《岱史》Vol. 11

Volume Eleven of The History of Mount Tai (Daishi) documents the palatial structures atop Mount Tai (also known as Daizong, the "Supreme Mountain"). Since ancient times, renowned pavilions and towers have been erected in places of extraordinary natural beauty, and as the foremost scenic wonder under heaven, Mount Tai's architecture is unsurpassed in grandeur. These structures seem to take the heavens as their roof and the sun and moon as their windows, with mist and clouds serving as tea tables while wind and rain perform the sweeping. Beneath their eaves, one transcends worldly concerns, surveying all directions as if dwelling in an immortal realm—truly a paradise on earth.

Among the most celebrated buildings are:

• The Guahua Pavilion (commemorating Confucius's ascent of Mount Tai),
• The Mount Tai Academy (where renowned Confucian scholars like Sun Fu and Shi Jie once lectured),
• The Guanhai Pavilion (offering views of the sea of clouds at sunrise),
• The Xiaxian Palace (bearing a plaque inscribed by Wan Gong with the phrase "Riding the Wind in Emptiness"),
• The Yangzhi Pavilion, and
• The Guesthouse (for hosting imperial officials).

Perched on precipitous peaks, transporting each brick and tile required immense effort, making construction costs ten times that of flatland projects—a testament to the laborers' toil. Moreover, the mountaintop's swirling mists, relentless sun, and buffeting winds hasten decay, leaving many ancient marvels as mere ruins today.

The author emphasizes: Construction on Mount Tai should prioritize durability over ornamentation, timely repairs over demolition and rebuilding. Regular maintenance is crucial—neglect until total collapse only wastes resources and burdens the people. Dedicated caretakers should be appointed for upkeep.

Notable structures detailed include:

• The Guanhai Pavilion (also called Riguan Pavilion), situated on Riguan Peak, features a stone plaque inscribed by Fan Xianke with "Sunrise View" and a stele by Yang Cai reading "Gazing East to Japan, West to the River's Source."
• West of the Guanhai Pavilion stands the Xiaxian Palace, behind which a stone screen bears the inscription "Where Confucius Saw the Smallness of the World."
• Near Confucius Cliff, the Guahua Pavilion overlooks Wu Qian's carving of "Lofty Peaks of Mount Tai."

Among the summit's official buildings, these are the most spacious, often hosting distinguished guests.

The Yangzhi Pavilion stands west of Bixia Temple, originally serving as the Western Official Residence. This pavilion complex consists of three main halls with side chambers on both flanks. The inscribed plaque "Yangzhi" (Gazing in Reverence) was calligraphed by He Qiming, former Provincial Surveillance Commissioner and current Minister of Works. Behind the pavilion, visitors can view Tianzhu Peak, the Jade Maiden Pool, and remnants of Qin dynasty stone tablets, making it a frequent lodging place for traveling officials.

The Eastern Official Residence, located west of Bixia Temple, is slightly smaller than its western counterpart and serves as the resting quarters for incense tax inspectors.

The Qiankun Tower stands below the Great Dragon Valley. Originally named by Vice Minister Hong Chaoxuan, Vice Minister Wan Gong later inscribed the plaque "Lishan Daihe" (Mountains as Whetstones, Rivers as Belts) on its front pillars.

The Mid-Mountain Pavilion perches on the slopes southwest of Chaoyang Cave. The Chengxin Gate Official Residence, comprising three halls with adjacent chambers, lies west of Chengxin Gate.

The Five Pines Pavilion features three-section halls with front side chambers. Its name commemorates the five pines Emperor Qin Shihuang honored during his Fengshan sacrifices, also called the "Imperial Canopy" after Emperor Zhenzong of Song's temporary residence here. Only two ancient pines remain today. Situated along Mount Tai's central route, officials often take midday meals here or at the Chengxin Gate residence.

The Yanyan Pavilion (Lofty Crag Pavilion) derives its name from the Book of Songs. Originally east of the Queen Mother's Pool at the mountain's base, Provincial Administration Vice Commissioner Zhang Sheng relocated it to the left of Water Curtain Cave during the Chenghua era.

The Flying Cloud Tower at Red Gate on Mount Tai's southern foothills has deteriorated over time, leaving only its purple stone foundation. The remaining structure with its underground passageway faintly recalls the original tower's grandeur. Fang Yuanhuan inscribed the "Tiyun" (Cloud Ladder) plaque, while the rock face bears carvings of "Pengxuan Grotto-Heaven" and Xing Yifeng's seal-script "Yangzhi" characters.

The High Mountains Flowing Water Pavilion, built upon the Scripture-Drying Stone during the Longqing era by Censor-in-Chief Wan Gong, bears his commemorative inscription.

Regarding Wan Gong's rock inscription: After erecting a stele at Mount Tai's summit, Wan Gong descended southward to rest at the Scripture-Drying Stone. This massive rock formation, spanning several acres, bears Buddhist sutras carved in large clerical script characters of unknown antiquity. Recent contenders for prominence added the Great Learning text. Wan Gong consequently inscribed "Pujing Shi" (Scripture-Drying Stone) in six-to-seven-foot-wide characters with three-inch-deep grooves for permanence. The northern cliff rises like a cleaved blade, where cascading stream waters transform into countless hanging pearls.

This passage describes several renowned landscapes and structures surrounding Mount Tai (Daizong). I will explain it section by section:

The depiction of the "Water Curtain" scenery: Deep within Mount Tai lies a natural wonder where water cascades down a cliff face like a flowing curtain. The cliff is inscribed with the two large characters "Shui Lian" (Water Curtain), their strokes appearing and disappearing as the water washes over them. Here stands a natural cliff approximately 15 chi high (about 5 meters) and 40 chi wide (about 13 meters), with a stone foundation below. Viewed from the east, the left side features the melodious Water Curtain Spring, while the right side boasts dozens of luxuriant peach and willow trees. The author built a stone pavilion leaning against this cliff, with four stone pillars deeply embedded in the foundation and a stone slab roof, providing resting space for mountain climbers.

This pavilion was named "High Mountains Flowing Waters Pavilion," inspired by a classical allusion: While playing the qin here, the author felt the Mount Tai cliff at his back resembled towering mountains, and the nearby spring sounded like flowing water. Thus he played the famous guqin piece "High Mountains Flowing Waters," inviting the mountain deities to appreciate it together.

The text then introduces several structures around Mount Tai:

The "Changing Robes Pavilion" stands to the left of Hongmen Path, where ancient officials would change into casual attire before ascending. The "Resting Pavilion" lies west of it, with its name carved in stone. The "Guest Reception Hall" east of Mount Tai Shrine hosted nobility and distinguished visitors. The "Sincerity Hall" in the western part of Mount Tai Temple accommodated imperial ministers during sacrificial ceremonies. Behind it stands the "Imperial Incense Pavilion," where court envoys placed ritual incense, surrounded by cliff inscriptions of famous poets' works.

Finally, the "Mount Tai Academy" at Linghan Peak's base originated as Tang poet Zhou Pu's thatched cottage, later becoming a lecture site for scholars like Sun Fu, Shi Jie, and Hu Yuan. During the Ming dynasty, Provincial Surveillance Vice Commissioner Lu Wenzhi built three memorial houses here honoring Sun Fu and Shi Jie. The "Taiyin Pavilion" remains as a historic site from Emperor Zhenzong's imperial Fengshan rituals during the Song dynasty.

In the Brief Records of Taiyin by Wu Congxian, Imperial Inspector of Shandong, it is recorded:

In the late spring of the second year of my inspection tour of Shandong, I traveled along the foothills of Mount Tai, preparing to conduct business in Dengzhou and Laizhou. Along the way, my colleagues and I paid homage at the Temple of the Eastern Peak and ascended the Fengshan Altar, only to find that most of the historical relics from past dynasties had long vanished, leaving behind only fragments of Qin-era steles and Tang-dynasty cliff inscriptions.

Upon returning to the prefectural city, Magistrate Li Fengyang informed me that half a li south of the city stood the "Yinzi Stele," an imperial monument inscribed by Emperor Zhenzong of the Song Dynasty to commemorate the Fengshan sacrifices. It was a relic from the Dazhong Xiangfu era when the emperor performed the grand ceremony at Mount Tai. We went to examine it and discovered that the stele was composed of five stone slabs arranged in a screen-like formation—a truly unique design. Even after a century, the reverence for Heaven and ancestors, as well as the humility expressed in the text, still commanded deep respect.

Yet time had eroded its former glory, and the once-magnificent traces of the Fengshan rites now lay buried in overgrown weeds. Deeply moved by this neglect, I ordered the clearing of the area north of the stele and the construction of a pavilion to house it. On the fifteenth day of the ninth lunar month, a five-bay stone-based pavilion was completed, with imposing gates, deep courtyards, and painted rafters gleaming in the sunlight. To the north, the towering majesty of Mount Tai inspired reverence; to the south, the winding contours of Mount Culai evoked admiration for the ancients. What was once a desolate site had been transformed into a solemn and magnificent sight.

I inscribed "Taiyin Stele" on the southern face of the monument, named the pavilion "Zhao Shi Shangdi" (Manifesting Service to the Supreme Deity), and titled the gate plaque "Sheng Zhong Guji" (Ancient Traces of the Ascendant Center). The local people rejoiced at the pavilion’s construction, planting locust and cypress trees along the roads and cultivating water chestnuts and lotuses in the canals, turning the area into one of the prefectural city’s great scenic spots. The imperial calligraphy of Emperor Zhenzong now shone in harmony with Mount Tai, illuminating both past and present.

(Note: "Golden Clay and Jade Seals" refers to the golden cords and jade caskets used in ancient Fengshan ceremonies; "Kui Zhang Chen Han" is an honorific term for imperial calligraphy.)

The "Dai Shi" records several pavilion landscapes around Mount Tai and their historical evolution.

A fence was erected around the Flower Garden, where numerous rare and exotic flowers were cultivated for visitors from all directions to admire. To the west of the Winged Pavilion, half an acre of land was cleared, and several houses were built to serve as resting places for travelers and to prepare meals. Those who came here were invariably reluctant to leave, and the scene was truly flourishing.

The Pavilion of Encircling Verdure (Huan Cui Ting) stands between Gaoli Mountain and Sheshou Mountain. From this pavilion, one can gaze northward toward Mount Tai, while the other three sides are embraced by the emerald peaks of Anniu Mountain and Culai Mountain, hence its name. The Pavilion of Gathered Beauty (Cui Mei Ting) is located on the western foothills of Mount Tai, ten li from the prefectural seat. It was originally built by Yao Jianrong, the Jin Dynasty prefect, and later restored by Wang Wu, the Yuan Dynasty magistrate of Fenggao County. The surveillance commissioner Xu Yan composed an inscription for it. Today, the pavilion is in ruins, and the commemorative stele has been moved to the Confucian Temple.

In his inscription, Xu Yan praised Mount Tai as the most majestic of all famous mountains under heaven, while the Western Stream (Xi Xi) is its most secluded and exquisite scenic spot. The Western Stream stretches along the right foothills of Mount Tai for dozens of li, with dense forests, rugged paths, clear springs, and extraordinary rocks—the deeper one goes, the more wondrous the scenery becomes. At the end of the stream is a hundred-zhang cliff, where a waterfall cascades like a white silk ribbon (known as the Heavenly Spring, Tian Shen Quan). To the west of the Heavenly Spring lies a vast ravine, where water scatters over the rocks like eaves dripping (called the Water Curtain Cave, Shui Lian Dong). Surrounding it are verdant peaks such as the Lotus Peak (Fu Rong Feng), Hanging Blade Peak (Xuan Dao Feng), Flying Crow Peak (Fei Ya Feng), and Lion Peak (Shi Zi Feng). The pools are unfathomably deep, the mist shifts unpredictably, and the splashing water roars like thunder or flashes like lightning—a breathtaking spectacle of mountains and waters. During the Dading era of the Jin Dynasty, the prefect Yao built a pavilion here to encompass all the surrounding beauty, naming it the "Pavilion of Gathered Beauty."

Additionally, the records mention two other ancient sites: the Pavilion of Numinous Liquid (Ling Ye Ting, located north of the Jade Maiden Pool on Mount Tai's summit, built during the Song Dynasty and now in ruins) and the Pavilion of Sweet Spring (Li Quan Ting, within the Celestial Script Temple, also constructed during the Song Dynasty).

The Huan Yong Pavilion (Ring of Verse Pavilion) stands within the enclosing walls west of the Imperial Incense Pavilion in the Dongyue Temple complex, covering approximately one mu of land. Its name derives from the engraved poems of renowned historical figures that adorn its surroundings. The pavilion once preserved inscriptions by eminent scholars including Han Qi, Cai Xiang, Fan Zhongyan, Ouyang Xiu, Shi Manqing, Su Shunqin (courtesy name Zimei), and Lin Bu (sobriquet Hejing). Among these, the poetic engraving by Zhong Fang (a Song dynasty recluse) at the Huizhen Palace has been lost to time, leaving only the inscribed names of these masters.

Over centuries, the pavilion fell into ruin, its stone carvings buried beneath wild vegetation. In the fourteenth year of the Wanli era (1586), Imperial Inspector Mao Yunxing, adopting Xiang Cheng's proposal, commissioned Jinan Prefecture official Sang Dongyang to reconstruct the pavilion on its original site. The authentic inscriptions of Han Qi, Fan Zhongyan, Ouyang Xiu and others were meticulously restored. These centuries-old traces of ancient worthies regained their brilliance, establishing an exemplary model for later generations to venerate.

In his memorial commemorating these cultural relics, Ming dynasty official Zha Zhilong noted: "Mount Tai's scenic area preserves countless historical vestiges, yet the most significant are those literary works embodying the virtue of sages. Precisely because these figures themselves possessed noble character, even their briefest writings achieved enduring fame. When contemporaries admired their demeanor, and posterity heard of their deeds, all were moved with aspiration. People emulate not only their literary elegance but more importantly their moral integrity—thereby cultivating talent and rectifying society. Such relics are thus doubly precious."

West of the Dai Temple complex, to the right of the Imperial Incense Pavilion, the Huan Yong Pavilion has stood since antiquity, its origins now untraceable. Its enclosing walls were entirely covered with poetic couplets and literary lines by past luminaries. Standing within, one found these inscriptions seemingly encircling the viewer—hence its evocative name. Most notable were the authentic works of Song dynasty statesmen Han Qi (posthumously titled Duke of Wei), Fan Zhongyan (posthumous name Wenzheng), Ouyang Xiu (posthumous name Wenzhong), alongside calligrapher Cai Xiang (courtesy name Duanming), poets Su Shunqin and Mei Yaochen (courtesy name Shengyu), recluses Lin Bu and Shi Yannian (courtesy name Manqing). Though the structure deteriorated in recent centuries, local gazetteers preserved its memory. When Zha Zhilong investigated the site guided by these records, elderly villagers could still identify its precise location.

This passage primarily documents the restoration of ancient sites and construction of new pavilions on Mount Tai (Daiyue) during the Ming Dynasty, along with accounts of officials praying for rain.

The first section describes the discovery of an ancient site where the surrounding walls and stone carvings remained largely intact, with only one corner damaged. Remarkably, the inscriptions by renowned Song Dynasty statesmen—Han Qi, Fan Zhongyan, Ouyang Xiu, and Cai Xiang—were all preserved, though obscured by accumulated dust. The author laments that without prompt restoration, the entire site would soon fall into complete ruin. They propose rebuilding the Huanyong Pavilion on its original foundation while preserving the existing inscriptions, supplementing the damaged sections with contemporary calligraphy. This approach would both protect the Song Dynasty relics and showcase contemporary literary culture, benefiting both talent cultivation and social morality.

The latter section records events in 1586 (the 14th year of Wanli reign) when Provincial Governor Li ascended Mount Tai to pray for rain. Discovering scenic beauty near White Cloud Cave on the southern side of Phoenix Mountain along the southwestern foothills, he discussed constructing pavilions with Censor Han. The project was later completed by Censor Mao, Li's successor. In his "Record of White Cloud Pavilion," Governor Li details how during that drought-stricken summer while governing Shandong, he immediately prayed to the Mountain God for rain. Recalling the Gongyang Commentary's statement that "Mount Tai's clouds bring rain to all under heaven before morning passes," he witnessed white clouds indeed rising from the cave and filling the valleys.

The text references "Han-Fan-Ou-Cai" as the four eminent Northern Song statesmen (Han Qi, Fan Zhongyan, Ouyang Xiu, Cai Xiang); "chongzhao" denotes the brief period between dawn and breakfast, indicating swiftness; while "daoyu" refers to ancient rain-prayer rituals conducted by officials during droughts.

This passage describes a remarkable natural wonder called "Dragon Cave" (Longdong) at the southern foothills of Mount Tai's Phoenix Peak. Here lies a natural stone cavern approximately three meters high and equally wide, containing a stone hollow two chi wide and one chi deep. The marvel is that this hollow gushes water year-round, with particularly abundant flow during summer when the water overflows from the cave to form a waterfall. Locals call it "Dragon Cave's Sweet Nectar" (Longdong Ganlin) or sometimes "Cloud Roots and Rain Veins" (Yun Gen Yu Mai).

When official Tan Xingtang heard of this phenomenon, he personally inscribed three large characters "Yu Tian Xia" (Rain Upon the World) and had them carved on a stele at the cave entrance. The authorities further constructed commemorative structures nearby: first an ornamental archway, then a pavilion to the north, followed by three elegant chambers further north. Most magnificent were these three chambers—backed by screen-like cliffs, flanked by mountain ridges spreading like bird wings, with an expansive view ahead. From these chambers, one could overlook the Great and Small Dragon Gorges resembling azure dragons spewing water, watch ant-like travelers at the mountain's base, observe Mount Culai to the left and Mount Aolai to the right nearby, and gaze upon distant landmarks like Yunyun Pavilion, Niqiu Hill, and Liangfu Mountain encircling the horizon.

The writer marvels at this peerless spectacle, noting visitors come not merely for the scenery but to contemplate the profound symbolism of "showering benevolence upon the world." The account concludes by recording that construction began under former Inspector Han Xixuan and was completed by current Inspector Mao Wenyuan, with other participating officials' names engraved on the stele's reverse. Dated to the winter of 1586 (Wanli Bingxu year), the inscription was composed by Li Dai, Governor of Shandong.

(Note: "Shiyu" was a Ming Dynasty term for censors, while "Antai" referred to traveling inspectors—central government supervisors dispatched to local regions.)