《仙都志》

The first volume of Records of the Immortal Capital documents the geography and history of Xiandu Mountain. This work was compiled by Chen Xingding, a resident Daoist priest of the Jade Void Palace (Yuxu Gong), and collated by Wu Mingyi (courtesy name Zhongyi), the mountain administrator of Dufeng Peak.

In ancient times, Xiandu Mountain was called Jinyun Mountain. According to Daoist scriptures, it is the 29th of the Thirty-Six Grotto Heavens, named the "Grotto Heaven of Mysterious Capital for Praying to Immortals," with a circumference of three hundred li. Legend holds that the Yellow Emperor (Huangdi) ascended to heaven astride a fire dragon at this very spot. The mountain's summit contains a stone chamber believed by mortals to be the gateway to the Grotto Heaven. Historical records indicate that "Jinyun" originally referred to the title of a summer official appointed by the Yellow Emperor. Scholar Zhang Shoujie noted that Jinyun County in Kuozhou was where the Yellow Emperor conferred official titles. The Universal Geography of the Taiping Era records that Jinyun County was established during the Tang Dynasty, and Kuozhou was renamed Jinyun Prefecture, both names deriving from this mountain's presence. The present county seat lies twenty-three li west of the mountain.

Local chronicles document that on the eighth day of the sixth lunar month in 748 CE (7th year of the Tianbao era), multicolored clouds appeared over Lixiyuan, enveloping Dufeng Peak of Jinyun Mountain. Celestial music echoed from the clouds as phoenixes and cranes danced, while the mountain itself resounded with nine cries of "Ten thousand years!" echoed by surrounding peaks. This phenomenon lasted from mid-afternoon until nightfall before dissipating. Governor Miao Fengqian reported this marvel to the imperial court, prompting an edict to rename the mountain "Xiandu" (Immortal Capital).

Dufeng Peak is also called Immortal Capital Stone. Xie Lingyun described it in Records of Famous Mountains: "Beside Jinyun Mountain stands a solitary peak piercing the clouds, two hundred zhang tall, surrounded by water on three sides with a circumference of one hundred sixty zhang. Its summit holds a lake where lotuses bloom." Nearby stands Buxu Mountain (Mountain of Pacing the Void) - appearing lower from afar but revealing its true elevation when approached. The Records of Dongyang calls this place Danfeng Mountain (Cinnabar Peak), where legend says the Yellow Emperor ascended in a dragon chariot, wheel ruts still visible today. Since Bai Juyi of the Tang Dynasty, generations of eminent scholars have left poetic inscriptions here.

Buxu Mountain faces the Jade Void Palace before Xiandu Mountain, its layered ridges piercing the heavens as peaks interweave in mutual concealment. Smaller peaks arrayed like the Big Dipper are called Douyan (Dipper Cliffs). Xie Lingyun recorded cliffs bearing hundred-zhang-high formations resembling lotuses or ram's horns. Elders say the Yellow Emperor practiced alchemy here. Liu Cheng's Records of Mountains and Waters identifies Jinyun Terrace as the Yellow Emperor's alchemical site, while Geographical Records places the Jinyun Hall at Three Heavenly Sons' Capital Mountain.

The Mountain of Immortal Capital (a renowned Daoist sacred mountain) features numerous extraordinary caves and peaks. The main peak, Dufeng (Solitary Peak), has a flat and expansive summit resembling an artificially leveled altar platform. Beside it stands a bamboo shoot-shaped stone pinnacle called Tongzi Feng (Youth Peak). Midway up Dufeng's slope lies a concave depression resembling a navel, earning the mountain its alternate name "Pingqi Shan" (Flat Navel Mountain). Ancient records like the Kuocang Old Gazetteer document its original name as Dufeng.

Mount Hao (Good Mountain) sits west of the Immortal Capital range, to the left of Chuyang Valley. When Song Dynasty transport commissioner Li Shiju visited and saw the Xu family residence facing layered picturesque peaks, he composed the verse "Magnificent houses tiered toward the good mountain," which became its namesake. Later, Neo-Confucian scholar Zhu Xi (style name Hui'an) sojourned here, further enhancing the mountain's reputation.

The Hidden Perfection Cave (Yinzhen Dong) crowns the summit of Buxu Mountain opposite Dufeng. Its entrance features exquisitely porous rocks resembling carved lattice windows, though the perilous terrain makes access rare. Local gazetteers record this as the cultivation site of Tang Dynasty master Liu Yinzhen.

The Immortal Water Cave (Xianshui Dong, also called Mirror Cliff Cave) at Buxu Mountain's base contains spring water seeping through rock fissures into stone pools that never dry, even during droughts. Tang adept Zhou Jingfu practiced here, leaving many literati inscriptions on the cave walls.

The Golden Dragon Cave (Jinlong Dong) east of Buxu Mountain contains two interconnected caverns with spacious, luminous chambers. Ancient texts describe its unfathomable depth, regarded by Daoists as one of the legendary Grotto-Heavens and Blissful Realms. In 1020 CE (4th year of Tianxi reign), ceremonies were held here to deposit golden dragon jade tablets.

The Heavenly Hall Cave (Tiantang Dong) east of Immortal Capital's Twin Dragon Cave sits at perilous heights rarely visited. Its walls bear two circular depressions—shallow on the right, deep on the left—said to house dragons whose prayers for rain prove efficacious during droughts. Nearby lie two stone basins: the left perpetually filled with clear water, the right with turbid fluctuating waters called the "Sun-Moon Springs." Behind the mountain lies another cave colloquially called Heaven's Hall, containing a quiet retreat named "Qingxu" (Clear Void) for Daoist meditation.

The Forget-Return Cave (Wanggui Dong) west of Immortal Capital accommodates dozens. A massive rock overhangs the stream at its entrance, offering panoramic views from its Forget-Return Terrace that captivate visitors indefinitely.

Chuyang Valley Cave (also called Elder Ni's Cave) by Lianxi Creek features bizarre rock formations facing Dufeng. Gazetteers describe this western valley entrance as narrow and shadowy, opening into spacious stone chambers within.

This passage describes several renowned scenic spots at Xiandu Mountain, a sacred Daoist site. First mentioned is Chuyang Valley (named for being the first to receive morning sunlight due to its eastern exposure), where a stone cave displays iridescent radiance when sunlight penetrates. The water surface outside the cave shimmers with golden reflections. Here lies the so-called Niweng Cave, traditionally believed to be the hermitage of an ancient recluse surnamed Ni. Song Dynasty official Qian Yu's poetic inscription confirms Niweng Cave's identity as Chuyang Valley.

The text then introduces several notable caverns: Shuanglong Cave (Twin Dragons Cave) sits east of Dufeng Peak, with perennial flowing water beneath. Legend recounts that during a severe drought in the Shaoxing era of the Song Dynasty, a Taoist priest from Yuxu Palace witnessed two giant serpents coiled drinking here, after which sweet rain fell—hence the name and subsequent shrine construction. The cave's left side contains a secret passage; though explorers with torches failed to reach its end, locals still perform rain-praying rituals here.

Fuhu Rock (Crouching Tiger Rock) west of Dufeng Peak resembles a squatting tiger, also called Zhushi Rock (Lion Perched Rock). Xiangluan Peak (Soaring Luan Peak) south of Dufeng features two phoenix-shaped boulders at its summit. Linggui Stone (Divine Turtle Stone) north of Dufeng presents a rock formation resembling a raised-headed giant turtle—locals predict weather changes by observing its surface moisture.

These landscapes within Xiandu Mountain Scenic Area (Jinyun County, Zhejiang) preserve numerous Song Dynasty literati inscriptions, reflecting the harmonious integration of Daoist culture with natural wonders.

West of the Immortal Capital (Xiandu) near Lianxi Creek lies a place called Little Penglai. At the center of its deep pool sits a small island covered with fantastically shaped rocks and rare trees. The southern face of the pool features a hundred-meter-high cliff inscribed with poems by famous figures across dynasties, recording their impressions of this scenic wonder. During the Song Dynasty, official Lou Yue erected a stele here inscribed with "Little Penglai" (now damaged). Nearby stands the Palms-Together Cave, large enough to hold dozens of people. Higher up the cliff face, a string of over a dozen cavities resembles threaded pearls, known collectively as the Great Bead Rocks. To the east stands another peculiar rock formation, wide at the top and narrow at the base, called the Rain-Cloak Rock.

East of the Immortal Capital, the Little Red Cliff perches above Chuanshi Pool, where thousand-foot precipices rise abruptly beside the creek in extraordinary splendor. Beneath the cliffs lies a bottomless pool—boat excursions here feel like transcending the mundane world. Thirty li upstream along the creek stands another cliff where local official He Dan carved "Little Red Cliff," sharing the name though not the location.

On the western bank of Little Red Cliff lies the Immortals-and-Monks Rock, where numerous stone pillars rise by the creek, some resembling Daoist immortals and Buddhist monks (the term "shizi" refers to Buddhist clergy). This area belongs to Jade Void Mountain territory, where ancient people often used "immortal stones" as boundary markers.

The magnificent Yellow Hut Red Cliff on the eastern foothills of Immortal Capital Mountain stretches hundreds of meters, its face dotted with multicolored caves that resemble brocaded clouds from afar and gauzy mist up close. Locals have now built a village earth god shrine beneath it. Opposite stands the Celestial Master (Tianshi) Rock, whose cave can accommodate twenty people. Legend says during an ancient drought, prayers for rain to the cave shrine of the Original Truth Guardian Celestial Master (a high Daoist priestly title) proved effective, leading to the construction of a hall before the cave that villagers still worship at today.

East of Dawn Valley lies East Mist Rock, beneath which a deep pool gathers surrounded by bizarrely shaped stones. While the immortal mountains of the sea are called East Mist and Mount Tai's southern foothills also bear this name, the origin of this particular rock's designation remains unknown.

This passage describes several sacred Daoist sites and natural landscapes around the Immortal Capital Mountain (Xiandu Shan):

The eastern cliff faces the direction of the rising sun, where water and sunlight interplay at dawn, hence its name "Dongyang" (Eastern Sunrise). The Jade Steamer Rock (Yu Zeng Yan) protrudes from the mountainside to the right of the Chuyang Valley, resembling an ancient rice-steaming vessel, with a cave beneath shaped like a stove door. Before rainfall, mist rises from the rock like cooking smoke; when the stream swells, boiling sounds emerge from the cave. Local records alternatively call this site the Azure Cloud Cave (Biyun Dong) or Master Zhang's Stove (Zhang Gong Zao), though the origins of these names remain unclear.

Yanglang Cave sits beside the post road behind Chuyang Valley, featuring upper and lower chambers that can accommodate over twenty people. Legend tells of a Yang surname cultivator who resided here, aiding travelers with talismans (fulu) and elixirs. Grateful descendants later built a shrine in his honor within the cave.

The Immortal's Rock Cave (Xian Yan Dong) nestles on the northern slope of Mount Hao, above Xianyan Village. Its spacious interior, large enough for a hundred people, now houses a local altar honoring the Field Deity. Opposite the Rain-worn Cliff (Yu Shuai Yan) on the western side of Xiandu Shan lies the Ladder Cloud Cave (Ti Yun Dong), where a sixty-zhang-long hollow ascends step-like from the mountain base to mid-slope. Locals once built dwellings in its upper reaches, now abandoned.

The Tripod Lake (Ding Hu) crowns Solitary Peak's summit, said to have once grown golden lotuses. Since Tang and Song times, literati verses have consistently referenced it by this name. The Gold-Refining Stream (Lian Jin Xi) originates from Great Basin Mountain, its name deriving from golden ore particles in its waters as it flows through Xiandu. A massive flat rock connects to Solitary Peak's roots midstream, where the thirty-zhang-wide channel maintains a mere one-foot depth. Tang dynasty documents already record this ancient toponym.

Golden Splendor Pool (Jinhua Tan), the stream's downstream deep pool, allegedly gained its name from drifting golden lotus petals from Tripod Lake. Further downstream, the Silk Stream (Lian Xi) owes its name to water resembling white silk. Local gazetteers place it west of Xiandu before Chuyang Valley Cave, where massive rocks punctuate its flow.

This passage describes the natural landscapes and temple structures of Xiandu Mountain (a sacred Daoist site).

Regarding natural features: There exists an ancient well of unfathomable depth in the southwest corner of the main hall of Yuxu Palace, from which Master Yinzhen (a Daoist practitioner) once drew water for alchemical practices. The well water remains clear and sweet to this day, warm in winter and cool in summer, never drying up during droughts nor overflowing in floods. The Jade Spring Pool below Shuanglong Cave contains crystalline waters. The Life-Release Pool outside Yuxu Palace gathers mountain stream waters and has served as a site for releasing captive creatures since ancient times. The Heavenly Pond atop the mountain behind Paradise Cave never dries through the seasons. The Combing Water Rapids above Lesser Penglai feature a massive rock spanning over thirty xun (an ancient unit of measurement) across the stream banks, exposed during dry seasons as the waters part around it—locals call it "Comb Rock." In the Alchemy Stream lies a human head-shaped boulder known as "Alchemist's Head Stone."

Concerning Yuxu Palace: This Daoist temple stands where the Yellow Emperor (Huangdi) is said to have ascended to immortality. During the Tang Dynasty's Tianbao era (748 CE), after auspicious signs of colored clouds and celestial music appeared, Prefect Miao Fengqian petitioned the imperial court to designate the area as Xiandu Mountain. A three-hundred-li radius was declared protected from logging and hunting, with a Yellow Emperor Shrine established and staffed by seven resident Daoists annually. Renamed Yuxu Palace during the Song Dynasty's Zhiping era (1065), it was destroyed in warfare during the Xuanhe period (1120) and rebuilt by Daoist You Dacheng. During the Yuan Dynasty's Yanyou era (1313), Daoist Zhao Siqi received imperial appointment to administer the temple, granted a fifth-rank official seal, and recognized by both the Imperial Academy and the Celestial Master (Tianshi) tradition.

Notable structures include: the Golden Tower Liao Yang Hall (with inscribed plaque by local scholar Ye Sichang) and the Yellow Emperor Shrine (bearing seal-script calligraphy by Tang Dynasty magistrate Li Yangbing of Jinyun County).

Mount Xiandu (a renowned Daoist mountain) boasted numerous significant structures and scenic sites during the Song dynasty. During the Qiandao era (1165-1173), Daoist priest Li Boxiang constructed the grand Falun Scripture Repository Hall, with its inscribed plaque personally written by local luminary Chen Yi. The mountain housed several sacred sites including the Tianyi Zhenqing Temporary Palace dedicated to Daoist deities, the Sanyuan Sanguan Sacred Hall (honoring the Three Officials of Heaven, Earth, and Water), the temporary shrine of Emperor Zitong (the God of Culture), as well as shrines for the Immortal Officials of Grotto-Heavens and the Jade Void True Officials.

The Yanjiao Hall bore an inscription by local scholar He Cheng, while the plaque of the Yinzhen Hall was calligraphed by Han Yongxi. Scholar Wu Jun once composed poetry here, and today the site enshrines statues of Daoist immortals like Zhongli Quan and Lü Dongbin. The plaque "Heavenly Painting" adorning the Abbot's Quarters was written by Zhu Kui, the fifth-generation descendant of Zhu Xi, at merely nine years old—a testament to the region's rich literary culture.

The mountain landscape featured numerous scenic structures: the Wind-and-Rain Hall with Zhao Mengfu's inscribed plaque, the Golden Lotus Pavilion bearing Yu Ji's calligraphy, the seal-script plaque on the Jade Void Palace gate inscribed by Zhao Ting in Dongyang, the seal-script inscription at Qixian Cave Gate by Qian Shuoyou, and the Mount Xiandu gate inscribed by Zhao Mengfu. The "Floating Cloud Pavilion" took its name from Bai Juyi's poetic line "a lone rock amidst scattered clouds"; He Zongyao inscribed the "Ripples-Returning Pavilion" above Jinhua Pond. Other elegant structures included the Xiandu Exuviation Pavilion, Rivalry Pavilion, Flower-Gathering Pavilion, and Jade-Tempering Pavilion. Outside the Grotto-Heaven Gate stood the Crane-Perching Pavilion, while above the Life-Release Pond rose the Water-Mirroring Pavilion, and before the Forget-Return Cave stood its namesake Forget-Return Pavilion.

The Miaoting Abbey, situated east of Mount Xiandu atop Golden Dragon Cave, was originally founded in the first year of Xiantong era (860) by the reclusive Master Liu. His disciples later constructed the Mysterious Ruins behind it. In the third year of Qianfu era (876), disciple Zhu Huisi petitioned the imperial court for an official plaque and received the title "Xiandu" (Immortal Capital). Luo Yin composed its commemorative stele in the first year of Jingfu era (892). Renamed during the second year of Zhiping era (1065) in Song dynasty, it was restored as a hereditary incense-burning site under the Jia-Yi temple ranking system by Daoist priest Chen Huaiyu in the first year of Huangqing era (1312) during Yuan dynasty, thereafter flourishing with continuous worship.

The Lone Peak Academy stood on the western bank of the Alchemy Stream, facing the solitary peak. During the Chunxi era (1181) of Song dynasty, Zhu Xi once resided here while awaiting imperial response to his impeachment memorial against the Taizhou prefect. In the first year of Shaoding era (1228), local scholar Ye Sichang established its ceremonial hall as a lecture space. During the third year of Xianchun era (1267), Minister Qian Shuoyou expanded the academy on its original foundation, which connected structurally to the Jade Void Palace.

The Lingze Temple stands before the Twin Dragon Cave, enshrining the Twin Dragon Deities. According to local records, in the seventh year of the Xianchun era (1271 CE) of the Southern Song Dynasty, County Magistrate Chen Shaoruo successfully prayed for rain here and subsequently petitioned the imperial court to grant the temple its official name. Though modest in scale, this ancient temple has consistently answered the rain prayers of local communities, undergoing multiple renovations over time.

Beside the Cloud Ladder Cave on the western slopes of Xiandu Mountain stands the Temple of Lord Zhao (dedicated to Eastern Han dynasty fangshi Zhao Bing). Local devotees deeply revere this deity. Zhao Bing, styled Gong'e, was a native of Dongyang during the Eastern Han, skilled in the shamanic healing arts of the ancient Yue region (sorcery and medicine practices of the Jiangnan area). Known for his integrity and frugality, he worshipped deities with flowing living water and used mulberry bark as ritual offerings, achieving remarkable efficacy in healing. Later practicing medicine in Zhang'an (modern Taizhou), the people revered him as an immortal. After his death, shrines were erected in his honor, and legend claims his temples remain free of mosquitoes to this day.

Zhao Bing's medical techniques, known as "Lord Zhao's Prohibitive Arts," continue as a healing tradition in Jiangnan. The Zhengyi (Celestial Master) Daoist tradition still issues "Lord Zhao's Prohibitive Qi Registers" (healing talismans) during ritual ceremonies. His primary shrine, commonly called the Temple of Lord Zhao, lies east of Yongkang County in Wuzhou.

Yongkang County also hosts the Temple of Marquis Wushang, likewise dedicated to Zhao Bing. Though no stele inscriptions remain, ancient clerical script characters reading "Temple of Marquis Wushang" still grace the lintel. The Lingkang Traveling Shrine in Qingtian County is essentially the same as the Temple of Lord Zhao in Jinyun County. Originally worshipped at Baihe Mountain in Linhai County (Taizhou), Zhao Bing received the imperial title "Numinous, Auspicious, Manifestly Protecting, Vastly Beneficent, and Martial Prince" in 1084 CE during the Yuanfeng era of the Northern Song.

Jinyun County was established in 698 CE (first year of the Shengli era, Tang Dynasty) from territories of Kuocang (modern Lishui) and Yongkang counties. The Temple of Lord Zhao happens to sit precisely on Yongkang's historical boundary, with research confirming this was originally Yongkang territory. While miraculous manifestations of Zhao Bing are recorded throughout the region, only this temple preserves stone statues as evidence. The shrine remains perpetually free of mosquitoes, and the local area produces no leeches. During floods, droughts, or plagues, prayers here invariably prove efficacious—likely because this site represents the origin point of Zhao Bing's cult.

Master Zhou Jingfu was a Daoist priest from Xiandu Mountain who resided in the Immortal Water Cave during the Dali era of the Tang Dynasty. He practiced prolonged grain abstinence (bigu) and quiet cultivation for over a century before attaining immortality. The Jade Void Palace still preserves the poem "Dwelling of Venerable Master Zhou of Mirror Cliff" and its preface by Lu Guimeng as evidence.

On the mountainside of Xiandu Mountain in Chuzhou, there is a cave that resembles a mirror when viewed from below, hence its name Mirror Cliff. The cave sits about sixty meters above ground, accessible only by bamboo ladders. Inside, the space measures approximately three zhang square (about 30 square meters), with stalactites dripping water. Zhou Jingfu of the Huang-Lao Daoist tradition lived here for eighty years without consuming grains, burning only a single stick of Jiangzhen incense daily while reciting the Lingbao Duren Jing (Scripture of Salvation). When Duan Ke, a native of Dongmou, served as governor of Chuzhou, he heard of Zhou’s reputation and climbed the ladder to visit. Duan asked him, "Having lived here so long, do you know how much water these stalactites drip in a day and night?" Zhou replied, "I’ve measured it—about one and a half hu (roughly 45 liters) per full day." Astonished, Duan bowed in reverence. Thirteen years later, a visitor from Chuzhou reported that Zhou was still alive. Longing to see the master’s Daoist practice again but unable to meet him, Duan composed a poem:

"They say you’re lighter than a crane,

Dwelling in stone chambers with clouds as companions.

At dawn, you carve divine incense alone,

At night, you chant celestial scriptures in solitude.

Immortals from all realms come to listen,

Yet your white hair remains uncombed.

Knowing you’ve attained true transcendence,

When will you ride a white carp eastward?"

The poet Pi Rixiu also responded with verses:

"Eighty years in Mirror Cliff’s embrace,

Deer-skin scarf beneath flowing white hair.

Stone bed chilled, clouds for a pillow,

Scriptures damp, milk-drop seals the case.

Monkeys sip from streams, peeking into caves,

Ladder-climbing guests rest on perilous rails.

Why do worldly officials, caged birds,

Still yearn to sail to immortal hills?"

Another recluse, Liu Chujing, styled Daoyou, traced his ancestry to Pengcheng in Peiguo (modern Xuzhou). His forebears sought refuge in Suichang, where he was born into a Confucian scholarly family. Gifted from youth, he studied widely and, while wandering famous mountains, encountered a master who taught him the "Way of Expelling Gnats" (a breathing and energy-circulation technique). Summoned by the emperor and granted crimson official robes, he later withdrew to Xiandu Mountain’s Hidden Truth Cliff. Beside Golden Dragon Cave, he built a thatched hut (now Miaoting Temple), gathering hundreds of disciples.

Day after day, visitors came from afar in an endless stream, and disciples wished to erect a statue of their master for veneration. One day, a Daoist who loved wine came and completed the statue. The master kept him for ten days of drinking, and upon parting, presented him with thirty taels of gold in gratitude. As they reached the entrance of Golden Dragon Cave, the Daoist said to the master, "When you return, first look beneath your inkstone." Upon his return, the master indeed found a note that read: "You gave me gold, I teach you the method to preserve truth. True Qi guards the form, the form nourishes the divine spirit." Wrapped within was the very same ingot of gold. The master was suddenly enlightened and subsequently built a burial chamber (Mysterious Ruins) behind his dwelling, personally recording the events of his life.

On the day of Xinyou in the sixth month of the fourteenth year of the Xiantong era, the master ascended in feathered transformation (achieved immortality). He was buried in the chamber that very day. Governor Lu Qianzan composed an inscription for the statue, praising: "The most numinous essence, the deep source of the great Dao. His simple nature never dissipated; his divine spirit remained whole. Alas, ordinary people are driven by desires, causing their innate Qi to scatter in moments. Only the master, serene and detached, dissolved all thoughts—how could external things disturb such perfect truth? His form and vital breath still needed to shed mortal dross—how much less could a mere clay statue represent his true being?"

Years later, a fellow villager encountered the master by the Han River in Xiangyang. When disciples heard of this, they opened the tomb and found only a staff and a pair of shoes inside—proof the master had achieved liberation from the corpse (the empty tomb remains behind Miaoting Temple today). Another inscription reads: "Returning to the Supreme One (the origin of Dao), no trace remains; within the mystery lies deeper mystery. This statue left behind is not the master’s true form. His authentic nature dwells not in this body, moving between existence and non-existence, beyond human intimacy." (The account comes from local records; the praises are cited from the old Kuocang chronicles.)

This passage records the deeds and contributions of renowned Daoist masters throughout history at Xiandu Mountain (one of Daoism's sacred Grotto-Heavens and Blessed Lands). It primarily describes how, after the Xuanhe era of the Song dynasty, numerous eminent Daoists propagated the Daoist teachings and established temples here.

You Dacheng, a native of Lecheng, single-handedly rebuilt the temple after it was destroyed by war, continuing his predecessors' work and inspiring later generations. Skilled in feng shui, he personally selected a branch of Xiandu Mountain as his family burial ground, prophesying that his descendants would maintain the Daoist lineage for generations—a prediction that held true for eight generations until the You family's gradual decline by the late Song period.

Lou Dadu and Huang Jiansu, both locals, vigorously promoted the true essence of Daoism. Li Boxiang from Jianchuan, a master of profound Daoist arts, established the famous Feitian Daoist Temple in Zhejiang. Liu Yanyong, a native of Shaowei, successfully petitioned the court to reduce taxes; his fellow disciple Wu Ruochong shared his dedication, both establishing significant Daoist achievements.

Hong Duanben (Daoist name Gaoxi), Ye Baohe (Zhujian), Zhan Xuyi (Ji'an), and Chen Guanding (Chushan) were all natives of Lishui. These four masters, passing the teachings from master to disciple, upheld the orthodox Daoist tradition and became leading figures of their time. Among them, Lord Chushan (Chen Guanding) made particularly outstanding contributions by adjusting the temple's orientation.

Lin Tianren (Hengzhou), from Kunyang, formerly held the position of Xiuzhi Lang before turning to Daoist cultivation amid turbulent times. He compiled Daoist scriptures, perfected liturgical rituals (Keyi), and frequently presided over the grand Yellow Register Retreats (Zhaijiao for salvation of souls). During one ritual for refining and salvation, nine-colored divine light illuminated the sky, making heaven and earth radiant—a phenomenon witnessed by the common people.

Xie Tianyu (Langu), a native of Jinhua, mastered Daoist arts to remarkable effect in rituals for summoning rain, clearing skies, and commanding thunder to strike temples—his deeds are still praised today. Xu Yuanru (Zilin), a Daoist from Yuxu Temple in Lishui, was summoned during the Jingding era of Song to pray for snow. Drawing five-petaled snowflakes with chalk on blue paper, he predicted snowfall at the chen hour (7-9 AM) the next day—a prophecy that proved accurate, earning him imperial rewards.

The deeds of Master Ziwei Huiji were recorded in the local gazetteer. During the Yuan dynasty, he was summoned to court due to his exceptional virtue (De). The Celestial Master (Tianshi), the Daoist leader, revered his cultivation and entrusted him with overseeing Yuxu Temple for longevity practices. In the jiachen year of the Dade era, he passed away without illness, leaving behind this verse: "I was originally an immortal from Penglai, dwelling in the mortal realm for seventy-nine years. Now I laugh and point toward the immortal realm of Dinghu to return, having seen through all phenomena of this world with no remaining attachments."

Zhao Siqi, with the Daoist name Xuyi, was from Longquan, Zhejiang. As a youth, he studied Daoism at Yuxu Temple. In adulthood, he traveled to famous mountains across the land and became a disciple of the Southern Valley Daoist Master Du. When he journeyed to the capital, nobles and officials held him in high esteem. The court bestowed upon him an official seal of the fifth rank, marking the beginning of the rotating abbotship system. He was repeatedly entrusted by imperial decree to carry sacred incense and spread Daoist teachings across Huai-Shu, Jing-Xiang, Jiang-Zhe, Hu-Guang, and Min-Hai. Later, he served as abbot of the Jiqing Dayuanxing Yongshou Temple, Shenguan Temple on Jichou Mountain in Huzhou, and Baihe Temple in Pingjiang. The court honored him multiple times with titles such as "Xuanming Tongdao Xuyi Xiansheng" (Enlightened Master of the Dao, Xuyi) and "Jiaomen Zhenshi" (True Scholar of the Teachings). In the winter of the gengchen year of the Zhiyuan era, he ascended at Baihe Temple, leaving behind his ritual sword and shoes at Jichou Mountain.

Li Dening, with the Daoist name Shouyi, hailed from Kuocheng, Zhejiang. He once served as deputy leader of the Sanqu Daoist community and presided over Yuxu Temple for over forty years, dedicating himself to revitalizing the temple and eliminating malpractices. In the gengyin year of the Zhiyuan era, he was recognized for his contributions in tax exemption policies. On the yimao day of the first month in the yiyou year of the Zhizheng era, he suddenly requested paper and brush to write a verse: "Embracing virtue (De) brings peace, upholding the Dao brings fulfillment. The bright moon shines from the heavens, carefree I ascend to the realm of Shangqing." After finishing, he cast aside the brush and ascended.

Records of flora from Xiandu Mountain:

Golden Lotuses—According to the local gazetteer, Xiandu Mountain has a solitary peak with a lake at its summit where lotuses grow. Ancient legends speak of golden lotus petals once drifting down.

Dragon’s Beard Grass—This grows on the cliffs of Dufeng. Old records say that when the Yellow Emperor ascended to heaven on a dragon, his ministers grabbed the dragon’s beard in an attempt to follow, and the fallen whiskers transformed into this grass.

Longevity Pines and Ancient Cypresses—These thrive atop Dufeng Peak, with thick trunks and evergreen foliage, a testament to the nourishing waters and soil of Dufeng’s Dinghu.

The mountain also abounds with medicinal herbs often gathered by elderly villagers. Their forms and flavors vary greatly, though most remain unnamed. Drawing from the Compendium of Materia Medica, though not all are local rarities, we list them here to highlight the mountain’s spiritual essence: Solomon’s Seal (Huangjing), Calamus (Changpu), Chrysanthemum (Juhua), Asparagus Root (Tianmendong), Dwarf Lilyturf (Maimendong), Plantago Seeds (Cheqianzi), Rehmannia (Dihuang), and Achyranthes Root (Niuxi).

This passage primarily documents various herbs, plants, and their medicinal parts commonly used in Daoist alchemy and medicine. These substances held significant importance in ancient cultivation practices and health preservation, mostly employed for elixir refinement, decoction preparation, or direct consumption.

The opening enumerates common Chinese medicinal materials like shuyu (Chinese yam), yiyiren (Job's tears), bajitian (morinda root), and gualougen (trichosanthes root). It then lists over a hundred medicinal plants including dendrobium, selaginella, and gentian, specifying their different therapeutic parts such as roots, stems, leaves, and fruits. These materials serve various functions including nourishment, heat-clearing, dampness-elimination, and blood-activation.

The middle section highlights plants with special Daoist symbolism, such as xianlingpi (tree bark believed to possess spiritual qualities) and xianmao (thatched grass used by cultivators), which were often attributed extraordinary properties in Daoist alchemy (neidan). It also records classical herbs still in use today like schisandra and atractylodes, along with uniquely named varieties such as wangbuliuxing (vaccaria seed for activating blood circulation) and guijianyu (euonymus for dispelling wind and toxins.

The concluding portion shifts to everyday edible plants including staple grains like rice, millet, and legumes, alongside fruits such as pears, jujubes, and pomegranates—demonstrating how Daoist health cultivation valued both special herbs and dietary regulation. The mention of "stone steles (with inscribed poems)" likely refers to medicinal knowledge carved on tablets for study, accompanied by related poetic verses.

These materia medica inventories reflect the Daoist principle of "medical arts and the Dao sharing common origins," integrating pharmacology with spiritual cultivation. Through prolonged observation of nature, ancient Daoists accumulated extensive knowledge of medicinal plants. These records in Daoist scriptures (jing) served both as practical medical guides and manifestations of the worldview that "plants and trees possess spiritual essence."

This passage documents the stone inscriptions and poetic works left by successive dynasties at Xiandu Mountain (a renowned Daoist sacred site), chronologically organized as follows:

Tang Dynasty (618-907 CE) records:

• The four large seal-script characters "黄帝祠宇" (Yellow Emperor Shrine) inscribed by Li Yangbing, magistrate of Jinyun County and a celebrated Tang calligrapher. The original stele stood behind Yuxu Palace before being relocated to the county school by locals.
• The "Xiandu Mountain Inscription" composed by Wei Hong, later engraved in seal script by Southern Song official Qian Shuoyou.
• Another "Xiandu Mountain Inscription" written by Prefect Li Jizhen, carved in seal script by Southern Song official Zhao Biyuan.
• Poems and prefaces composed by Lu Guimeng for the residence of Daoist master Zhou Zunjing at Mirror Cliff.

Song Dynasty (960-1279 CE) materials:

• Imperial edicts and official documents (省札) bestowed upon Yuxu Palace in 1065 (2nd year of Zhiping reign), carved in stone.
• Numerous poetic inscriptions by officials and literati, including: travel notes by Wu Shuo accompanying Prefect Liu Dazhong; poems by Judicial Commissioner Ding Zongdan; poetic exchanges between Prefect Xie Ji and Fiscal Commissioner Li Shiju; tax exemption petitions by local scholar Xiang E; verses by Imperial Academy Director Zou Jingchu; and poems by Taichang Temple Archivist Wu Dashao dedicated to Yuxu's abbot Zhan Xuyi.
• Additional records include travel accounts by Du Huizhi and Zhao Biyuan, plus petitions by Judicial Commissioner An Liu for temple renovations.
• Southern Song official Qian Shuoyou's "Record of Rebuilding Yuxu Palace" and Magistrate Wu Zuwen's poem on Solitary Peak.
• Poems by Xiandu visitor Chen Renyu with a postscript by his brother Chen Shaoruo, then serving as county magistrate.

Yuan Dynasty (1271-1368 CE) artifacts:

• Rain-prayer poems carved by Jinyun Magistrate Xie Lei and envoy Xu Yuanru.
• Full-text engraving of imperial decrees protecting Yuxu Palace, mandating the "jia-yi system" (师徒传承, master-disciple succession) for temple management.
• Epitaph "Stele of Mysterious Ruins" for recluse Master Liu.
• Yuan imperial edicts protecting Miaoting Temple, similarly prescribing the "jia-yi system."

Other significant inscriptions:

• Fiscal Commissioner Ye Qingchen's "Solitary Peak Inscription" carved on the cliff face.
• Dated inscriptions (1041-1085 CE) by over forty notable figures including Zhao Bian (posthumously titled Qingxian) visiting Immortal Water Cave.

Note: The "jia-yi system" mentioned refers to the prevalent Song-Yuan era Daoist temple succession method where disciples inherited management from masters. These inscriptions—primarily concentrated at Yuxu Palace and Miaoting Temple—document Xiandu Mountain's historical development as a Daoist sacred site and its cultural legacy.

This passage records stone inscriptions left by numerous Song Dynasty officials and literati during their visits to Xiandu Mountain (a renowned Daoist sacred site). The main contents include:

During the Qingli era of the Northern Song, local official Mao Weizhan accompanied Transport Commissioner Liu Yu on an excursion to Xiandu, leaving commemorative carvings at the foot of Buxu Mountain. Over twenty notable figures—including Shen Shen from Kuaiji during the Jiayou era, Liu Changqing from Kaifeng during the Xuanhe era, and Yu Siping from Qiantang during the Shaoxing era—carved their visit dates and names in Chuyang Valley.

In the Southern Song's Shaoxing era, Guo Qifu, Jiang Shanzhao, Zhao Shanshi, Yang Jing, and others came to Xiandu by imperial decree to pray for rain, leaving inscriptions on Mirror Cliff. During the Jiading era, visitors like Liu Yuangang and Guo Leiqing commemorated their Xiandu pilgrimage with carvings on the cliffs outside Chuyang Valley.

The text also documents several famous mountain inscriptions:

• The three large characters "Xiao Penglai" (Little Penglai) were inscribed by Lou Lun from Siming and erected as a stele.
• Local Huang Bangyan carved his poem "Dufeng" (Solitary Peak) on Tongzi Peak.
• County Magistrate Wang Zhi engraved his "Ode to Little Penglai" on a cliff face.
• The three regular-script characters "Xian Shui Yan" (Immortal Water Cliff) appear in a cave.
• The large characters "Chuyang Valley" mark the gorge entrance.
• The three seal-script characters "Ni Weng Dong" (Elder Ni's Cave) are traditionally attributed to Tang calligrapher Li Yangbing.
• Other sites like Yinzhen Cave, Golden Dragon Cave, Heaven's Hall Cave, and Forget-Return Cave bear corresponding inscriptions.

The passage concludes by quoting the Tang Dynasty "Xiandu Inscription" by Wei Hong, which extols the mountain's sublime majesty in ornate prose. It recounts the Yellow Emperor's legendary visit seeking immortality, describing alchemical grottoes and golden streams that mark Xiandu as a sacred site for Daoist cultivation. The entire inscription radiates Daoist symbolism, celebrating Xiandu Mountain's sanctity as a paramount Daoist sanctuary.

This passage depicts the majestic landscape and miraculous legends of Xiandu Mountain (a renowned Daoist sacred site). It begins with a powerful portrayal of the mountain's topography: towering above all surrounding peaks, this solitary mountain thrusts straight into the heavens, with blue-black mists swirling around its Danxue (alchemical caverns, Daoist cultivation sites). Rosy clouds interweave with mist like embroidered screens, its summit nearly touching the ninth heaven where stars seem within arm's reach.

The mountain brims with immortal traces: though dragon whiskers remain unseen, one often hears phoenix-like celestial music. Legend says the Yellow Emperor (Xuanyuan Huangdi) once sought immortality here, though only his statecraft legacy remains while his quest for longevity proved futile. Ancient people carved inscriptions at the foot of this extraordinary mountain in the Jinyun region.

Tang dynasty records by Zhang Zhuo supplement: Xiandu Mountain rises from the earth like a bamboo shoot piercing clouds, becoming a terrestrial landmark. When mist envelops the peaks, it resembles deities descending amid spirit birds—utterly distinct from the mortal realm. At its summit lies a crystalline lake inaccessible to ordinary people. Here sunlight alternately pierces the clouds while mountain winds carry misty rain, with pine waves and crane cries echoing through valleys.

Song dynasty poet Ye Qingchen's verses mention: During Emperor Xuanzong's reign (a fervent Daoist patron), a Yellow Emperor temple stood here. After successfully refining his Golden Elixir (Jindan) on this mountain, the emperor ascended to heaven astride a dragon—his alchemical furnace remnants still visible. As the highest peak in the Baiyue region, it resembles the "gourd heaven" (hutian, a Daoist concept of transcendental space within miniature forms), standing majestically unchanged through cosmic transformations.

The concluding inscription reflects on the Yellow Emperor: his virtue (De) surpassed the Three Sovereigns and Five Emperors, ultimately achieving immortal ascension. In contrast, Qin Shihuang and Han Wudi's militarism brought no longevity—only those following the ancient Dao (Way) leave eternal marks on this celestial mountain. Through its interplay of landscape and divine traces, the text manifests core Daoist ideals of harmonizing with nature and pursuing transcendence.

Bai Juyi (courtesy name Letian, former Secretariat Drafter) wrote: The banners of the Yellow Emperor's celestial procession have long vanished without trace, leaving only solitary clouds and towering boulders standing eternal. Sometimes fierce winds churn the waves of Dinghu Lake, scattering droplets that transform into sudden rain showers under clear skies.

Xu Ning, a former imperial examination graduate, lamented: Between heaven and earth, through endless time's changes, how many have truly sought out this sacred mountain? Arriving here, one sees only the undulating peaks rising and falling, yet never fathoms the depths of Dinghu's waters.

Two poems by Cao Tang, Transport Commissioner and Diary Drafter:

The first describes how the Queen Mother's peach trees have aged, while the Yellow Emperor (Xuanyuan) bid farewell to his six palace consorts upon ascending from Dinghu. His celestial retinue secretly returned to the heavens, their flute songs faintly heard beyond Mount Kongtong. His burial garments rest at Qiaoshan Mausoleum, while his sword and shoes drift away with ocean winds. Though one might wish to grasp the beard he shed during his dragon-borne ascent, only empty stillness remains at Dinghu after the crimson clouds disperse.

The second depicts the landscape of the Yellow Emperor's ascension: The azure mountains have lost count of the years, their solitary peak towering as if to block the sun, a stone pillar propping up the firmament alone. Cranes often perch on strange rocks, and immortals seem to dwell among idle clouds. The sublime scenery of Dinghu proves elusive—only scattered lotus blooms remain.

Hermit Lu Guimeng (courtesy name Luwang) inscribed this for Master Zhou's dwelling at Mirror Cliff: They say this cultivator's body is lighter than a crane, dwelling alone in a stone chamber companioned by clouds. At dawn he gathers sacred persimmons from numinous peaks; at midnight he chants celestial scriptures alone. Having absorbed the essence of the Ten Directions' grotto-heavens, he hasn't even combed a single white hair. Knowing you'll soon attend the jeweled pearl celestial assembly, you'll ride a white carp to transcendence by dawn or dusk. (The preface records in Chronicles of Xiandu that Mirror Cliff is the Immortal Water Cave)

Court Academician Pi Rixiu (courtesy name Ximei) responded in verse: For eighty years Master Zhou cultivated at Mirror Cliff—beneath his deerskin cap, hair white as snow. Clouds coil perpetually around his chilly stone pillow; damp scripture cases bear stalactite droplets undisturbed. Gibbons drinking from streams glance back at cliffside caves; climbers rest against perilous fir trees on laddered paths. Why do worldly officials shackled by trivial duties still dream of boating to Xiandu seeking transcendence?

Deputy Transport Commissioner Li Jianzhong wrote: Majestically stands Mount Xiandu, solemnly rests the Yellow Emperor's palace. Giant boulders overlook vast lakes, thousand-ren peaks pierce the firmament. Since primordial chaos parted, this alone embodies nature's craftsmanship. Its depths could conceal the underworld; its cliffs seem carved to sever the void. Where immortal chariots departed, only alchemical furnace traces remain. Emerald grass glistens with dew; scarlet lotuses exhale fragrance. Soaring dragons twist with vigor; singing phoenixes harmonize sweetly. My office at the Assembly of Immortals once rivaled Penglai's fairy isles... Now stars shift to the Wunü constellation's domain...

This passage depicts the legendary scene of Daoist sacred mountains and the ascension of the Yellow Emperor (Huangdi, one of Daoism's revered progenitors). After riding a dragon to heaven from Dinghu Mountain, the emperor left behind towering stone pillars that pierce the clouds. These jade-like peaks rise a thousand ren (an ancient unit measuring approximately eight chi), their summits veiled in mist.

The "shell-adorned palaces and gem-studded halls" describe celestial splendor, while "phoenix immortal music" evokes divine harmonies. "Rainbow banners and vermilion insignia" signify immortal processions, and "lotus blossoms bearing auspicious tidings" symbolize celestial messages. The stone pillars of Dinghu Mountain have stood through millennia—no mundane grass grows upon them, no worldly dust taints them, preserving eternal purity.

The text recounts how after the Yellow Emperor's ascension, only giant boulders remain to prop up the crimson sun, with misty silhouettes suggesting palace maidens and feathered guards. Though mortals may doubt such celestial journeys, the mountain still bears traces of dragon whiskers clinging to cliffs and the wheel ruts of Xuanyuan's chariot. The final passage describes Daoist adepts gazing upon the numinous peaks yet finding no path—only cranes perched on pine boughs and deer vanishing into clouds complete this immortal tableau, as ancient altars grow more mysterious in the spring rain.

(Note: Dinghu Mountain in modern Zhejiang's Jinyun County is among Daoism's Thirty-Six Minor Grotto-Heavens; "Pacing the Void" refers to ritual walking patterns mimicking celestial movements during scripture recitation)

The summit of Mount Hua towers majestically, piercing the clouds. Court Academician Zeng Hui (author of these two poems) wrote: "I used to admire the scenery of this immortal realm only in paintings, but now that I've personally visited this abode of transcendents and witnessed the mist-wrapped beauty with my own eyes, I realize paintings can never fully capture its essence. This sky-propping stone pillar stands like the mythical pillar of heaven, supporting the firmament while guarding the lands of Wu. Ancient chariot ruts lie moss-covered, while lotus fragrance drifts over the Tripod Lake. Sea winds arrive as the morning sun rises above the clouds. The stone peak stands straight as a bamboo shoot for a thousand zhang, surrounded by mountains dyed indigo-blue. Such numinous beauty gathers the essence of heaven and earth—soaring yet never obstructing birds in flight. Thunderstorms brew within its caverns, while stars circle its alchemical furnace. Even the wondrous stones of Golden Flower Mountain (a famed Daoist peak) pale in comparison, and jade maidens gaze entranced at celestial games. Ancient altars remain, though inscriptions on weathered stelae have faded. No need to get lost like Ruan Zhao (a Han dynasty figure who wandered into immortal realms), nor be intoxicated by worldly affairs like the immortal Magu. This transcendent mountain stands alone beyond mortal concerns, smiling at Emperor Qin's stone inscriptions on Mount Tai and disdaining Emperor Shun's burial in the wilds. Summer winds fill its slopes, yet autumn frost never touches its vegetation. Daoist priests chant 'Pacing the Void' hymns while woodcutters' straw cloaks glisten with dew. Truly an abode like the Penglai Isles—compelling even this local official to compose verses."

Prefect Chen Ruozhuo described: "This stone pillar rises from earth to prop the sky, its base sprawling across acres, wreathed in clouds. Nature's uncanny craftsmanship created this abrupt wonder, its chariot ruts seeming carved by chisel. Sheer and solitary, its loftiness knows no peer. Since the Yellow Emperor (Xuanyuan) ascended to immortality here, who knows how many millennia have passed?"

Assistant Court Historian Liu Shen marveled: "This pillar stands alone above all peaks, its flattened summit measuring a full zhang in diameter. A thousand xun of stone anchors the earth, ten thousand ren of height pierces the heavens. Lake waves seem to brush against the stars, while lotus blossoms nearly touch the sun. One day I shall ride a crane to its summit and meet the assembled immortals at this ultimate height."

Hu Zhidao recorded: "This ancient grotto-heaven (a Daoist sacred site) of Xiandu holds cloud-wrapped palaces soaring skyward. Newly built halls gleam with scale-like green tiles—here in midsummer, no summer heat penetrates. At midnight, pine winds arise, then suddenly celestial music startles me from dreams. The sound resembles flutes' pure tones, phoenixes singing in harmony, cranes dancing in rhythm. How could this not be the jade pendants of immortals after their banquet? This divine music purges all worldly clamor." (The above describes extraordinary harmonies heard amidst night pine winds at Xiandu—only at dawn realizing it was celestial music.)

Li Hou (possibly referring to Li Bai) possesses transcendent talent, holding heaven and earth in his grasp. His ancient seal script (calligraphy) flows with rugged power, as unyielding as the iron pillar (referring to Xiandu's stone column).

The plaque at the Yellow Emperor's Temple bears three grand characters "Guàn Jīn Niǔ," their strokes powerful and weighty. One can imagine the calligrapher, as if in a dream, inhaling and exhaling the cosmos (like Yunmeng swallowing the vastness), and on stormy nights, the characters writhe like coiling dragons and serpents. Eerie light bursts from the crevices of rocks, keeping the plants evergreen. Ghostly beings retreat in awe, until one day the plaque vanishes, ascending to the heavens with a wisp of blue smoke, no longer belonging to the mortal realm. Today, when inquiring with the mountain dwellers, the stone inscription remains in place, but replicating such divine artistry would be harder than moving one's arm.

In the Hall of Hidden Truth, there's no need to speak of ethereal immortals—better to maintain humility in the mundane world. Who would have thought today's true hermitage would become the homeland of tomorrow's ascension? After morning rituals at the jade altar, sleeves are drenched in mist; dreaming of returning to the golden palace of immortals, moonlight bathes the corridors. This journey feels like soaring straight to the azure heavens, faintly hearing someone recite the immortal scripture Dongzhang (Cavern Classic).

From the Snow-Gazing Pavilion, one envisions the Yellow Emperor riding clouds back to the celestial realm, leaving only chariot tracks locked in the firmament. Across the vast cosmos, the alchemical cauldron's location is unknown, and the fluttering banners of immortals are no longer visible. Pray that these mountains and rivers gain a touch of immortal majesty, blessing the flora with grace. Gazing long from the railing, how can one not recall King Xiang of Chu's legendary encounter with the divine?

In the Chamber of Reason, one laments how a hundred years pass like a fleeting white colt—only leisure can nurture vitality. Celestial palaces aren't distant; even a tiny space can foster cultivation. Silent contemplation preserves the Three Dantian (upper, middle, and lower energy centers), while guarding the spirit prevents the Five Peaks (symbolizing the organs) from collapsing. When cultivation bears fruit, ascension is certain—may we ride the immortal winds to Penglai and Yingzhou.

At the Pavilion of Competing Beauty, one reflects on years of worldly struggles, gradually sinking into mediocrity. Lately, dreams have cleared, allowing appreciation of these mountain forests. Peaks resemble women's coiled hair, vividly present. Cold jade hues interplay, and numinous energy seems tangible. Chanting poetry here in midsummer, cool breezes sweep through hidden valleys. Yet one fears the mountain winds may be too fierce, turning robes into celestial brocade. Thoughts turn to Zhang Ji and Huangfu Shi of Han Yu's circle, sweating as they chased poetic inspiration.

In the Pavilion of Gathering Fragrance, time flows slowly for immortals, and spring blossoms are especially sweet. One longs to pluck jade-like flowers and savor cloud-like delicacies. Yet the floral mist may be too thick, dampening robes with scent. Seated chanting isn't enough—returning, dreams still cling to the mountain gates. (Note: This echoes the Shangqing tradition's "Gathering Fragrance" chapter, guiding one into immortal groves.)

At dawn, recite the Huangting Jing (Yellow Court Classic); at dusk, sing the Purple Mushroom Ballad. To preserve a childlike countenance (the rejuvenation of cultivation), within these chambers... (text fragmentary).

Diligently cultivate the feathered immortal's robe, weaving hair like rosy clouds and azure mists—such are the exquisite practices that enable one to follow in the footsteps of transcendents.

(Note: This passage derives from a poetic formula by Lady Ziwei, describing the cultivation method of refining jade liquor and flying essences of eight precious elixirs within the alchemical furnace.)

Arriving at this pure cultivation site, no mundane carriages or horses remain outside the gate—only clarity and stillness fill the vision. Ascending the towering immortal pavilion, its eight-sided lattice windows reveal luminous emptiness. The radiance of sun, moon, and stars shines brilliantly, unveiling all manifestations without concealment. Observe the brushstrokes recording the alchemical formulas—even the naturally formed cloud patterns compose their own scripture.

(Note: This echoes the cultivation principle from the Yellow Court Scripture: "The three lights illuminate the alchemical chamber.")

Climbing the majestic mountain peak, where cloud-wrapped stairs rise a hundred feet high, these dust-stained footsteps of a lifetime finally meet true tempering. Behold the hollowed cavern, its axe marks resembling celestial craftsmanship. Jade springs surge from stone crevices, droplets splashing like chilled emerald. Here I brew tea, simmering precious liquor in a pine-wood tripod. Its sweet aftertaste and nourishing essence suffice to awaken intoxicated souls. Ever remembering that white-haired transcendent elder (referring to Zhou Jingfu who once cultivated here), I find only bare walls remaining. Rumors say he has shed his mortal form, leaving behind immortal footprints in these mountains.

Coming to the Immortal Water Cave, these beloved peaks greet me like old friends, joyful in reunion. They resemble morning-coiled hair buns, crimson and verdant hues playfully interwoven. How much more so for mountain lovers—lifting the brush stirs poetic inspiration. Seeing perilous cliffs part before me, even halting steps must ascend. Pure wandering was never flawed, yet beholding such vistas brings deeper fulfillment. Sweeping the stone terrace to enjoy evening coolness, thick emerald dampens robe and sandals. Late-blooming mountain flowers prolong spring's breath, scattering like crimson mist. Where exactly do the immortals dwell? I fear stumbling into Peach Blossom Spring by mistake. Lingering all day until the mountain moon rises eastward, following the stream homeward, I forget the original path.

Mountain mists stretch vast and dim, valley torrents surge unceasing. Observing worldly multitudes, their comings and goings resemble autumn grass. Marvel instead at these three grotto-heavens, their hidden pathways interlinking fathomless depths. Morning sun illuminates eastern cliffs, first revealing Fusang's dawn light. Who might ingest the Ninefold Splendor (referring to the nine-cycled golden elixir)? Surely such a one preserves eternal youth. The transcendent elder long since shed his cicada husk to ascend perfected—no traces remain for seeking. My climbing here exhausts all ingenuity for exploring mysteries. Listening to mournful gibbon cries in ravines, chaotic bird songs in branches—a lifetime's pent-up frustrations here dissolve completely. Soon to resign official seals, I'll wander freely through the eight directions of the immortal realms.

(Note: The described Chuyang Valley, also called Elder Ni's Grotto, was the legendary cultivation site of the immortal Ni Weng.)

Deep in the coiling dragon-like mountains lies a primordial cave, seemingly formed when heaven and earth first parted. Within its depths, sunlight and moonlight create their own rhythms of brightness and shadow. Legends speak of divine dragons hibernating here in cultivation, exhaling clouds that gather into thunderstorms. During years of severe drought, local elders invariably come to pray at this site—whereupon dark clouds swiftly gather, pouring rain reverses the flow of rivers. When might we shed our lowly forms like fish and shrimp, soaring instead as celestial dragons across the vast heavens?

Beside Dragon Abyss Cave (now called Praise-Dragon Cave) is inscribed a poem by Prefect Liu Can: Here the Yellow Emperor ascended to immortality long ago, his divine procession never to return. A solitary peak rises beyond emerald ridges, standing majestic amid violet mists. Stone pillars stand straight as celestial columns, encircled by mountain shadows like turning wheels. The mountain's roots seem tethered to the Eastern Sea, its summit threatening to pierce the firmament. Lotus blossoms rise gracefully from the lake's heart, while ancient chariot ruts moss over with age. Nearby remain traces of alchemical furnaces; looking down, one glimpses cultivators wandering fairy peaks. Even apes cannot climb here—only phoenixes may alight. By day we marvel at masterful inscriptions, by night tremble before monumental verses. Compared to Yandang Mountain's numinous beauty, feasts at Lanyan seem dull indeed. This scenic wonder of Jinyun Mountain surely ranks among earth's rarest splendors.

Magistrate Mao Weizhan wrote: This precipitous peak houses divine immortals—I come seeking mysteries veiled in clouds and waters. The cave's depths might connect to the Nine Darknesses, its heights yield to no other summit. Facing such wonders, a whole day's gaze feels insufficient; climbing perilous paths, how could one ever tire? When will the lotus leaves fold shut again, while stone veins stay forever fresh as new? Past events drift like clouds beyond questioning, yet wordless mountain paths preserve traces of transcendence. Where now to find the distant Bridge Mountain (site of the Yellow Emperor's tomb)? Better to follow immortal traces here, ascending astride dragons.

Transport Commissioner Su Shunyuan (styled Qiuweng) inscribed: Dragon-chariots and phoenix-palanquins entered the immortal capital, their tracks suspended beyond mortal reach. Only from Tripod Lake (where the Yellow Emperor ascended) does the clear wind blow, scattering blue lotus petals to the human world.

Zhejiang Inspector Shen Kuo (styled Cunzhong) wrote: Moss seals the ancient path, green peaks remain unchanged. Cranes bore the Yellow Emperor away, never to return—save on autumn nights when the Milky Way's moon lets Tripod Lake's mists briefly touch our realm.

Local scholar Hu Fen (styled Ziwen) composed: Bird-paths spiral into cloudbanks, pine roots embrace stone as they grow. Though transcendents dwell apart, still we hear their cocks crow and dogs bark.

Zhejiang Judicial Commissioner Yang Jie (styled Cigong) left three poems:

1. A road leads to Immortal Metropolis Mountain—but who truly reached Tripod Lake?

Autumn wind arrives too urgently by night,

Shaking loose jade-green lotus blooms.

2. Asking directions through Huangbi Peak,

Parting clouds to enter the Purple Mansion.

Pines transform into wondrous stone in the forest,

Jade blocks form walls outside the cavern gate.

3. Not that Daoists favor mountain dwellings—

Renouncing the world comes late in life.

Though knowing the Yellow Emperor's chariot marks,

We never glimpse his dragon-whisker herbs.

Prefect Liu Jing (styled Juji) also left poetic inscriptions.

This poetic passage depicts the majestic scenery of Xiandu Mountain, a sacred Daoist site, and legends surrounding the Yellow Emperor (Xuanyuan). It begins by describing the mist-enshrouded Floating Hill (Fuqiu, a legendary Daoist mountain) of Stone City, the ancient cultivation grounds of perfected beings in old Kuazhou. Crossing the stream in search of secluded villages, the poet witnesses peaks surging like ten thousand galloping horses, with lingering mist veiling the mountains after spring thunderstorms.

The poem references jade towers and golden palaces (Daoist temples) alongside axe marks on pines and cypresses, subtly suggesting the transience of worldly splendor. Travelers dismount to pay homage at Xiandu Mountain, sensing the enduring solemn presence of the Yellow Emperor's divine spirit. Tracing the Yellow Emperor's achievements in governing the world, the verses recount how he established civilization's foundations, communed with immortals like Guangchengzi (his legendary teacher), and ultimately attained the profound mysteries of the Central August Lord (Zhonghuangjun, a Daoist deity).

The poet marvels that the Yellow Emperor's virtue (De) rivals the Creator's, connecting his legacy from Fuxi's Bagua (Eight Trigrams) to Nüwa's heaven-mending, culminating in return to the "Celestial Capital" (Qingdu). Though the cauldron lake (Dinghu, where the Yellow Emperor ascended on a dragon) remains unseen today, the immortal stones before the temple stand resolute, guiding later cultivators. Mentioning the "Mud Ball Palace" (Niwan Gong, the upper Dantian) as heaven's gateway, the poem asserts that unity of body, mind, and Qi (vital energy) transcends life and death.

The conclusion paints lakeside reeds swaying in wind and rain amid crimson lotuses—a metaphor for nature's wondrous transformations. The poet vows to pursue the Yellow Emperor's "Xi and Yi" (from the Daodejing: "What looks invisible is called Yi, what sounds inaudible is called Xi")—the pristine Dao beyond debate. The closing line "The cauldron lake remains unseen, yet solitary peaks stand majestic" emphasizes how the Yellow Emperor's spirit endures like these towering mountains through eternity.

This passage depicts the majestic scenery and mystical legends of Mount Jinyun, a sacred Daoist mountain.

It begins with the legend of the Yellow Emperor attaining the Dao and becoming an immortal here, riding a flying dragon to ascend to heaven. Even today, one can still see the mountain path where his chariot once passed. Ancient pines stand for millennia, white deer leave celestial traces, streams murmur softly, and pine winds whisper—as if celestial music can still be heard from the heavens. The author reflects that though the Yellow Emperor achieved eternal life, his heart remained concerned with the suffering of the people, mentioning his historical achievements in the Battle of Zhuolu. The legends of Dinghu (Cauldron Lake), they say, cannot fully capture the greatness of his virtue (De).

The text then describes Mount Jinyun as the 29th-ranked blessed land among the Daoist Thirty-Six Grotto-Heavens: a solitary peak towers two thousand feet high, its summit veiled in swirling clouds and mist, where the legendary Dinghu is said to reside. Tradition holds that the Yellow Emperor once refined the Golden Elixir (Jindan) here, ascending on a dragon in an instant—so swiftly that his attendants could not even grasp the dragon’s beard to follow. During the Tang Dynasty, auspicious clouds and numinous energy (Qi) frequently appeared here, and voices shouting "Ten thousand years!" could be heard echoing through the mountains.

The mountain’s scenery is extraordinary: the Buxu Terrace stands between broken clouds, undulating seas of mist drift across the heights, and secluded paths wind along deep ravines. On Mirror Cliff, a natural stone basin forms where mountain springs drip—miraculously maintaining a constant water level, neither overflowing nor drying up. The text mentions a recluse (possibly Lu Wang) who practiced grain-abstinence (Bigu) here for over eighty years in spiritual cultivation.

Though the Stone Gate Waterfall is magnificent, the author notes, the scenery here is even more sublime—so profound that even the greatest painters could not capture its divine essence. The passage concludes with lines from Wu Shuo’s poetry, praising the wonder of peaks like Jade Bamboo Shoots and the Golden Lotus Pool, inspiring thoughts of seclusion and Daoist practice.

Throughout the text, repeated references to the Yellow Emperor, Dinghu, and other Daoist lore highlight the mountain’s significance in Daoist belief, as well as the legends of alchemists refining elixirs and achieving ascension here.

This collection of poems depicts various literati's reflections while visiting Xiandu (a sacred Daoist site). I will analyze them in sections:

The first set by Han Yuanji (style name Nanjian) describes a night journey on Xiandu Mountain: beyond the railings, the cold wind howls as frost and moonlight illuminate his walk on Buxu Mountain (a Daoist cultivation site), listening to ethereal immortal music. After playing the zither and trimming the candle wick, the long night stretches on, yet he finds a moment of tranquility in the mortal realm. The poem satirizes how Emperor Qin Shi Huang's Fengshan sacrifices for immortality left only empty fame, and how Emperor Xuanzong of Tang's pursuit of longevity at Huaqing Palace pales beside idle clouds transforming into auspicious signs among mortals, with mountains echoing the natural chorus of "ten thousand years."

The second poem mentions the legend of the Yellow Emperor (Xuanyuan) commanding dragon-tiger armies at the Battle of Banquan, later casting his tripod at Mount Jing before ascending to heaven. It laments how imperial relics remain, yet none truly learn the Dao or cultivate immortality.

Li Shiju's verses portray passing through Xiandu: the deep secluded streams, vegetation shifting with sunlight, farmers celebrating harvest. Thousand-zhang stone peaks stand knife-cut sharp amid cloud-shrouded mountain ranges. Though official duties prevent lingering, he remains deeply enchanted by this immortal realm.

Xie Ji (style name Jinghui) responds as a preoccupied magistrate: though dwelling in this Xiandu paradise, governance leaves no leisure for full immersion. Commoners young and old crowd his carriage, yet he prefers these silent green hills.

Zhu Xi (sobriquet Hui'an) compares himself to "a lone cloud leaving the valley," expressing how despite official duties chaining him like interlocked rings, he finds spiritual homecoming in Xiandu's emerald ravines and cultivated bamboos, as if returning to native mountains.

Local scholar Wu Jinwei's five Xiandu poems tell of wearied official paperwork driving him here to seek truth and Dao. Pausing before Rutted Peak, lingering at Forget-Return Grotto, he sighs how few among fame-seekers grasp Xiandu's essence. Finally meeting an emaciated elder in yellow Daoist headgear, they discuss profound teachings face-to-face, the old master advising release of worldly attachments.

Amidst the worldly tides of officialdom, there truly exist places akin to celestial realms. The legendary Stone Bamboo Peak has been said to tower eight hundred zhang high since antiquity, while the tale of the Yellow Emperor ascending to immortality astride a dragon from Dinghu Lake has circulated for millennia. Though I cannot verify the authenticity of these legends, I am certain that this Immortal Capital is what Daoism calls a "grotto-heaven and blessed land" (Dongtian Fudi, the Daoist conception of paradisiacal realms).

A light rain at the mountain's foot washes away worldly dust, while white cranes by the gate greet visitors with crystalline cries. Here, one drifts as if in a dream, seemingly transported to an immortal realm, thus kindling deeper curiosity about traces left by transcendent beings. The local prefect Xu Yin (Southern Song official) once mused: "Recalling legends of this Immortal Capital, I'd planned to seek it out upon retirement. Yet suddenly reading these fresh verses is like viewing a painted scroll—the mountain paths appear naturally formed, requiring no deliberate search."

The mountain cranes seem to lament their lost nests, while clouds gather and disperse unpredictably at cave mouths. Remembering the ancient trails of this sacred peak, one finds moss on stone bridges nearly obscuring all footprints. That jade-faced immortal (referring to the Yellow Emperor) shows no signs of aging despite centuries, having long transcended worldly honors and disgraces. Last night's misty clouds dissipated slightly, as if reproaching those visitors who disturb the purity with their carriages and horses.

Legend tells how the Yellow Emperor achieved immortality here, with tales of Dinghu Lake enduring a thousand years. Where dragon whiskers touched earth, spring grasses now grow—yet none today can still ascend to heaven. The path to the Peach Blossom Spring remains unsullied by dust, though those ancient recluses are nowhere to be found. Such are the elusive ways of transcendence: even the chariot ruts at Dinghu may be but illusions.

Another prefect, Wu Fu (Southern Song official), responded in verse: "Seeking the ancient Jade Void Palace (Daoist temple) of this Immortal Capital, I found guidance from a local before the mountains. Amidst swirling mists and glow stands a solitary peak, where pines and bamboos veil winding paths. Leaning on my staff, I wander emerald slopes, lingering beneath the Pacing the Void Mountain (Buxu Shan, a peak in Xiandu). Such secluded dwellings surely housed hermits—why are such sages so scarce today?"

They say Dinghu Lake still crowns the summit—do its lotuses bloom as of old? Since the Yellow Emperor's departure, only empty chariot tracks remain, making one wonder if these very mountains were the ancient capital. The immortal long since rode his dragon away, leaving behind two ageless white cranes. Sitting quietly, I suddenly felt severed from the mundane world, finally believing in that "gourd's interior" (Daoist metaphor for a microcosmic paradise) with its alternate universe.

These peaks have drawn pilgrims since antiquity, yet how many truly grasp their essence? Rare as you are in sagely wisdom, rarer still to capture their numinous beauty in fresh poetry.