《唐嵩高山啟母廟碑銘》

The Inscription of the Qimu Temple on Mount Song in the Tang Dynasty: A Modern Interpretation

I have heard that the transformation of heaven and earth follows the natural order—this is the Dao (the Way). The interplay of Yin-Yang gives rise to infinite mysteries—this is the divine. All things resonate with one another, and worldly affairs are ever-changing. Just as the breaking of the celestial pillar caused the sun, moon, and stars to shift northward, and the damage to the earth’s axis sent all rivers flowing east. When floods submerged the Yuexi region, entire cities became homes for fish and turtles; when the waters swallowed Liyang, officials and commoners alike turned into aquatic creatures.

Exploring the remnants of Nüxia, one finds only the mournful sound of wind and rain; recalling the past of Guquan, faint echoes of song and dance still linger. The waxing and waning of heaven and earth are unpredictable, and the gathering and scattering of things follow no fixed pattern. As Laozi lamented, "I do not know whose child it is," and even Jia Yi could not explain why humans are suddenly born into this world. Observing heaven and earth, we glimpse only a fraction of the principles of Yin-Yang; tracing the beginning and end, we still fail to penetrate the mystery of life and death.

The gaining and losing of the Dao follow their own laws; the coming and going of fate are all governed by heavenly principles. Those who comprehend the Dao of transformation may perhaps understand the workings of the divine.

This Qimu Temple enshrines the mother of Qi, the ruler of the Xia dynasty. During the Han dynasty, to avoid the taboo of Emperor Jing’s given name "Qi," the character was changed to "Kai," and over time, it became known as the Kaimu Temple. However, Gu Yewang’s Records of Geography and Lu Yuanming’s Annals of Mount Song failed to verify this historical detail, mistakenly attributing the temple to a certain woman from Yangzhai—a claim that lacks credibility.

Just as the mystical realm beside the Big Dipper is the dwelling of the Queen Mother of the West, and the golden terraces and stone chambers atop Mount Kunlun serve as her sacred grounds, the title "Mother" symbolizes the power that nurtures all things. As the mother of primordial Qi (vital energy), she gives birth to all beings; as the mother of the sun, she illuminates the world; as the mother of the earth, she harmonizes all things; and as the mother of the state, she brings peace to the land.

Thus, Huaxu stepped on a giant’s footprint and conceived Fuxi; Nüdeng was touched by a divine dragon and gave birth to Emperor Yan. A shooting star crossing Huazhu brought forth Shaohao, and moonlight piercing the secluded chamber heralded the birth of Zhuanxu.

O great Xia dynasty! O majestic Mount Tu! Yu the Great, while taming the floods, married the daughter of the Tushan clan, and their union became a celebrated tale. These events are recorded in texts such as The Imperial Chronicles and Return to the Hidden.

Dongfang Shuo, wise from childhood, feigned foolishness; Han Feizi, virtuous and talented, left an immortal legacy. The writings of Han dynasty scholars flowed like springs and seas, spreading their fame, while the calligraphy of Li Si of the Qin dynasty was worth a thousand gold per character. In the folk songs of the people, we finally witness the auspicious omen of the northern boulder splitting open and the birth of Yu the Great.

This stele inscription records the miraculous legends of the Qimu Temple on Mount Song and the glorious景象 of the Tang Dynasty's golden age. The content primarily covers several aspects:

Regarding the legend of Qimu Stone, it cites ancient accounts by Guo Pu, Li Tong and others, mentioning the Qimu Stone west of Yangcheng and the Qimu Shrine south of Mount Song. These legends all have historical basis and are not mere fabrications.

It enumerates various ancient miraculous tales: the maternal transformation at Kongsang (a place name), the bamboo-splitting birth of a man by the Tun River, the rainbow called "didong" (an ancient term for rainbow), the moon known as "zhanchu" (another name for toad), the Jingwei bird carrying wood to fill the sea, and the female corpse transforming into charming grass. It also mentions moving stories like the woman waiting endlessly for her husband after a landslide on the Shu roads, and the stone figure gazing for her spouse at Wuchang.

The text praises the Great Tang for ushering in a new era, born in harmony with celestial destiny. The emperor wields the creative power of heaven and earth, bringing peace to the realm. It mentions how the Heavenly Sovereign (referring to Emperor Gaozong of Tang) inherited the Mandate of Heaven, with golden caskets and jade tablets recording civil and military achievements, as the court carried forward ancestral glory. The emperor governs with effortless grace (describing wuwei governance), facing south to receive tribute from feudal lords.

The prosperous景象 is described: the nation's strength rivals the Zhou Dynasty's Cheng-Kang Peace or Han Dynasty's Wen-Jing Prosperity, with cultural influence reaching east and west. For three years the seas showed no waves, for months auspicious clouds lingered unbroken, appearing with phoenixes displaying five-colored patterns and divine dragons bearing eight trigrams. True ritual lies not in formal bows and ceremonies, but in transforming customs. The Director of Blessings enriches households, the Director of Fate prolongs life.

Finally, it mentions the sage king's way of governance: enlightened rulers maintain constant vigilance, while the Son of Heaven relies on wise ministers. The people live in contentment, working at cockcrow and coexisting harmoniously with wild deer. The River Chart manifests forty-six auspicious signs, while Mount Tai's Fengshan ceremonies leave seventy-two traces - all demonstrating how the ancient Heavenly Sovereign (one of the Three August Ones) acted in accordance with the Dao of Heaven.

This stele inscription recounts how ancient emperors conformed to the Dao of Heaven to benefit the people, along with the historical origins of the Qimu Temple on Mount Song.

The text first enumerates the achievements of ancient sage-kings: The Human Sovereign (one of the Three Sovereigns) could connect with the Nine Provinces above and relieve suffering below; Fuxi (also called Xi Huang) created writing, taught fishing and hunting, and established calendars by observing celestial phenomena; Shennong (the Agricultural Sovereign) instructed people in farming, tasted hundreds of herbs to cure diseases, and developed commerce; The Yellow Emperor (Xuanyuan) received military strategies from the Mysterious Maiden (Xuan Nü) and quelled rebellions with the aid of the Yellow Spirit (Huang Shen); Emperor Shaohao (Di Hao) standardized weights and measures while planning capital cities; Emperor Zhuanxu (Di Xu) established sacrificial rites and taught people to follow celestial and terrestrial rhythms; Emperor Ku (Di Xin) instituted governance systems to harmonize heavenly principles with human affairs; Emperor Yao (Di Yao) ruled through virtue without flaunting personal achievements; Emperor Shun (Di Shun) excelled at selecting capable officials, his virtuous governance moving Heaven and Earth. These sage-kings all governed by following the Great Dao of the "Three Systems" (Heaven-Earth-Humanity) and the laws of the "Five Phases" (Wood-Fire-Earth-Metal-Water).

The latter section describes how King Mu of Zhou once toured Mount Taishi (another name for Mount Song), and how Emperor Wu of Han sought traces of Tushan Shi (mother of Qi, founder of the Xia dynasty) during sacrificial ceremonies on the mountain. Though the temple's painted decorations have faded through the ages, its sacred traces remain. This holy mountain, recorded in ancient texts as "Mount Waifang," stands at the heart of the Central Plains. Today, the temple's winding altars and towering Jade Maiden Platform face each other across steles and gate towers, bearing witness to this enduring history.

Notes:

1. Five Luminaries: The five planets (Venus, Jupiter, Mercury, Mars, Saturn)

2. Mysterious Maiden (Xuan Nü): The goddess who taught military strategy to the Yellow Emperor

3. Yellow Spirit (Huang Shen): The Yellow Emperor's guardian deity

4. Three Systems: The ways of Heaven, Earth, and Humanity

5. Taishi: One of the main peaks of Mount Song

This inscription describes the magnificent scenery and ritual ceremonies at Qimu Temple (dedicated to the mother of Yu the Great) on Mount Song. Here's a modern interpretation:

Near the temple stand stone statues surrounded by golden grasses and five-colored shell trees. Purple clouds drift through mountain gullies while white mists envelop the ridges. According to the Book of Changes and Dunjia divination texts, this is truly a sacred abode of deities.

The builders commissioned thorough surveys before reconstructing the temple on its original site. Craftsmen demonstrated extraordinary skills to create architectural marvels: crimson flowers reflecting sunlight, pavilions seemingly suspended mid-air, and corridors appearing to float atop treetops. Within are towers where immortals dwell and chambers where goddesses lean by windows, adorned with tortoiseshell rafters, glazed tiles, vermilion jade staircases, and golden gate towers.

The mountain resembles white jade embankments while trees flow like emerald streams. Rare aquatic plants grace the front courtyards, and fresh hay lines the pathways. Orchid fragrance mingles with flowing water as bamboo brooms stand against the wind, isolating the complex from worldly clamor. The architecture is so dreamlike that even literary giants like Song Yu and Qu Yuan would marvel at the sight.

The temple interiors display exquisite furnishings: frost-light gauze fluttering, cloud-pattern brocade unfurled, with mandarin duck embroidered cushions, kingfisher-green canopies, white-feathered fans, and blue-silk shoes. Jade phoenix pendants seem to sway with the breeze, while golden sparrow hairpins are perfectly proportioned. The entire space shimmers between light and shadow, with garments glowing like celestial clouds.

Ritual vessels contain rare delicacies like unicorn embryo and phoenix eggs, alongside divine delicacies such as tree honey, golden cream, jade nectar, and qiong wine. During ceremonies, deities from the Five Sacred Mountains and Nine Heavens descend: the Lunar Goddess opens the celestial gates, river god Fengyi beats the drums, and Nüwa sings softly. A blue dragon plays bamboo flutes to the left while a white tiger plucks zither strings to the right. Golden Perfected Ones (high-ranking deities) sit solemnly as jade maidens burn incense, heavenly maidens descend with wind and rain, and divine maidens accompany frost and snow.

The scene bursts with vitality: peacocks dance with phoenixes, Nongyu (Duke Mu of Qin's daughter) arrives in splendor, the Weaving Maid crosses the Milky Way to visit, the Luo River Goddess moves with ethereal grace, and the Jiang Consort exudes gentle charm. The Mysterious Maiden (Jiutian Xuannü) adorns herself with moon pearls, while the Plain Maiden (Su Nü, Yellow Emperor's instructor in sexual arts) coils clouds into her hair. The Ninefold Heavenly Matriarch and Eight Extremes Madam (high-ranking Daoist goddesses) all gather here. The entire spectacle manifests a grand ritual where humans and deities celebrate in joyous communion.

This inscription records the flourishing state of the Qimu Temple on Mount Song during the Tang Dynasty, extolling Yu the Great's flood control achievements and the divine power of Qimu (the Mother of Qi). Let me interpret it in modern terms:

The opening depicts the attire of divine beings (azure mist garments, emerald cloud robes) and their miraculous appearances and disappearances. It mentions how ancient sage-king mothers like Yao's mother and Shun's consorts (Ehuang and Nüying) had manifested their spiritual presence. However, their former altars and temples had fallen into ruin until local people established this Three Immortals Temple (referring to Qimu Temple), offering abundant sacrifices (animals and jade silks) to venerate the deities.

The inscription first praises the majestic terrain of Mount Song (one of the Five Sacred Peaks), mysterious as a dragon's lair. It then recalls Yu the Great's legendary flood control: when the "great springs remained unstopped," Yu dredged the floods and divided the land into nine provinces, laboring for eight years ("not looking homeward for eight years") and passing his doorstep three times without entering. The phrase "my marriage followed proper rites" refers to Yu's union with the daughter of Tushan, while "bears and panthers began appearing" alludes to the legend of Qimu transforming into stone while giving birth to Qi.

The latter section describes the Tang Dynasty's prosperity: Emperors Gaozu and Taizong received the Mandate of Heaven ("received charts and registers"), establishing enlightened governance that attracted tribute from all directions ("distant interpreters sought instruction"). It concludes with "the Fen River may be roamed, how remote is Mount Kun," expressing longing for the realm of immortals.

References like "Fufei's palace" (the Luo River goddess's abode) and "the standing temple of Mount Wu" (alluding to the Goddess of Mount Wu legend) employ other goddess lore to highlight Qimu's sanctity. Through intertwining historical legends with contemporary worship, the entire stele inscription manifests profound reverence for the Qimu cult.

This stele inscription records the flourishing state of the Qimu Temple on Mount Song during the Tang Dynasty. Qimu (Initiating Mother) refers to the legendary Tushan Shi, wife of Great Yu and mother of Qi, the Xia dynasty ruler.

The inscription begins: According to ancient traditions of the Suichao clan, this was once the dwelling place of Xia Qi. The Virtue (De) of Tushan Shi never fades, and her noble reputation endures through time. Both Zhou kings and Han emperors halted their chariots here to offer sacrifices, praying with devout hearts for divine blessings—the incense fires have burned continuously to this day.

Describing the temple architecture: The forest officials (Yuheng) maintained the timber, while master craftsmen (Ban Chui) restored the halls. Rainbow-like beams spanned the temple roof, and dragon-carved pillars encircled the sacred hall. Lush vegetation thrived in the courtyards, with flowing water surrounding the central chambers. This stone temple was unparalleled in the world, complemented by adjacent pavilions.

Depicting the interior: Pearl-strung curtains hung elegantly rolled, while jade-carved altars remained immaculate. Gold and emerald ornaments shimmered, and sheer silk gauze fluttered in the breeze. The divine statues seemed so lifelike they might move, and the guardian figures appeared ready to awaken. In moments of reverence, one might glimpse a numinous presence—yet all remained profoundly still.

Mythological figures are invoked: Like the river goddesses Ehuang and Nüying (Daughters of the Emperor) by the Xiang River, or the Weaving Maiden (Celestial Granddaughter) by the Silver River—their sleeves billowing as they materialized and vanished. Divine maidens toyed with precious pearls, while immortal consorts opened jade caskets, arriving and departing swift as shooting stars and lightning.

The final eulogy proclaims: How magnificent! The deities are all listening. Here converges the vital Qi (炁) of heaven and earth, bestowing blessings both tangible and true. Tushan Shi established this sacred site, and later generations carved this memorial. Lofty as the imperial ancestral temples, its legacy shall endure for ten thousand generations.

Note: "Ban Chui" refers to ancient master craftsmen; "Yuheng" denotes officials overseeing mountains and forests; "Daughters of the Emperor" are the consorts Ehuang and Nüying of Emperor Shun; "Celestial Granddaughter" signifies the Weaving Maiden. These allude to Daoist and mythological典故 (classical allusions).