Anticipating tomorrow's ride to West Lake, he turns to see Mao's numinous peaks towering like the mythical Ao turtle.

"Farewell to Mount Mao" expresses parting sorrows: Along ancient paths flanked by towering pines, golden mountain folds recede behind him. Crane cries among clouds signal passage between worlds; phoenix flight paths now welcome mortal travelers. Days alternate between sunshine and rain at heaven's whim, while mist and glow everywhere whisper of cosmic communion. Facing such beauty that outpaces poetry, he urges fellow scholars to compose finer verses.

The final section records an auspicious omen from May 1314: In autumn 1310, over a hundred cranes roosted overnight on Great Peak. When Patriarch Liu presented this wonder to the imperial court the following year through painted scrolls, the emperor commissioned renewed sacrifices at Mount Mao—where twelve cranes appeared as celestial escorts, inspiring two commemorative poems. These verses describe rain-washed peaks glowing jade-green, flourishing flora, and Lord Mao smelling sacrificial incense before dispatching western cranes as heralds. Recalling how the hundred-crane painting once ascended to the Nine Heavens, the poet now witnesses twelve celestial messengers descending in formation—a testament to Mount Mao's enduring sanctity as a Daoist paradise.

This passage from Maoshan Zhi (Records of Mount Mao) depicts the sacred landscapes and monastic life at Mount Mao, the birthplace of the Shangqing (Highest Clarity) Daoist tradition. The text can be understood in several sections:

The first section describes how sacred sites like Golden Peak, Jade Altar, and Incense Gathering retain traces of worldly vitality, while healing medicines of the immortals permeate everywhere. Herbal gardens brim with spring vitality, and alchemy chambers glow at night. The poet longs to build a hut here for cultivation, paying homage to Master Huayang (the Daoist name of Tao Hongjing).

The second passage portrays high altars built of blue stone and cloud-wreathed peaks. When celestial music plays, even the immortal lords rejoice; the fragrance of tea draws divine envoys. Elixirs are stored in bookcases shaped like flower buds, while morning dew drips from pine moss. Mountain paths connect ridges resembling golden turtle shells, echoing with vast, resonant songs.

The third section depicts three majestic peaks like jade palaces, where cranes nesting among ancient pines know their way home. The river reflects moonlight over southern Xu lands, while towers frame the northern Gu Mountain scenery. Floating clouds connect to the Daoist sacred mountain Difei (Earth's Lungs), and ancient grottoes open to the Heavenly Gate. The poet tells truth-seekers: the Penglai paradise exists right here.

Revisiting the Guest-Delighting Spring describes icy waters bubbling up like countless crystal beads, with mountain hues and sky mirrored in the pool. Named for "delighting guests," the spring seems to joyfully welcome visitors who linger by its railings. When the poet revisits to inscribe verses, the waters appear to recognize their old friend with fresh delight. The host, keeping his promise, has restored the Daoist cloister anew.

Presented to Master Yuxu at Zhenling Abbot's Quarters records dawn clouds viewed through south windows, the cultivator's mind clear as water. Once a scholar at imperial lectures, now master of an immortal altar. Otherworldly mists bring joy, with thunder-commanding power held in one's palm. By night he witnesses the apparition of Lord Mao (founder of Maoshan), realizing his own identity as a five-hundred-year reincarnation.

The final section recounts how the Daoist master Xianxian ("Leisurely Sage"), after conducting imperial rituals for the Three Mao Lords, presented his poetry alongside works by the earlier Celestial Master Xujing. The author, upon reading them, feels enlightened, praising how the master fulfills court duties while retaining transcendent joy—a realm even Su Dongpo admired. Celestial Master Zhang Yucun adds a Chongyang Festival colophon, humbly declining comparison to Master Xujing yet cherishing their shared pilgrimage.

The closing Seeing Off Attendant Wu's Pilgrimage to Mount Mao describes clouds parting to reveal the Three Mao Grotto-Heavens (among Daoism's Thirty-Six Grotto Paradises), sailing wind-borne to Jing Creek. Longing lingers in dreams; this journey unfolds slowly like ascension to immortality. Drawing clear springs to cleanse yellow dudu (an immortal herb), he prepares to begin the cultivation life.

These poems from the Maoshan Zhi depict the immortal mountain scenery and monastic life on Mount Mao. The first poem portrays several hermits reading the Nanhua Jing (i.e., Zhuangzi) together amidst the mist-shrouded peaks, with warmth emanating from their stone table and rush cushions, capturing the refined spiritual pleasures of Daoist practitioners.

Among Liang Zhongdi’s three poems, the first opens with "white clouds and bright moon," expressing the constant contemplation of a cultivator, using wild geese as messengers to convey longing. The second recalls past moments of admiring snow and chanting poems about orchids at a friend’s home in Suzhou, contrasting the "golden waves" of worldly splendor with the "pure sorrow" of a transcendent seeker. The third employs the metaphor of "fleeting lightning and floating bubbles" to illustrate life’s brevity, concluding that one’s remaining years should follow the path of Master Huayang (Tao Hongjing).

The poem Mourning Zhongdi mentions Daoist terms like "vanquishing the Three Corpses" (removing the three parasitic spirits within the body) and "Dan Yuanzi" (a Neidan term referring to the original spirit). It laments the passing of a fellow cultivator, leaving behind only legends of Master Baishi (an immortal of lore), while the memory of bidding farewell amid last year’s spring snow remains vivid.

The monk Daoxin’s Departing from Jinling expresses indifference toward distant travels or vast libraries, desiring only a brief stay on Mount Mao. The poem describes the mountain peaks like ten thousand galloping horses, where celestial officials’ calls can be heard at night. Last year, he encountered the immortal maiden Magu while lodging alone by the Elixir Well; this year, he enters the Jade Pillar Cave to cultivate the Dao. The closing lines reflect on Emperor Qin Shihuang’s futile attempt to bury gold and suppress the land’s royal energy—only mountain asceticism embodies the true path.

The monk Zhiyuan’s Ascending the Three Peaks writes of Mount Mao’s "Earth Lung" (a Daoist epithet for the mountain as a vital terrestrial energy center), where elixir radiance flickers intermittently. The winding stone paths are home to mystical beasts like black tigers and spotted dragons, expressing a longing to seek Tao Hongjing’s guidance in Daoist practice.

The monk Weize’s Climbing the Great Peak begins with "white clouds sheared into jade-terrace snow," comparing the dawn-lit mountain scenery to blossoms in a jade grotto, with every wisp of smoke among the peaks marking an immortal’s abode. It vividly renders Mount Mao’s sacred aura as a Daoist paradise.

"Leaning on the Celestial Market's High Railings Against the Azure Sky" depicts the view from the towering railings of the Celestial Market (a constellation in Daoist celestial realms). The mountains and rivers of the two capitals (likely Nanjing and Beijing) appear faintly through mist and clouds, while an icy eastern wind carries ten days' worth of frost. Nearby, only a stretch of cold mountain haze is visible.

"Wandering Among the Three Halls of Tao Pond" describes the experience of visiting these halls. Passing through a pine forest reveals another temple complex, and opening the gate offers a view of the various peaks of Mount Mao (a sacred Daoist mountain). While walking, one might momentarily feel transported to Mount Lu (a renowned Buddhist mountain), and upon returning, the sound of temple bells from upper and lower courtyards accompanies the meal.

Feng Zizhen's "Lyrics of Cloud Forest's Clear Distance Through Four Seasons" uses four poems to portray seasonal scenes: In spring, butterflies flutter along stone paths, bees struggle with the bright sun while swallows delight in fine rain; in summer, new bamboo sheds its husks to reveal emerald-green joints, and the plum rains cease as wheat feels a slight chill; in autumn, fireflies rest under moonlight, and a gap in the southwestern peaks reveals open fields; in winter, tea is brewed with wine made in the twelfth lunar month, awaiting snowmelt from Dragon Sands (a celestial realm), and after performing the dance of the Jade Pond's immortal cranes, one prays for longevity.

Ni Tiankui's "The Welcoming Guest Spring" describes a miraculous spring that bubbles up with pearl-like droplets whenever visitors arrive, as if the water could perceive human presence—a phenomenon attributed to the workings of heaven and earth's Qi (vital energy). The bubbles continuously rise and vanish, and when a guest asks where the spring originates, the sound of the answer comes as suddenly as thunder.

Wang Renfu's "Three Peaks" consists of three poems praising the three main peaks of Mount Mao: The first declares this peak the most majestic among the three, resembling the opening of the Yellow Court (Dantian, energy center) in the Divine Firmament (celestial realm), where one sits watching the Huai River rush by; the second depicts the great peak towering into the clouds, the middle peak wrapped in mist, with ancient trees and immortal blossoms adorning the slopes; the third describes the three immortal lords (Mao Ying, Mao Gu, Mao Zhong) standing like tripod legs guarding the peaks, protecting the people and commanding the obedience of all spirits.

Chu Huanzhong's "Spring Day in the Mountains" writes of snow melting beneath the pine trees where sunlight reaches, while wild herbs hasten spring onto the visitor's plate. A sip of the Red Spring (possibly a reference to elixir waters) transforms the body, reminding one not to judge this year's spring breeze by last year's standards.

"Autumn Night at the Ancestral Altar" (incomplete) likely depicts the autumn night scenery at Mount Mao's ancestral altar (a Daoist ceremonial platform). From the surviving text, it seems to describe the clear, cold moonlight over the altar and the meditations of the Daoist practitioners. Unfortunately, the original text is too fragmented for full interpretation.

These poems from Maoshan Zhi depict the immortal mountain scenery and monastic life on Mount Mao (a sacred Daoist mountain). Let me analyze them one by one:

The first poem portrays Mount Mao under moonlight: On a night when clouds disperse, the bright moon illuminates mountain peaks, revealing what seem to be celestial towers where immortals dwell. The sound of qiong'ao (Daoist ritual instruments) reaches the ears, while heavenly lanterns (used in Daoist ceremonies) appear nearby—signaling the return of the Three Perfected Lords (Mao Ying, Mao Gu, and Mao Zhong) from their audience with the Heavenly Emperor.

The second poem continues describing mountain scenery: Peaks encircle the Celestial Altar (a Daoist ceremonial site) as the autumn moon brings coolness, with the Big Dipper slanting near winding railings. Before the elegant chanting concludes, golden bells already chime, summoning midnight incense offerings to the Primordial Celestial Worthy.

Bai Ting's Visiting Daoist Liang on Golden Summit Peak writes: Startled birds dart through woods while sturdy palanquin bearers navigate mountain paths. The Daoist resides north of Mount Mao where rainbow-hued clouds envelop clustered towers.

Jie Xisi's two poems for Master Liu: The first reveals Master Liu only emerged after three imperial summonses, often gazing south toward Mount Mao. He sighs at empty fame, brightening only for worthy guests. His days pass with qin and books, lamenting time's flow—a mountain recluse who spent four years in the capital.

The second praises Master Liu: Your profound thoughts elude worldly understanding; you fear secular stains on sacred gates. Like Dongfang Shuo (Han dynasty mystic) rejecting honors, or Lu Zhonglian (Warring States sage) with stratagem talents. Though heroic dreams fade, you've achieved immortal merit. May you soon return to venerate the Three Mao Lords.

Wu Shan's poem seeing the Jade Void Patriarch home: Clad in hemp robes and deer-leather crown, he once pledged with Lord Mao to ride purple luan birds. Still bearing transcendent grace—what earthly joy compares? Leaves shade scriptures; forest blooms adorn stone altars. I'd sail south with you, but fear my cultivation falls short.

Yuan Mingshan's ode to Mount Mao: Towering Quju Mountain (ancient name for Mount Mao) guards Chu lands—where Lord Mao attained the Dao. Cranes cry beneath autumn moons; dragons swim hidden in clouds. Elixir furnaces glow divinely; wine jars reflect spring hues. Since serving at court, only dreams recall those dendrobium-scented slopes.

Zhao Mengfu's inscription for Yellow Court Scripture: This silk scroll of Huangting Jing (essential Daoist text) contains mysterious qin-like wisdom, its golden clasps and vermilion brocade proclaiming rarity. Possessing it prolongs life—the silk finely woven, cinnabar lines like qin strings, characters like dark moths poised to become soaring clouds.

The Dao operates like the rolling and unrolling of a scroll, appearing simple yet containing supreme principles. Without forced striving, one naturally attains the state of Wuwei (non-action). Those who truly understand this truth can devote themselves to cultivation (jingzhuan), refining themselves through bone-transforming and marrow-cleansing practices. Like dust-free windows remaining spotless, they maintain crystal clarity within.

Only by nurturing the primordial Shen (spirit) within can one recognize the true essence of Daoist methods. Adorning chariot wheels with white jade, covering carriages with celestial kingfisher feathers, building jade towers for immortals to dwell—where phoenixes and cranes dance gracefully and gibbons leap lightly. Those who comprehend these mysteries must remember to keep their minds serene. In the cultivation chambers, nighttime naturally brings radiant illumination.

The Shangqing patriarchs Yang Xi and Xu Mi (Shangqing Zhenren Yang and Xu) communicated with deities through incense purification rituals (qingzhai), personally transcribing these scriptures for posterity. Across millennia of transmission, only genuine comprehenders become true masters of the Dao. The Azure Dragon of the East and White Tiger of the West (Daoist directional deities) guard their respective positions, admonishing cultivators to maintain integrity and avoid coveting external things.

Following are the poetic exchanges between Zhang Sizhen and Zhao Mengfu at Xuanzhou Hermitage on Maoshan. Zhang Sizhen, bearing the Daoist name "Outer Historian of Juqu," cultivated near Junshan Mountain (alternative name for Maoshan), where numerous immortal traces abound: Mushroom Mountain, Lady Luo's Grotto, Rainbow Spanning the Sea, Crane Terrace, Xuanzhou's Paulownia Blossom Spring, Purple Pavilion, Fire-washed Altar, and Recluse's Dwelling Pines. On the 23rd day of the fourth month in the Zhizhi era (1322), they composed poems during their excursion, later carved in stone.

The Mushroom Mountain poem describes: The numinous peak resembles glossy ganoderma (sanxiu refers to immortal mushrooms), crowned with purple clouds. Cultivation here transforms mortal frames, granting longevity like the great toon tree (Dachun nian originates from Zhuangzi). Zhao Mengfu's response verse says: Building a hut on Mushroom Mountain, burning incense while awaiting celestial fungi. May the perfected immortals show compassion, sending crown-wearing deities to descend frequently.

Lady Luo's Grotto, recorded in Zhengao (a Daoist classic), recounts the story of Immortal Lady Yiqian from Jiuyi Mountain. The poem mentions her gifting golden bracelets (jintiaotuo) and encountering Fairy E Lühua. Gazing at distant horizons from Cangwu Mountain, hearing tales of green-haired transcendents—yet meeting in Huayang's grotto-heaven, nine hundred human years had passed.

Rainbow Spanning the Sea depicts sunrise's golden rays, where rainbows bridge Mount Feng'a like handrails to grasp the Weaving Maid's (Tiansun) sleeves—why wait for magpies to form bridges? Countless streams converge into deep pools where celestial lights and rosy clouds interweave, bathing at dawn with loosened hair to welcome the rising sun.

The Crane Terrace poem describes spirit winds whispering through still nights, as if hearing divine lords murmuring within curtains. Still today, paired cranes descend from five-colored auspicious clouds. Where white cranes soar, recluses surely cultivate—when their practice bears fruit, cranes naturally come in response.

The unfinished Paulownia Blossom Spring verse likely refers to the flower-lined stream near Xuanzhou Hermitage, metaphorically representing cultivators' purity and nobility like paulownia blossoms.

This passage comes from Volume 31 of Maoshan Zhi (Records of Maoshan), documenting several wall inscriptions and landscape descriptions related to Maoshan (the birthplace of the Shangqing lineage of Daoism). Let me explain it section by section:

The first paragraph depicts the scenery of Hualin Peak on Maoshan: in the clear mountain forests, sunlight filters through leaves creating dappled shadows, while the cinnabar springs and jade-green waters resemble solidified jade, with autumn leaves fluttering down. Here, "cinnabar waters" refer to the spiritual springs recognized in Daoism, and "jade-like congealing" describes the spring water's clarity resembling green jade.

Following this are several wall poems:

The "Poem of Idleness" describes lush phoenix trees in secluded valleys, noting that the legendary phoenix (singing phoenix) hasn't appeared for long, wondering when it might return to perch. This subtly expresses the cultivator's anticipation of an immortal's arrival.

The poem inscribed by Liang Dynasty recluse Zhou Hongrang at Xuanzhou Retreat (a cultivation site) mentions: the ancient tripod left by Li Ji, the vanished immortal traces of Zhao Xiao—after a thousand years, these relics now belong to current cultivators ("the master" refers to Daoist practitioners).

The "Purple Pavilion" poem describes a cultivation dwelling: windows permeated with Grand Mist (Daoist term for celestial qi in high altitudes), walls engraved with ancient vermilion texts (Daoist secret writings). It asks whether the master here might be the Lord of Purple Yang (likely referring to an immortal). The final four lines state that Master Lin (a certain Daoist) has already attained immortality, yet the Purple Pavilion's reputation remains—the radiance of alchemical practice flickers intermittently, and the medicine cauldron retains warmth at night, hinting at lingering immortal traces.

Through landscape depictions and literary allusions, these poems showcase Maoshan's celestial atmosphere as a Daoist sacred site and practitioners' yearning for immortal traces. The verses employ numerous Daoist imageries like cinnabar light, medicine cauldrons, and Xuanzhou (name of an immortal realm), embodying Daoism's reverence for nature and pursuit of longevity.