《岱史》Vol. 8

The eighth volume of Records of Mount Tai documents the historical sites preserved through the ages on this sacred mountain. These records were compiled to preserve traces of antiquity that remain discernible to this day. As epochs shift and all things transform, we can only revisit these ancient monuments through their surviving vestiges.

As the sacred site where emperors of successive dynasties conducted grand ceremonies, Mount Tai has witnessed countless gatherings of sages and cultural luminaries. Among its most representative relics: the ruins of the Bright Hall (Mingtang) evoke the golden ages of Emperor Shun and the Zhou dynasty; ascending the Fengshan Platform (Dengfengtai) inspires reflection on imperial extravagance across dynasties; the cliff inscriptions and steles carved in Qin-dynasty seal script showcase masterful calligraphy; standing where Confucius once climbed, one almost shares his perspective of "seeing the world shrink beneath Mount Tai"; passing through Xieguo City and Wenyang Field evokes reverence for Confucius' sage virtue encompassing both civil and martial arts.

Other significant sites include: the vantage point where Yan Yuan gazed upon Mount Tai with awe, and the Liangshan site where Zengzi composed hymns—both testifying to the distinguished gatherings of Confucius' disciples; the lecture hall of Sun Mingfu and the spot where Shi Shoudao stood respectfully with his staff, recreating the refined teacher-student relationships of antiquity. These preserved sites, thoroughly documented in classical texts, carry an enduring elegance that coexists with the mountain itself. Though separated by millennia, they still resonate profoundly with modern visitors.

As for sites associated with Daoist immortals (Xianjia), Mount Tai—being one of the blessed grotto-heavens (Dongtian Fudi)—also served as a cultivation ground for transcendent beings. These are likewise recorded here.

Regarding imperial relics: The ancient text Fengsu Tong mentions a golden casket containing jade slips on Mount Tai that could foretell human lifespans. Emperor Wu of Han once extracted a slip inscribed with "eighteen," which he inverted to read "eighty"—a prophecy that indeed came true. During the Hongwu reign of the Ming dynasty, villagers discovered a jade casket containing sixteen slips later verified as ritual objects used by Emperor Zhenzong of Song for sacrifices to Earth at Mount Tai. In the Chenghua era, additional jade slips surfaced below Riguan Peak after heavy rains; these were reburied at the site where the Sunshine Observation Hall (Rizhaoguan) was later built as a memorial.

Stone Lu (Shilu) appears in Book of Han as the site where Emperor Wu of Han performed earth rituals during his Fengshan sacrifices. Ying Shao's commentary locates Stone Lu south of Mount Tai, traditionally considered an immortal's abode. Records of Mount Tai mentions an Immortal Stone Lu on the western cliffs of the summit, though its precise location remains unverified today.

Two Fengshan Platforms exist: one atop the summit, traditionally built for imperial Fengshan ceremonies, now crowned with the Jade Emperor Temple (Yudi Guan). A small stele beside it bears the inscription "Ancient Feng" (Gu Feng).

On Sun-Viewing Peak stands a ceremonial altar, said to have been built during the Song dynasty. This square stone platform, measuring approximately ten feet across, bears the inscription "Ancient Fengshan Altar." In truth, the conflation of "feng" (heavenly worship) and "shan" (earthly worship) here is erroneous. Local villagers call it the Treasure Vault, as legend claims it holds golden and jade documents buried beneath.

The Guanzi records that the ancient tribal leader Wuhuai Shi performed the fengshan rites on Mount Tai, commemorating his achievements with stone carvings. The Guojian Jiao Fu mentions the Yellow Emperor summoning his ministers to Mount Tai while qingjiao music played. The Records of the Grand Historian notes seventy-two sovereigns conducted feng ceremonies on Mount Tai and shan rites on Mount Liangfu, with Guan Zhong (styled Yiwu) documenting twelve. Wuhuai Shi, predating even Fuxi, was the first to perform fengshan here. The Huainanzi states over seventy sage-kings of antiquity held fengshan ceremonies on Mount Tai. Song dynasty scholar Song Qi's (styled Jingwen) notebooks record Confucius observing seventy-two royal stone inscriptions with distinct calligraphic styles during his ascent.

These accounts suggest fengshan rituals existed since antiquity, not originating with Qin Shi Huang. Yet Sui dynasty scholar Wang Tong declared them non-classical, a view many scholars endorsed. Could earlier records be later fabrications flattering imperial vanity? We preserve all accounts here to safeguard historical truth.

The Zhou dynasty Mingtang (imperial ceremonial hall) stood in a valley twenty miles northeast of Mount Tai, where ruins remain beside Gushan Temple. Scholar Dang Huaiying's Temple Record details this auspicious site.

The Han dynasty Mingtang lay southeast of Mount Tai's base, two miles from the prefectural city. Built during Emperor Wu's Yuanfeng era (110-105 BCE) using plans submitted by Jinan native Gongyu Dai, its ruins still bear Yuan dynasty inscriptions marking the "Ancient Mingtang Foundation." The elevated stone platform, about forty feet high with a three-acre perimeter, commands sweeping views. Backed by Mount Tai's ridges like a screen, flanked by guardian peaks, and embraced by streams flowing south to the Wen River, it gazes upon Mount Culai and other peaks arrayed like ceremonial screens—the grandeur of imperial assemblies still palpable across millennia.

Zhang Junqing's Discourse on Mingtang argues these structures followed Yellow Emperor precedents. Yet Yang Shi's Sacrificial Rites: Mingtang Chapter deemed Gongyu Dai's Han dynasty blueprint uncanonical.

The Records of Mount Tai primarily discusses two matters: the evolution of ancient Mingtang architecture and the investigation of the Great Wall of Qi State and the Inscribed Stele on Mount Tai.

Regarding Mingtang architecture, the text notes that ancient architectural styles evolved from simplicity to extravagance. If the Yellow Emperor (Huangdi) had a Mingtang, it would have been a simple hall with no walls and a thatched roof, in keeping with the ancient preference for austerity. When Emperor Wu of Han sought immortality, many fangshi (Daoist adepts) fabricated stories about the Yellow Emperor to flatter him, such as claims of constructing five-walled cities with twelve towers, performing fengshan sacrifices on sacred mountains, and casting bronze tripods—all exaggerated accounts. However, Gong Yudai’s proposed design for the Mingtang was remarkably simple. Though this view is uncommon, it allows us to examine how later palaces with countless gates and lavish halls deviated from ancient traditions. We should not dismiss this account simply because it emerged during an era obsessed with fengshan rites and immortality pursuits.

Concerning the Great Wall, the text details the route of the Qi State’s fortifications: beginning west of Mount Tai, stretching over a thousand li along the Yellow River, and extending to Langya Terrace before reaching the sea. Citing texts like Han Feizi, it explains that King Xuan of Qi built this wall to defend against Chu. Remnants of the wall, now called the "Great Wall Ridge," can still be found northwest of Mount Tai.

Finally, the text describes the Inscribed Stele at the summit of Mount Tai, located below the Dengfeng Terrace and traditionally attributed to the First Emperor of Qin. The stele bears no inscription—some say it was a boundary marker (shibiao), others a spirit tablet (shenzhu shi) for sacrifices, while some speculate that golden texts and jade slips were buried beneath it. The stele’s yellowish-white surface remains smooth and free of moss, clearly indicating it was not local stone but transported from elsewhere at great labor. The author marvels at the First Emperor’s enigmatic and inscrutable methods.

(Note: Mingtang was an ancient ceremonial hall where rulers proclaimed governance and held grand rituals; fengshan refers to imperial sacrifices to Heaven and Earth; shenzhu shi were ritual stones representing deities.)

During the reigns of Qin Shi Huang and Qin Er Shi, the emperors toured various regions and erected stone steles on Mount Tai inscribed with texts extolling their virtues. These inscriptions, composed by Chancellor Li Si in small seal script, originally contained over 220 characters. However, by the Song dynasty, only 29 remained legible due to weathering. Scholar Liu Ba recorded in his Compendium of Qin Seal Script from Mount Tai that about 50 characters were still discernible at that time, primarily documenting Qin Er Shi's imperial edicts.

The irregularly shaped stele on Mount Tai stands approximately four to five feet tall, with uneven widths on its four sides, maintaining its natural, unpolished form. The legible inscriptions are located on the relatively smooth southern face, which became widely known among literati because it was suitable for making rubbings. The characters on the other three sides were severely eroded and difficult to decipher. Ouyang Xiu noted in his Collection of Antiquities that his friend Jiang Linji personally ascended Mount Tai to examine the stele and found its stone so hard that carving must have been extraordinarily challenging, leaving him puzzled as to how the ancients accomplished it.

Emperor Wu of Han, emulating Qin Shi Huang, commemorated his visit to Mount Tai by placing five cartloads of stones there, though their exact location is now lost to history. Later poets satirized this act, criticizing Qin's tyrannical rule as unworthy of praise and lamenting Emperor Wu's repetition of such empty gestures. This Qin-era stele later came to be known as the "Broken Qin Stele." Despite the Qin dynasty's brutality, its calligraphic artistry remains unparalleled, securing the stele's enduring historical significance.

This passage documents the author's research process and discoveries regarding the Mount Tai stone inscriptions (ancient carved texts left by emperors during Fengshan ceremonies). At the time, the stele was severely damaged with barely legible characters that most people overlooked. Through careful observation, the author detected faint traces of writing and had rubbings made using paper and ink. After repeated treatments, the characters gradually became discernible.

The inscription was carved on all four sides of the stone, totaling 22 lines with 12 characters each. The text begins on the southwest face and continues clockwise around the north, east, and south sides. The specific distribution was: 6 lines on the west, 3 on the north, 6 on the east, and 7 on the south. The concluding phrase "制曰可" (Imperial decree: Approved) circled back to the southwest corner. Though each line contained the same number of characters, the line count varied per face with uneven spacing.

Through study, the author determined the first 12 lines contained the Fengshan ceremonial text of Qin Shi Huang, while the latter 10 belonged to the Second Emperor of Qin. Cross-referencing with Records of the Grand Historian (Shiji) confirmed both content and missing characters matched perfectly, finally completing the stele's full text. It's understandable that Song Dynasty scholars Ouyang Xiu and Zhao Mingcheng—who relied on craftsmen's descriptions rather than firsthand examination—recorded inaccuracies.

The author transcribed 146 identifiable characters in seal script, supplementing the 76 damaged illegible ones with corresponding passages from Shiji. By displaying this reconstructed text on the wall, what was once an obscure ancient inscription became clearly visible.

The text also notes textual variations: for instance, "亲巡远方黎民" (personally touring distant common people) appears as "亲𨊩远黎" on the stone, and "著作" (literary works) as "休嗣"—such discrepancies should defer to the stone inscription. Finally, it mentions the character "大" (great) in "御史大夫" (Imperial Censor) had two ancient variant forms, as evidenced in Shiji's record of the Langya Terrace inscription.

On the remnant stele in Langya (present-day Linyi region of Shandong), the characters "Wu Fu" (Five Officials) are visible, though the inscriptions have become blurred, likely due to the passage of time without re-engraving.

Mount Tai bears two notable cliff inscriptions: One is located behind the Dongyue Temple at the summit—the "Ji Taishan Ming" (Record of Mount Tai Inscription) written in the Bafen script style by Emperor Xuanzong of Tang, with each character measuring approximately five inches in height, exhibiting vigorous brushwork. The other, carved on the right side of the cliff, contains Su Ting's Tang-dynasty composition "Dong Feng Chao Jin Song" (Ode to the Eastern Feng Sacrifice Pilgrimage), featuring characters slightly over an inch in diameter, their calligraphic style reminiscent of Jin-dynasty aesthetics. Later, Fujian native Lin Tun superimposed four large characters—"Zhong Xiao Lian Jie" (Loyalty, Filial Piety, Integrity, and Moral Fortitude)—over this inscription, nearly obliterating the original text.

The Phoenix Terrace (Fenghuang Tai), situated outside Dengfeng Gate, derives its name from the gathering of phoenixes on Mount Tai during Emperor Xuanzong of Han's reign.

The Immortal-Viewing Platform (Wangxian Tai) stands thirty li northeast of the prefectural city, constructed by Emperor Wu of Han. The Dancing Crane Terrace (Wuhe Tai) was built by Emperor Gaozong of Tang. According to Tangshu (Book of Tang), Emperor Gaozong erected the Fengsi Altar—a circular mound resembling the Round Mound—four li south of Mount Tai, concurrently commissioning three steles: Dengfeng (Ascending to Seal), Jiangchan (Descending to Earth), and Chaojin (Imperial Audience). The Fengsi Altar was alternatively called Wuhe Tai (Dancing Crane Terrace), Dengfeng Altar was known as Wansui Tai (Ten-Thousand-Year Terrace), and Jiangchan Altar as Jingyun Tai (Auspicious Cloud Terrace). These structures have since fallen into ruin, with their steles completely lost to time.

Zhang Yue's stele inscription extols: "The Divine and Martial Emperor of Kaiyuan (Emperor Xuanzong of Tang), inheriting Heaven's Mandate to establish universal peace, thus performed the Fengshan sacrifices at Mount Tai (the imperial Heaven-worship ceremony) and the Shan rites at Sheshou Mountain (Earth-worship ceremony), engraving his achievements in metal and stone to illuminate celestial phenomena." The text continues: "From humanity's primordial origins, the distinction between ruler and subject existed, though principles remained obscure and customs simple. As historical fortunes rose and fell, countless deeds vanished without record. Later, sages emulated Heaven and Earth to establish social hierarchies, distinguishing ranks through ceremonial attire, safeguarding territories through military might—thus creating ritual-music systems and written records. To trace origins requires revering Heaven and Earth; to repay fundamental debts demands sacrifices to spirits. Therefore, Fengshan represents the sovereign's reception of Heaven's Mandate and reporting of accomplishments to the celestial realm. Examining the teachings of past sages and rulers' statecraft, compliance with the Dao brings success while defiance brings failure. Thus, Fengshan embodies three profound meanings, and imperial governance contains seven essentials. What are the seven? They are the traditional virtues: Dao (the Way), De (Virtue), Ren (Benevolence), Yi (Righteousness), Li (Ritual Propriety), Zhi (Wisdom), and Xin (Trustworthiness). Adherence makes one sagely; violation makes one benighted. The three meanings: First, alignment with the sequence of Five Phases (Wood, Fire, Earth, Metal, Water); second, coinciding with eras of universal peace; third, possessing the virtues of reverence, wisdom, cultural refinement, and strategic insight. Only thus can one harmonize with celestial will and achieve immortal renown."

This passage recounts the transmission of virtue through successive dynasties and the flourishing of the Tang Empire. The general meaning is as follows:

Among the sage rulers of antiquity, Yao and Shun were the most illustrious, while ministers like Gao Yao and Hou Ji exemplified virtue. These sages descended to bestow their De (Virtue/Power), thereby winning the hearts of all under heaven. Confucius compiled the Book of Documents to record the deeds of emperors, placing the Zhou and Qin oaths alongside Lu State's rituals honoring the Duke of Zhou—implying Qin's legitimate succession from Zhou. Though Qin's unification was monumental, its reign proved brief, showing Heaven had not forgotten the virtuous governance of previous dynasties. Later, the Mandate of Heaven returned to the Tang house, demonstrating celestial favor.

When the Tang rose to power, divine spirits secretly guided its course. It acted in accordance with cosmic timing, initiating its righteous cause like Tang of Shang overthrowing the Xia or King Wu defeating Zhou—both movements aligned with Heaven's will and human sentiment. Emperor Gaozu founded the dynasty, with successive rulers inheriting and expanding his legacy. Their virtuous governance moved heaven and earth, nourishing all beings like sweet rain, embracing creation like the cosmos itself, and illuminating the four directions like sun and moon. After over a century of development, the current emperor quelled internal strife to inherit the throne, reviving golden ages akin to Fuxi and the Yellow Emperor's reigns.

He restored court discipline, harmonized the imperial clan, brought peace to the people, and received tribute from myriad states. Reforming calendars and instruments, he emulated Yao and Shun's governing principles. Establishing the Six Ministries to codify rites, demarcating well-field systems to fix taxes, expanding ancestral temples to honor forebears, and standardizing music to attune with the divine—all followed the systems of the Xia, Shang, and Zhou dynasties.

Despite achieving perfection in both military and civil governance, the emperor remains vigilant in daily administration. He welcomes remonstrance to cultivate virtue, appoints loyal officials to handle affairs, studies classics of Wuwei (non-action), and deliberates state matters with ministers in the Hall of Gathered Worthies. He ennobles the virtuous, positions talents at court, and stations elite troops at the frontiers. With harmonious governance, auspicious omens appear continuously—yet the emperor values human talent above celestial signs.

Finally, the assembled dukes and ministers proclaim: "Your Majesty's filial piety moves Heaven; your governance accords with the Dao (the Way). The earth-god sacrifice performed two years ago perfectly embodies this virtuous power."

The text records the grand ceremony of the Fengshan sacrifices performed by an ancient emperor. To express gratitude for Heaven's blessing of abundant harvests, the emperor prepared to hold solemn rituals on Mount Tai. His ministers repeatedly advised him to remain diligent in governance, to which the emperor humbly responded that he would reverently follow the Dao (the Way), accept wise counsel, and ordered preparations for the imperial inspection tour and Fengshan rites.

The ceremonial arrangements were impeccably complete—ritual officials needed no special reminders to make proper preparations, and the military spontaneously maintained strict discipline. Tianmu (the mountain deity) selected an auspicious date, Yushi (the rain god) swept the roads clean, Liujia (Taoist guardian generals) arranged the ceremonial procession, and Bazhen (military formations) guarded the imperial carriage. In early winter, the emperor's procession set forth—a thousand banners unfurled like clouds, ten thousand halberds stood like a forest. The magnificent spectacle shook the plains, with grasses and trees swaying in the wind.

Along the journey, the emperor inspected commanderies and counties, understood the people's conditions, restored discontinued sacrifices, and rectified neglected governance. Wherever he went, celebrations erupted—commoners emptied their homes to witness the ceremonies, cities and countryside alike rejoiced. Even white-haired elders wept with emotion, never expecting to witness such a grand Fengshan ceremony in their lifetime.

Upon reaching Mount Tai that month, the emperor purified himself in the fasting palace and concentrated his spirit (Shen) in the meditation chamber, preparing to report to Taiyi (the supreme celestial deity). The text particularly notes that Mount Tai is the sacred palace where enlightened emperors receive the Mandate of Heaven, with Tiansun (the deity of Mount Tai) overseeing this blessed earthly site. Since ancient times, countless rulers have established states, but only seventy-five monarchs had performed the Fengshan sacrifices on Mount Tai—making the current emperor the seventy-sixth, an exceptionally rare honor.

Before the formal Fengshan rites, the ceremonial area was first demarcated on the high ridge, with altars constructed on the sunny slope. The celestial altar had three tiers and twelve steps, with designated positions for numerous deities. Ritual vessels were arranged in perfect order—bells, drums, pipes, and chimes hung beneath layered eaves, while various weapons were displayed beyond the four gates. Imperial regalia and auspicious treasures were exhibited in the central courtyard, with jade carriages, golden chariots, and ceremonial paraphernalia lining both sides of the main path. Civil and military officials, tribal leaders from border regions, and descendants of ancient sages all participated in this grand ceremony.

This passage depicts the grand ceremony of the Fengshan sacrifices performed by ancient emperors on Mount Tai (Dai). The emperor, accompanied by his ministers, ascends to the summit to conduct solemn sacrificial rites.

On the day of the ceremony, honor guards stand in perfect formation at the sacred ground, soldiers clad in gleaming armor holding crimson banners aloft. The emperor proceeds slowly in his six-dragon chariot, while thousands of chariots and cavalry wait on the plains below, with ministers gathered at the mountain pass. Only a few high-ranking officials accompany the sovereign through the Heavenly Gate to Riguan Peak (where sunrise is observed from Mount Tai), spending the night on precipitous cliffs where one might seemingly touch the crimson clouds above while standing above a sea of mist below.

On the Gengyin day, the emperor offers sacrifices to the founding ancestor at the summit to honor Heaven's mandate, while ordering officials below to venerate various deities. Dressed in full ceremonial regalia, the emperor ascends the altar to present offerings with utmost reverence. Musicians play the solemn Huangzhong and Dalu melodies (ancient ceremonial music) as dancers perform the feather dance (a ritual dance), creating a sacred atmosphere as if opening the Heavenly Gate for communion with the divine.

During the rites, Qingjiang Xingong (likely the presiding ritual officer) arranges the ceremonial space according to the Big Dipper's celestial pattern, praying for national prosperity and preemptively dispelling potential calamities. The seamless coordination between upper and lower ranks creates perfect ritual harmony. After completing the sacrifices, the emperor burns jade tablets (inscribed with prayers) at the central peak, sending their smoke carrying sincere intentions straight to Heaven.

The following day brings sacrifices to the wise ancestors and Earth deities (Diqi), with grand ceremonies at Sheshou Mountain. Magnificent ceremonial music resounds as eastern feudal lords pay homage. Every procedure follows ancient protocols—no punishments or demotions, only amnesties and rewards. Soon, auspicious signs appear throughout the realm. Finally, the prayer texts are sealed in golden caskets before the imperial procession returns to the capital.

People of various ethnicities and languages marveled: "This is truly an unprecedented spectacle!" Throughout the ceremonies, the weather remained miraculously clear, with harsh winter turning springlike—bitter winds softening into gentle breezes. The ancients said "When a sage reigns, all things respond"—now witnessing it firsthand confirms this truth. Some questioned whether the sequence of Mount Tai sacrifices followed proper ritual, but this very harmony demonstrates how the sage-emperor's supreme virtue (De) could move Heaven and Earth.

This passage primarily documents several important ritual sites around Mount Tai and their historical origins.

The opening section cites ancient ceremonial systems, explaining how emperors would serve Heaven with paternal reverence and Earth with maternal devotion. When conducting sacrifices to deities, the emperor presided over external rituals (such as the Chai and Yi sacrifices performed in open fields), while the empress assisted with internal temple ceremonies. This system originated during the Kaiyuan era, aiming to rectify human relationships, eliminate malpractices, and establish standards for future rulers.

Key locations mentioned include: the Sheshou Altar, situated two li south of Mount Tai on Sheshou Mountain, connected to Haoli Mountain, where numerous emperors performed the Fengshan ceremonies before the Song Dynasty. During Emperor Zhenzong's reign of the Song Dynasty, Wang Qinruo was commissioned to compose the stele inscription for this altar. The Fengsi Altar was built five li south of Mount Tai under Emperor Zhenzong's order. The Chaojin Altar, located south of the prefectural city, served as the site for ministerial audiences, where Chen Yaozuo composed another commemorative stele.

Particular attention is given to the "Yinzi Stele" positioned about three hundred paces east of Qianfeng Gate. Its inscription records Emperor Zhenzong's gratitude for heavenly texts and praises ancestral virtues. Three explanations exist for its "Yinzi" designation: first, because the inscription faces north; second, due to its original gold-powder embellishment; third, as a homophone for "Yinsi" (sincere sacrificial rites).

The Imperial Tent Plain along Mount Tai's central path marks where the First Emperor planted five pines during his Fengshan rites. Emperor Zhenzong camped here during his eastern tour, hence the name. Traces of the tent palace's pillars remain visible today.

During the Wanli era, Provincial Surveillance Commissioner Wu Congxian constructed the Taiyin Pavilion north of the Yinzi Stele. These historic sites bear witness to imperial sacrificial activities at Mount Tai across dynasties, embodying the traditional concept of "cosmic resonance between Heaven and humanity."

The area around Mount Tai is rich in historical sites and legendary tales. On the northern side lies a place called Tùqiú, where according to the "Zuo Zhuan," Prince Huī of Lu built a residence during the 11th year of Duke Yin's reign, intending to retire there.

Hongting, located within the boundaries of Tai'an Prefecture, was the site of a grand hunting expedition conducted by Duke Zhao of Lu in his eighth year, as recorded in the "Spring and Autumn Annals."

About one li north of the Fengshan Altar stands the White Mule Mound. During Emperor Xuanzong of Tang's Fengshan ceremony on Mount Tai, a remarkably swift white mule was presented as tribute from Yizhou. The emperor personally rode it up and down the mountain. After the ceremony, while resting in a valley, the mule suddenly died without any apparent illness. Deeply moved, Emperor Xuanzong posthumously honored it as "General White Mule" and ordered officials to enshrine it in a coffin, building a stone tomb.

On the eastern foothills of Mount Tai lies Bocheng (called Fenggao in the Han Dynasty, Wenyang in the Sui Dynasty, and Qianfeng in the Tang Dynasty), located thirty li from the prefectural seat and now known as Jiuxian (Old County). Fifty li further southeast is Yingcheng, established as a county under Taishan Commandery during the Han Dynasty, later incorporated into Dongtaizhou during the Tang Dynasty before merging with Bocheng.

Xieguo City sits on the southeastern foothills near the ruins of the Han Dynasty Mingtang. It earned its name ("City of Apology") when the State of Qi returned this land to Lu as an act of contrition after the Jigu Alliance between Qi and Lu. Nearby lies the ancient valley of Jigu, and the Guiyin Fields were also territory Qi returned to Lu in apology.

The Wenyang Fields lie along the Wen River south of Mount Tai. The "Spring and Autumn Annals" records that in Duke Cheng of Lu's second year, "the Wenyang Fields were taken," but eight years later, the Marquis of Jin sent Han Chuan to demand their return to Qi.

Confucius once passed by Mount Tai and heard a woman wailing by a grave. Leaning on his carriage rail to listen, he sent Zilu to inquire. The woman explained: "First my father-in-law was killed by a tiger, then my husband, and now my son." When Confucius asked why she didn't move away, she replied, "Here there is no oppressive government." Confucius turned to his disciples: "Remember this—oppressive government is more fearsome than tigers."

Another time on Mount Tai, Confucius encountered Rong Qiji, a recluse wearing coarse hemp clothes tied with straw rope, playing the qin and singing in the wilds of Cheng. When Confucius asked why he was so joyful, Rong Qiji replied: "I have three great joys: Heaven favors humans above all creatures—my first joy; distinction between men and women honors males—my second joy..." (From the "Book of Rites: Tan Gong").

This passage records several historical anecdotes and notable figures associated with Mount Tai:

The first recounts Confucius' mindset in his later years. At ninety, he declared having three joys: "Though poverty is the scholar's constant companion and death life's ultimate destination, to abide peacefully in this constancy and conclude one's journey well—what room remains for sorrow?" Here Confucius praises this self-consoling attitude toward life.

The second tells of Yan Hui (Yan Yuan) accompanying Confucius up Mount Tai. When Confucius glimpsed white horses outside Wu's city gates from the summit, Yan Hui strained his eyesight so severely that his hair turned white and teeth fell out, soon succumbing to illness. Today, a elevated area southwest of Tai'an City called "Yanzi Slope" commemorates him.

The third records Zengzi tilling fields at Mount Tai's base. During heavy snowfall, longing for his parents inspired him to compose the "Liangshan Song" expressing filial devotion.

The fourth relates Mencius' birth legend. His mother dreamed of a deity riding clouds from Mount Tai before his birth, when neighbors witnessed five-colored auspicious clouds enveloping the Meng household. Later generations said Mencius' majestic bearing mirrored Mount Tai's grandeur, fulfilling this omen.

The fifth describes musician Boya encountering torrential rain at Mount Tai's northern foothills, spontaneously composing two qin melodies: "Heavy Rain Prelude" and "Mountain Collapse Resonance." His soulmate Zhong Ziqi perfectly understood their artistic conception, prompting Boya to lament the rarity of true understanding.

Finally, it documents Wu prince Jizha (Yanling Jizi) returning from Qi to find his eldest son deceased, buried between Ying and Bo. Confucius specially observed the funeral, praising Jizha's adherence to Zhou rites: the grave's depth was moderate, burial clothes were everyday attire, and the mound's height appropriate. After rites concluded, Jizha bared his left arm, circled the grave three times wailing, declaring the body's return to earth as natural law while the soul would permeate all existence.

Confucius once praised the ritual refinement of Prince Jizi of Yanling (a nobleman from the State of Wu during the Spring and Autumn period) as being perfectly cultivated. This place (the territory of Ying) was associated with ritual traditions and was located at the eastern foothills of Mount Tai, where Mencius also once visited.

The tomb of Liuxia Hui (a virtuous scholar from the State of Lu during the Spring and Autumn period) is located in Liuli Village, about a hundred li southeast of the prefectural city. To this day, many residents of the village still bear the surname Zhan (Liuxia Hui's original name was Zhan Huo). The city of Yang Hu (a fiefdom of the Western Jin general Yang Hu) lies ninety li southeast of the prefectural city.

The Song dynasty scholar Sun Fu, styled Mingfu, hailed from Pingyang in Jinzhou. After failing the imperial examinations in his youth, he retreated to the southern slopes of Mount Tai to study the Spring and Autumn Annals, later composing Honoring the King and Revealing Subtleties. At the time, the Lu region had many scholars, and the most virtuous among them, Shi Jie, led others in acknowledging Sun Fu as their teacher. Though Sun Fu was already in his forties and still impoverished and unmarried, Chancellor Li Di sought to wed his niece to him. While Sun Fu hesitated, Shi Jie advised him, "The chancellor does not disdain your poverty and lowly status precisely because he values your virtue. You should honor his kind intentions." In the end, Sun Fu consented to the marriage.

The imperial advisor Kong Daofu, known for his upright character, traveled specifically to visit Sun Fu after hearing of his reputation. Shi Jie respectfully attended to them, holding Sun Fu's staff and shoes, and always supporting him when he rose to return formal greetings. The people of Lu marveled at their exemplary teacher-student etiquette, and both Li Di and Kong Daofu were praised by scholar-officials for this. Later, when Shi Jie served in the court, he remarked, "Master Sun is no recluse—he simply hasn't yet found the right opportunity to serve."

In the second year of the Qingli era (1042), recommended by Fan Zhongyan and Fu Bi, Sun Fu was summoned to court and appointed as Editorial Director and Lecturer at the Imperial Academy. The emperor once received him in the Erying Pavilion with the intention of appointing him as Imperial Lecturer, but this was abandoned due to critics who claimed his interpretations of the classics diverged from those of earlier Confucian scholars. Nine years later, he was implicated in the Kong Zhiwen case (when correspondence with Sun Fu was discovered among Kong's possessions) and demoted to supervisor of commercial taxes in Qianzhou. He was later transferred to Sizhou and Changshui County, eventually serving as Assistant Magistrate of Yingtian Prefecture and Vice Magistrate of Lingzhou. The Hanlin Academician Zhao Gai and over ten others...

Here are accounts of several historical figures associated with Mount Tai:

Sun Fu (courtesy name Mingfu) exemplified moral conduct worthy of emulation and possessed scholarly knowledge fit to instruct others. Initially slated for distant exile by the imperial court, he was instead appointed as Lecturer at the Imperial Academy. He passed away in July of the second year of the Jiayou era (1057 CE) at sixty-six years old, having risen to the position of Palace Secretary. During his tenure at the National University where he served as Judicial Reviewer, Emperor Renzong once visited in person and bestowed upon him the crimson robe and silver fish insignia. Upon news of his death, the emperor mournfully granted his family 100,000 coins, while court officials and students alike came to pay respects. His studies of the Spring and Autumn Annals transcended conventional commentaries—eschewing forced interpretations, he succinctly evaluated the merits and faults of feudal lords and ministers, using these insights to examine dynastic prosperity and decline while exploring principles of governance, thus capturing the classic's essential meaning. During his final illness, Chief Councillor Han Qi petitioned the emperor to dispatch scribes with writing materials to his home, where his disciple Zu Wuze assisted in compiling fifteen treatises later preserved in the Imperial Archives.

Hu Yuan (courtesy name Yizhi), a native of Hailing in Taizhou, lectured at Mount Tai alongside Sun Fu and Shi Jie (courtesy name Shoudao). Enduring austere conditions, he often studied through the night and did not return home for ten years. Once receiving a family letter, he threw it into a mountain stream upon seeing the words "all is well"—later generations named the site "Letter-Casting Ravine."

Xu Heng (courtesy name Zhongping) from Henei took refuge between Mount Culai and Mount Tai during the late Jin dynasty turmoil, naming his dwelling "Lu Fortress." Studying Cheng-Zhu Neo-Confucianism under Yao Shu and Dou Mo, he became a renowned scholar. Emperor Shizu of Yuan appointed him Education Commissioner of Jingzhao, later promoting him to Grand Academician of the Jixian Hall and Chancellor of the Imperial Academy, eventually making him Left Vice Director of the Secretariat. Posthumously honored as Minister of Education with the posthumous title "Cultured and Upright," his legacy endured.

The record concludes with the legend of Mount Tai's Elder from Han times: While Emperor Wu was conducting eastern sacrifices at Mount Tai, he encountered this white-haired elder radiating light. The old man claimed that at eighty-five, he met an immortal who taught him grain-abstention techniques—consuming only white atractylodes rhizome and well water while resting his head on a "Divine Pillow" containing thirty-two herbs (twenty-four corresponding to solar terms, eight to directional winds). Through these practices, he regained youthful vigor and could traverse three hundred li daily.

At the foot of Mount Tai lived an elder who reached 180 years of age. After Emperor Wu of Han obtained his secret longevity formula, he rewarded him with jade and silk. The elder later retreated into the mountains, returning to his hometown every five or ten years. After three centuries of such appearances, he vanished completely. (Recorded in Leilin Zazhi and Ge Hong’s Shenxian Zhuan [Biographies of Divine Immortals].)

Ji Qiu Jun was a Daoist cultivator on Mount Tai who could restore white hair to black and regrow lost teeth. During Emperor Wu of Han’s reign, he was honored for his mastery of Daoist arts before retiring into seclusion. When the emperor traveled east to perform the Fengshan sacrifices on Mount Tai, Ji Qiu Jun intercepted the imperial procession with his ancient qin, warning: "Your Majesty must not ascend the mountain—doing so will injure your foot." The emperor ignored him, but after climbing just a few li, he twisted his left toe and had to turn back. Later, a shrine was built in Ji Qiu Jun’s honor. Historical texts praise his profound Daoist powers, noting how he reversed aging while cultivating on sacred peaks. His ability to foresee misfortune—demonstrated when he deliberately brought his qin to admonish the emperor—astounded all who witnessed it. (From Liexian Zhuan [Biographies of Immortals] and Jishi Yuanhai.)

An Qisheng once encountered the ailing herbalist Li Shaojun on Mount Tai and cured him in seven days with a medicine called Shenlou San [Divine Tower Powder].

Cui Wenzi, a native of Mount Tai and lifelong devotee of Huang-Lao teachings, secluded himself in Mount Qian. Later, he produced Huang San [Yellow Powder] and Chi Wan [Red Pills] to sell in the city, predicting a plague would strike in 300 days. When the epidemic erupted as foretold, officials begged for his remedies. Carrying a red banner, Cui Wenzi toured the afflicted areas, administering Huang San to patients and saving tens of thousands. He later practiced medicine in Shu, where people revered his prescriptions as "Cui Wen’s Red Pills and Yellow Powder." Chronicles commend his mastery of esoteric arts and compassionate response to the plague—wherever his red banner pointed, the divine medicine proved effective. (From Liexian Zhuan and Jishi Yuanhai.)

During the Jin dynasty, Zhang Zhong (courtesy name Juhe) of Zhongshan fled the Yongjia upheavals to cultivate on Mount Tai. Practicing Fuqi Shu [Qi Absorption Techniques], he sustained himself on lingzhi mushrooms and mineral-based elixirs. When Fu Jian of Former Qin summoned him, Zhang appeared in coarse cloth. Fu Jian remarked: "Though your self-cultivation is admirable, benefiting the world matters more. I invite you to serve as State Preceptor." Zhang replied: "I sought refuge on Mount Tai amid chaos, dwelling among birds and beasts. I dare not presume to advise rulers—I only ask to spend my remaining days returning there." Fu Jian sent him back in a lavish carriage, but passing Mount Hua, Zhang sighed: "This Daoist of the Eastern Peak shall die at the Western Peak." He soon passed away and was posthumously honored as "Master of Peaceful Dao."

In the Tang dynasty...

This account records the deeds of several Daoist figures associated with Mount Tai:

Lü Dongbin (courtesy name Dongbin) inscribed a five-character quatrain at Wangmu Pool during the Tiansheng era of the Song dynasty (21st day of the 3rd month, Wuyin year), signed as "Hui Weng"; later during the Zhenghe era (18th day of the 6th month, Bingshen year), he wrote another seven-character quatrain signed as "Hui Gong." His calligraphy resembled that of Tang dynasty master Yan Zhenqing (Yan Lu Gong), with the characters "zai shu" (written again) particularly similar to those on the Chixian Pavilion stone carving. Later generations had his authentic works engraved at Huizhen Palace. From his poems, we know Lü Dongbin (Pure Yang Master) visited Mount Tai three times.

Immortal Zhang (of unknown origin) came to Mount Tai with a certain Li during the Kaiyuan era of Tang to study the Dao. Li later returned to official life due to his imperial clan connections, eventually becoming Chief Minister of the Court of Judicial Review. During the An Lushan Rebellion, Li fled with his family to Xiangyang. While on a mission to Yangzhou, he encountered Immortal Zhang again. In Zhang's magnificent residence, Li noticed a zither player strikingly similar to his wife. The next day, he discovered the mansion was actually the long-abandoned former home of Liu Daoxuan. Returning home, he found the quince fruit Zhang had tied to his wife's skirt—proof that Zhang had achieved immortality.

Qiu Chuji (sobriquet Changchunzi) once resided at Changchun Temple on Mount Tai's southern foothills, practicing Quanzhen (Complete Perfection) Daoism. The Yuan court honored him as "Divine Immortal of Non-Action Who Expounds the Great Dao," after which he moved to Yi Mountain, leaving traces of his spiritual presence.

Zhang Zhichun (sobriquet Tiannizi), native of Tai'an Bushangbao, could recite the Five Classics at age six and entered monastic life at twelve, dwelling for years at Huizhen Palace. The Yuan emperor bestowed upon him the name "Zhichun," honored him as "Great Master Who Reveres Truth and Preserves Virtue," and granted him the purple robe. He supervised the reconstruction of Daiyue and Shengyuan temples as well as the Upper Peak Temple. According to Wang Yifei's records, he lived to 120 years old and had three imperial audiences. Scholar Xu Shilong inscribed his portrait, noting his frail physique yet remarkably vigorous Shen (spirit).

(Note: "Quanzhen" refers to the Quanzhen School, a new Daoist sect during the Jin-Yuan period; "purple robe" denotes high-ranking Daoist attire; "quince fruit" [linqin] refers to Chinese pear-leaved crabapple, often used as tokens in ancient times)

This passage records the biographies of several hermits and Daoist practitioners associated with Mount Tai.

Tian Ni Zi was a profound master of cultivation who integrated the essential teachings of Daoism, Confucianism, and Mohism. Du Renjie praised him as "aloof and pure as frost on the outside, yet luminous as the sun and moon within," while Wang Tianting admired his "depth like mountains and marshes, richness like Dao and De (Virtue)." Tian Ni Zi himself composed a verse: "Free from the shackles of the flesh, now utterly at ease; advancing further in cultivation, wandering the immortal isles of Penglai"—revealing his transcendence of worldly concerns in pursuit of liberation.

Xu Shilong (styled Fu Zhai) was a Hanlin academician of the Yuan dynasty who retreated to Mount Tai under an assumed name during the chaos of the late Yuan. He taught three disciples: one in swimming and martial arts, one in the Book of Han, and one in imperial examination essays. Their fates unfolded exactly as he foretold: the student of the Book of Han lost his sight but survived as a storyteller; the swimmer used his skills to escape peril during the siege of Jinan, earning official honors; and Wang Gui, who studied the examination curriculum, eventually attained success. Xu Shilong lived into the Tianshun era of the Ming dynasty, his youthful appearance unchanged, before vanishing without a trace.

Perfected Lord Cheng Xing Gong was an immortal who attained the Dao (the Way) on Mount Tai. Wang Congzhi, originally a Hanlin official, later withdrew to the mountain, where he passed away in full lotus posture (a Buddhist seated meditation pose). People named the site of his transformation "Immortal’s Molting Cliff."

Hai Yin, a native of Tai’an, resided at the Great Clarity Chan Monastery. From childhood, he was awakened to the Dao and often received guidance from extraordinary monks in dreams. One day, foreseeing his time of departure, he left behind a gatha before peacefully sitting in meditation until his passing. Three days later, his face remained serene and lifelike.

Above the temples of Mount Dai (the ancient name of Mount Tai), violet auspicious clouds suddenly appeared, their radiant light piercing straight through the heavens. The local magistrate witnessed this extraordinary sight with his own eyes, recognizing it as a manifestation of the "True Buddha" (in Daoist context, this term often refers to the supreme sacred revelation or the dharma form of an enlightened being). Such celestial phenomena of luminous purple mist were regarded in ancient times as auspicious omens, frequently associated with the emergence of sages or the appearance of divine beings. The magistrate's testimony, as an authoritative local official, lent further credibility to the event, confirming that the supernatural occurrence was indeed extraordinary.