《天下名山記》Vol. 7

This travelogue records the Ming Dynasty scholar Zhan Ruoshui's journey to Xiqiao Mountain in Guangdong with friends. In the autumn of 1499 (the Jihai year of Hongzhi era), Zhan had originally planned to visit Xiqiao Mountain with Zhang Bo, Deng Shun, and Zhao Jingfeng. However, upon arriving at the Deng residence, they found the others unexpectedly absent, leaving only Deng Cheng, Deng Shun, and Zhang Hong to accompany him.

They set sail westward under moonlight, reaching the mountain's foothills at dawn. Ascending along narrow paths, they climbed steep cliffs that made them feel as if walking amidst clouds, with vertigo-inducing views below. Passing through a natural gateway called "Yimen Pass," they discovered spring water flowing over rocks within the pass, winding between encircling peaks before plunging into a fathomless stone pool. Local legend claimed attempts to measure its depth with weighted lines had never found bottom.

Several dozen paces westward brought them to a spectacular cascading waterfall. Turning northwest, they passed several mountain dwellings, each surrounded by crystalline springs and extraordinary rock formations. Further along, the valley suddenly opened to reveal caverns, where local farmers gathered curiously with hoes in hand. At dusk, they lodged at Baofeng Temple.

The next day, they visited Jin Rock, but found its interior too dark and silted to explore, diverting instead to a smaller grotto where spring water showered from its roof before flowing eastward through woods. After two li of walking, they reached a valley embraced on three sides by mountains, encircled by three springs and backed by twenty-two peaks. Zhan marveled at its perfection for reclusive living, lingering reluctantly.

Reflecting on his youth, Zhan recalled hearing legendary accounts of both Luofu and Xiqiao Mountains. While Luofu's descriptions always seemed exaggerated and unattainable, Xiqiao's praises rang true. He remembered his 1496 spring excursion to Luofu with Li Shiqing. This vivid account captures Ming literati's refined pleasure in seeking secluded wonders, showcasing Xiqiao Mountain's profound natural beauty through its secluded valleys and exquisite landscapes.

This passage from Records of Famous Mountains Under Heaven primarily describes the majestic landscapes of two renowned Daoist mountains—Xiqiao Mountain and Luofu Mountain—along with the author's reflections on the beauty of mountains and waters.

The author first marvels at having ascended to the soaring heights of Feiyun Peak, where the famed vistas of Huanglong and Zhuming already seemed extraordinary. Yet the scenery of Xiqiao Mountain surpassed these by several degrees. What he witnessed represented merely one or two tenths of Xiqiao's splendor. From this realization, he comprehends a profound truth: the world's most breathtaking landscapes may lack renown, while famous mountains may not necessarily be the most sublime. When one perceives with sincere attentiveness, the profound mysteries between heaven and earth can become boundless treasures of the spiritual realm—an experience certainly not limited to Xiqiao Mountain alone.

The second section, Luofu Mountain Guide Illustrated, provides detailed documentation about Luofu Mountain. Among the world's celebrated mountains and sacred sites, the most renowned are the Ten Great Grotto-Heavens (sacred Daoist cultivation sites)—five located in Jiangsu-Zhejiang region, three in Liang-Yi territory, with the remaining two in Luoyang and Huizhou respectively. These places were either flourishing metropolises or vital transportation hubs, easily accessible for travelers. Only Luofu Mountain stands isolated beyond the sea, difficult for ordinary people to reach, visited exclusively by hermits or truth-seekers.

Towering at 3,600 zhang (approx. 12,000 meters) with a circumference of 500 li (250 km), Luofu Mountain boasts 432 peaks and countless streams. Even long-term recluses here cannot exhaust its wonders, let alone scholar-officials on brief visits. Therefore, the author created this "palm-illustrated guide": Starting from Longhua Temple (housing the Shrine of Lady Changfu), one traverses seven li of mountain path to reach Yanxiang Temple (bearing Tang dynasty imperial plaques), passing landmarks like the Moonlight Ordination Platform (Tang-era monastic initiation site), Hundred-Foot Altar (Tang dynasty mountain sacrifice site), Iron Buddha Statue (originating from Western Regions), and Imperial Citrus Grove (once tributed to Tang royalty). After 300 paces upward lies Baoji Temple at the mountainside (bearing Song dynasty imperial inscription), where visitors discover the Central Pavilion (built by Tang monk Huai Di) and the Imperial Calligraphy Pavilion (housing authentic works of Emperor Taizong of Song).

During Emperor Renzong's reign in the Song Dynasty, the emperor bestowed treasures such as Buddhist scriptures and monastic robes. This passage records numerous marvels around Mount Luofu:

The Staff Spring (Xizhang Quan) derives its name from the Chan master Jingtai, who once practiced meditation here (the term "zhuxi" refers to a monk's temporary residence for cultivation). Behind the temple lies Arhat Rock, which connects to Mount Jintan, while Tiger-Taming Rock is named after the Sui Dynasty monk Huiyue, who subdued a fierce tiger here—legend says he let the beast rest its head on his thigh as it slept. Further up the mountain lies the Buddha’s Footprint Stone, and ten li beyond that are the Great and Small Stone Towers, separated by five li. These towering formations resemble high-rise buildings, with stone gates offering views of the sea—some even claim to witness sunrise at midnight. The coastline here shifts with the tides.

Iron Bridge Peak links Mount Luo and Mount Fu. Its three upper peaks pierce the clouds, often shrouded in mist and rarely seen clearly. On the summit of the third peak, Blue Sheep Rock bears hoofprints, while below it lies Night Music Cave (Yele Dong), where celestial music is said to be heard. The Daoist immortal Xuanyuan Ji once tested his sword at the Rhinoceros Pool within this cave. Nearby is the 30-zhang-high Waterfall Spring, as well as Phoenix Valley, where phoenixes were said to appear, and its entrance, Phoenix Bath Pool, often glows with five-colored mist.

On Mount Fu stands the 560-zhang-high Jade Terrace (Yao Shi Tai). At the summit, the Cloud-Soaring Pagoda (a.k.a. Lingyun Pagoda), now a ruin hidden in the woods, was famed for sunrise viewing. The summit’s Jade Pool, also called Dragon Mother Pool, lies near Anou Pool, where Master Jingtai entered deep meditation (samadhi). The adjacent Night Music Pool emits musical sounds after dark. Here too stand the 36 Anou Pagodas built by Xiao Cha of the Liang Dynasty.

Mount Quanyuan marks the junction of Mount Luo and Mount Fu, locally known as Watershed Ridge. Below it lies Dragon King Hollow, where the Daoist master Zheng Siyuan cultivated the Dao. The spring here splits into eastward and westward flows. Jade Goose Peak, also called Goose Ridge, is where legends say a dragon once came to hear Master Jingtai preach. The Upper, Middle, and Lower Dragon Pools (collectively called West Dragon Pools) feature a 30-zhang waterfall, while Flower-Head Altar is said to be where Bodhisattva Flower-Head delivered 500 sermons. South Tower of Zifu Temple is another notable site.

Stone Tower Temple is situated on the southern side of Stone Tower Mountain, from which it derives its name. Traveling about five li west of Yanxiang Temple, one reaches a place called Yellow Dragon Cave (where the Tianhua Palace was built during the Southern Han period, now known as Western Tianhua Palace).

Beside the Seven Star Altar grow seven ancient pines with remarkably peculiar forms. Within Lion Cave lies a thatched hermitage used by Daoist practitioners. Huashou Terrace is located west of Yellow Dragon Cave. The northern side of the mountain is called Phoenix Ridge (legend says Immortal He Xiangu once resided here). Mica Creek earned its name from the abundant mica stones found there.

Heading about seven li east from Yanxiang Temple leads to Chongxu Temple (where the immortal Ge Hong once cultivated the Dao). Inside the temple stands an alchemical furnace (inscribed with Su Dongpo's calligraphy "Zhichuan's Alchemical Furnace") and a cenotaph (containing Ge Hong's clothes and hat buried as memorials after his ascension through liberation from the corpse). Behind Penglai Pavilion lies the Lost Sandal Pavilion (where Bao Jing and Ge Hong discussed scriptures and the Dao at night).

The temple enshrines three bronze statues: the Jade Emperor with two attendants (all cast during the Southern Han period). Behind Chongxu Temple lies Zhu Ming Cave (recorded in Daoist texts as the grotto where Master Zhu practiced cultivation). The Star-Gazing Altar was built near the cave entrance, where six bronze dragons and one bronze fish were excavated.

Huang Yeren's Hermitage (Huang Yeren was Ge Hong's disciple; the hermitage kept a tiger that never roared as its guardian). The Fishing Platform stands to the left of the temple. Azure Mist Valley (where Master Su once lived in seclusion). The Wild Man's Cave is also called Prince Shu's Study Hollow (the prince, named Wang Jing, lived during the Tang dynasty).

North of Chongxu Temple stands Suliao Temple (Ge Hong's northern hermitage). Magu Peak lies southwest of the temple, featuring Magu Altar where colored clouds and white cranes often gather. South of the temple is Guanyuan Cave (also called Magu Cave or Medicine Garden, where Ge Hong washed medicinal herbs). Northwest lies Secluded Dwelling Cave (containing Scholar Zheng's study hall). Dripping Water Cliff stands behind Secluded Dwelling Cave.

Longevity Temple was originally the Southern Han period's Tianhua Palace, now called Southern Tianhua Palace. Following the central path upward leads to Gentleman's Rock (with a Heaven-Piercing Rock beside it). Below Cloud Peak Rock lies Butterfly Cave (filled with butterflies said to have transformed from Ge Hong's discarded clothes). Ahead is Water Curtain Cave (boasting the most exquisite water scenery and rock formations, where Secretary Zhang and Minister Liu once studied).

Beside Tianhan Bridge lies a medicine trough, below which is the Floating Wine Cup Pool (legend says the Eight Immortals gathered here to drink, with Eight Immortal Stones nearby bearing inscribed poems). The Luofu Stone Inscription features three large seal-script characters: "Luofu Stone."

Many historic remains and natural sights lie around Mount Luofu in Guangdong. A small inscribed stone lies toppled in a stream, bearing the words 'Zhuming Dongtian' (Zhuming Cave is one of Daoism's thirty-six Dongtian). Another stone bears 'Changshou Jian,' Longevity Ravine, in seal script by Zu Wuze of Fanyang. Other inscriptions are now difficult to read.

Leaving Chongxu Guan, a famous Daoist temple, crossing Huixian Bridge, and walking east for a little over one li brings visitors to Mingfu Guan, built during Southern Han rule and also called Jiutian Guan. Along the way are Shidong, where Immortal Ye supposedly rode an ox into the rock; Little Shuilian Cave, with many recluses' thatched huts; and Baihe Guan, Ge Hong's eastern hermitage. To the northeast lies Snake Cave, where Shan Daokai shed his mortal form like a cicada and became an immortal. Legend says a passage leads from it to Meizhou. Several li farther east lie Penglai Cave and Liaoji Peak, also called Shuangji Peak. Here stands Liuxian Altar, a stone platform a hundred zhang high where Liu Gaoshang supposedly meditated. Beside it grow bamboo-leaf talismans capable of subduing snakes and tigers.

Below the peak are the Sword-testing Stone and Luoyang Stream. Huge Longcong bamboo grows beside the stream, with sections two zhang long and banana-like leaves. Many peaks stand east and west of the mountain: Xiangtai, Huizhen, Yingtao, Paoqiu, Daozi, Jinxiu, Huangyuan, Boyu, Zhiyun, Daqi, Xiaoqi, Yunmu, and Jilong. Its many caves include Jinsha, Shijiu, Taihe, Ouyang, Chishui, Baiyun, Fengdong, Yundong, Yudong, Baijiao, Dacisi, Gulao, Baimanggu, Guanglang, and Dakeng. Strange peaks, remarkable rocks, and rushing streams create scenery of extraordinary beauty.

In his Record of Biluo Cave, Wang Tao writes that places of exceptional natural beauty are known for mountains and waters, while outstanding people are known for their writing. The world has many beautiful cliffs and valleys, but unless gifted people visit, experience them attentively, and faithfully record and share them, even sights standing side by side may remain unknown. This resembles the separate world inside a Dongtian, a Daoist immortal realm. Though isolated from ordinary life, it can be reached by those with an affinity for the mountain: even Penglai, far beyond Ruoshui (the legendary immortal mountain and its difficult-to-cross waters), can be reached by a flying carriage. Without that affinity, even Yingzhou just opposite Kuaiji cannot be encountered, however many stones one drives into the sea to fill it. The writer therefore prepared this Zhizhang Tu, a concise visitor's map, for interested travelers.

Among the sacred grotto-heavens and blessed lands (spiritual mountains and divine realms for Daoist cultivation), there exist many uniquely beautiful sites, though some remain little known. Fifteen li south of Zhenyang Prefecture, where mountain ranges stretch endlessly and streams meander, a natural cavern suddenly appears at the river's end.

Beneath the spacious stone chamber within the cave flows a clear, chilly brook, surrounded by fantastically shaped rocks. In earlier times, few literati visited this place—until the sixth year of the Yuanhe era in the Tang dynasty, when Zhou Kui (styled Yu Huang) discovered this secluded and exquisite site. He invited friends to explore it together and composed The Journey to Difficulty, carving it onto the cliff face. His writing was fresh and transcendent, capturing the scenery with perfect elegance. Though visitors came afterward, none could match the brilliance of his prose.

During the Five Dynasties period, the Southern Han ruler Liu named this cave "Azure Heaven" (Biluo) and the stone chamber "Cloud Radiance" (Yunhua). From then on, its fame spread far, becoming a renowned scenic spot in Lingnan, drawing endless streams of travelers. I had long heard of its wonders but never had the chance to visit. Now, returning to my homeland, I seized the opportunity during leisure to lead a group of talented companions on an excursion.

We lingered briefly, gazing at sheer cliffs that stirred awe, while cool breezes and crisp springs refreshed the spirit. The air carried the fragrance of pines and osmanthus, as if we had ascended to an immortal realm—not only free from worldly troubles but also filled with a sense of weightless transcendence. Later, we climbed vines to explore further, seeking traces of antiquity, drinking and reveling under the night sky, singing loudly in our intoxication. We washed our feet in the clear stream, rested on the rocks, and completely forgot the burdens of mortal life, reaching the state Buddhists call the "Realm of No-Thought" and Daoists pursue as the "Land of Nothingness."

The joys of life are many, but true happiness lies in inner fulfillment and outward ease. Think of Wang Xizhi’s gathering at the Orchid Pavilion or Li Bai’s meetings by the Bamboo Stream—were they not immortalized for precisely this kind of poetic harmony? As dusk fell, we reluctantly parted, each of the nine companions composing verses to commemorate the journey.

Regarding the Five Ranges (Wuling), interpretations have long varied. Song dynasty scholar Zhou Qufei held that they referred to the five major passages into Lingnan: the first from Fujian via Xunzhou and Meizhou into Guangdong; the second from Nan'an in Jiangxi into Nanxiong; the third from Chenzhou in Hunan....

This passage recounts the geographical setting and military history of the ancient Five Ridges region. Seeking rare treasures like rhinoceros horns, ivory, and jade from the Lingnan (Yue) territories, Emperor Qin Shi Huang dispatched General Wei Tu Sui with a 500,000-strong army divided into five routes. These forces were stationed at: Xincheng (southwest of present-day Wuling, Hunan), Jiuyi Mountain (Lingling, Hunan), Panyu (Guangzhou), Nanye (Nankang, Jiangxi), and Yugan (Yugan, Jiangxi). Only the Panyu contingent was directly positioned in the heartland of Yue territory, while the others were separated by the natural barrier of the Five Ridges.

The Five Ridges specifically refer to: Dayu Ridge (Jiangxi-Guangdong border), Qitian Ridge (Chenzhou, Hunan), Dupang Ridge (Guangxi-Vietnam border), Mengzhu Ridge (Hezhou, Guangxi), and Yuecheng Ridge (Guilin, Guangxi). These mountain ranges stretch hundreds of miles across the tri-provincial border of Hunan, Jiangxi, and Guangdong/Guangxi, forming the historical homeland of the Sanmiao peoples south of Dongting Lake to the Cangwu region.

The indigenous Miao people fiercely resisted using the natural defenses of the Five Ridges. Scattered across deep forests, river valleys, and caves, they later evolved into ethnic groups such as the Yao, Zhuang, Langbing ("wolf troops"), and Danmin ("boat people"). Despite repeated imperial attempts to relocate these communities, only some of their most formidable leaders could be moved—most remained hidden in the remote mountains, defying full control. This history reflects the ancient central dynasties' efforts to govern the southern frontier regions.

This passage mainly discusses the geographical development and administrative history of the Wuling, the Five Ranges of southern China: Dayu, Qitian, Dupang, Mengzhu, and Yuecheng. Though differently named, all are high, pointed mountain ranges, called Qiao in ancient times.

In remote antiquity, Emperor Shun traveled south to the wilds of Cangwu, around present-day Wuzhou in Guangxi. His journey was purposeful: he wanted southern ethnic peoples to encounter the brilliance of Central Plains civilization and accept its teachings. Through Laolai (winning people over with virtuous government) and Quanxiang (guidance and assistance), he brought these regions under his authority through agreements.

After the Han dynasty, ethnic communities still inhabited the mountains, while prefectures and counties had been established along their foothills. The text details neighboring administrative districts around the ranges: Chenzhou in Guiyang and Lianzhou in Guangzhou; Daozhou in Lingling and Hezhou in Zhaozhou; and Nan'an in Jiangxi and Nanxiong in Guangdong shared borders. Han-era Jieyang County extended into Huizhou and Chaozhou, while the Yao settlements of Meizhou connected with Hunan. Zhang Dun's administration of Hunan in the Song dynasty coincided with the opening up of Meizhou.

The second section traces the history of Nanhai Commandery, in present-day Guangdong. In the Tribute of Yu, it belonged to southern Yangzhou; during the Spring and Autumn and Warring States periods, it was Baiyue territory. After unification, the Qin established Nanhai Commandery, where Zhao Tuo founded the kingdom of Nanyue. After Emperor Wu of Han conquered Nanyue, Nanhai Commandery was reestablished under Jiaozhou. In the Three Kingdoms period, Sun Quan created Guangzhou as a separate province, a system continued by the Jin. Administrative divisions changed repeatedly under the Tang and Song. Lingnan's Wuguan, five military governorships, were subordinate to the Guangzhou military governor. The Liu family of Southern Han ruled independently during the late Tang and Five Dynasties periods, until reunification under the Song.

This passage documents famous mountains and legendary sites around the area of present-day Guangzhou (ancient Panyu):

Mount Panyu lies east of Panyu city, featuring two connected peaks each over ten feet tall. The Classic of Mountains and Seas records this as the dwelling place of Yuhao and Yujing, descendants of the Yellow Emperor, hence its alternative name "Two Yu Mountains." Legend states that two of the Yellow Emperor's sons by concubines, both skilled in music, once traveled south to collect bamboo from Mount Kunlun for crafting the Huangzhong musical instrument before retiring here.

The Mountain of Five Immortals Shrine stands within the inner city. During the ancient Chu period, five immortals (xian) reportedly descended here holding six-eared grain stalks while riding five-colored sheep. After their departure, the grain stalks remained while the sheep transformed into stone.

The Temple of Guangli King of the Southern Sea south of Panyu preserves Tang dynasty inscriptions by Han Yu, along with treasures like jade flutes and inkstones. Emperor Zhenzong of Song bestowed gifts including a jade belt for the Southern Sea.

Mount Fuqiu west of the Southern Sea allegedly once floated on water, with boat pole marks still visible. Its Coral Well was purportedly used by Ge Hong for alchemy (waidan), said to be transformed from coral offered by sea deities.

Zhongsu Gorge (also called Xia Mountain) east of Qingyuan features legends of Zhao Hu catching a hundred-pound golden carp for the Qin emperor. During Geshu Huang's Tang rebellion, a deity appeared in dreams saying "return when you see banners" - commemorated by banners hung on the summit after suppression.

White Cloud Mountain east of Panyu originally lacked springs until nine dragon-transformed boys appeared, bringing forth water. The Qin alchemist An Qisheng once dwelled here, evading Emperor Qin Shi Huang's envoys. Nine-knotted calamus plants in its ravines were believed to confer immortality (xian) when consumed.

Finally, the text mentions Mount Renxiao's Tomb west of the inner city, commemorating the Qin-era Southern Sea commander who summoned Zhao Tuo (future Nanyue king) during his fatal illness.

This passage records historic remains and legends of ancient Nanyue, around present-day Guangdong. Here is an explanation of each section.

Yuewang Terrace north of Guangzhou was built by Zhao Tuo, the king of Nanyue who ruled Lingnan during the Qin and Han periods. To its west stood another terrace, Yuewang Chaohan Tai, where Zhao Tuo paid homage to the Han court each year.

The legend of Damo Spring is intriguing. Damo, a monk from Tianzhu (ancient India), arrived by sea and pointed to a mountain, saying that ten thousand taels of gold lay beneath it. Greedy people dug furiously but found only spring water. Damo asked how such water could be measured in money. The surrounding seawater is salty and bitter, while this spring alone is exceptionally clear and refreshing.

The account places Zhao Tuo's tomb south of Nanhai, among continuous ridges from Jilong Ridge to Tianjing. His funeral carriage traveled in all four directions, and his coffin had no fixed burial place. During the Three Kingdoms period, the Wu official Wu Yu searched unsuccessfully for his tomb, finding only that of his son Yingqi. It yielded pearl- and jade-adorned clothing, jade and gold seals, and thirty-six bronze swords with elaborate dragon designs. Later, while Wu Yu carried the swords across the Gan River, they flew into the water.

The former home of Jiande, the Nanyue king's younger brother, stood in western Guangzhou. The Wu official Yu Fan built a garden there in the Three Kingdoms period. The temple where Huineng, the sixth patriarch of Chan Buddhism, received tonsure and ordination in the Tang contains a preaching platform and a Bodhi tree. When Chancellor Fang Rong explained the Shurangama Sutra here, he used a precious inkstone previously used by the Indian monk Pramiti to translate Buddhist scripture. Smooth and lustrous, it is now kept in the hall. The hall also preserves a finely worked monastic robe brought from India, with delicate embroidery about two fingers wide.

Yuejing Ridge south of Nanhai is also called Zhao Tuo Well or Baogu Well. Baogu, wife of the prominent Eastern Jin Daoist Ge Hong, treated illness with moxibustion. The Tang-era Cui Wei received her moxibustion techniques here. The Southern Han emperor Liu Gong renamed the well Yulong Spring and prohibited common people from using it.

Shimen lies north of Nanhai, where two mountains face each other across the river like a gateway. The Han general Yang Pu fought fiercely here during the conquest of Nanyue. To the east is Tanquan, the Spring of Greed. The Jin governor Wu Yinzhi drank from it and wrote a poem affirming his integrity. On leaving office, he discovered that his family had brought agarwood aboard their river boat and threw it into the water.

Finally, the passage places the tomb of the Han recluse Dong Zheng east of Panyu and praises his exceptional integrity. The Jin prefect Yuan Yanbo sought out and honored his descendants. Mount Ma'an lies north of Panyu. During Qin Shi Huang's reign, Fangshi said Nanhai possessed royal Qi, and a thousand men were sent to cut into the mountain and disrupt its Fengshui.

This passage records historic sites and legends across Lingnan. On a small island south of Guangzhou stands Lu Xun's old fortified settlement, shaped like a square ancient wine vessel and said to have been the home of the Eastern Jin rebel general. Local men and women wear cone-shaped topknots and make their living fishing, gathering oysters, and weaving rattan and bamboo. Water-dwelling people known as Longhu or Danhu are said to descend from Lu Xun. A local custom forbids fishing on the first day of the fifth month.

Mount Shigu in Dongguan has a drum-shaped stone. Legend says that when it sounds, disorder will sweep the world; it supposedly sounded by itself when Lu Xun raised his rebellion. Jinniu Pool in Zengcheng has another legend: during the Jin, a man called Lord Luo caught a golden ox while fishing. The ox broke its golden tether as it escaped. The Tang writer Han Yu composed a poem about it when staying overnight on the Zeng River.

Gan Stream east of Guangzhou was a waterworks project built by Lu Yin, described here as a Jin-era governor of Guangzhou. During Southern Han rule, it became the imperial garden Ganquan Yuan. Coral trees lined the stream, their blossoms making a scene like a painting. Mount Boda in Panyu contains the grave of Lu Xun's mother. A sacred cauldron was once found in the stream below. When the Tang official Liu Daoxi ordered it retrieved, one of its handles broke, and all the villagers involved suffered severe ear pain.

Feng Ang's tomb in Xinhui recalls the distinguished history of Lingnan's Feng family. His grandfather Feng Bao married Lady Xian, a female leader of the Li people. Early in the Tang, Feng Ang led the Nanyue tribes in submitting to the dynasty. Chishi Ridge southwest of Panyu takes its name from its red color. A foreign merchant once offered ten thousand taels of gold to buy it for mining, but Governor Wei Ming refused.

Mount Jingtai northeast of Panyu rises into the clouds, with Yue Stream below. The Tang Chan master Jingtai practiced here. Legend says seven immortals guarded the mountain in ancient times. Stone shoes and an ancient mirror were later found here, and the mountain split during wind and rain in the Southern Song Shaoxing era.

This account describes historical remains at several Daoist and Buddhist sacred sites in Lingnan.

Mount Huangyun lies in northern Xinhui. During the Tang dynasty, the Chan master Yixing, a famous monk and astronomer, came here to practice. Yellow clouds appeared in the mountains, their light reflected on his sleeves. He built a hermitage on the summit and had more than five hundred followers.

The relic pagoda of Baozhuangyan Temple in western Guangzhou was built by Master Tansu under imperial orders during the reign of Emperor Wu of Liang to house relics of Shakyamuni Buddha. When it was rebuilt in the Tang, Wang Bo, one of the Four Great Writers of the Early Tang, composed an inscription. Ancient wells surround its interior, and it contains treasures such as an old cauldron, a sword, and a mirror. Its most precious find was a Buddha tooth relic, likely dating from the Liang.

At Jinzhi Rock in northern Qingyuan, a Fangshi (a practitioner of esoteric arts) detected supernatural Qi in the mountains during the Tang Tianbao era. The court sent people to collect twenty-four golden Lingzhi fungi, which made metallic sounds when struck together.

Mount Xiqiao in Nanhai Commandery has natural stone chambers and spectacular waterfalls, beneath which lies Yunv Taosha Beach. Rain prayers are held year-round at Jiuzhen Cave. Remains of the immortal Wulizi's cultivation from the Southern Han period also survive here.

The Zhenxiang Pagoda in Dongguan was built by the Southern Han general Shao Tingxuan. He advised his ruler Liu Chang to conserve military strength and protect the realm in a time of widespread disorder. His advice was rejected, and he was eventually killed out of suspicion. The Jiuyao stone formation at Yuyu Gong, a Southern Han detached palace, was a place where Fangshi practiced Waidan, external alchemy.

The relic pagoda at Zifu Temple resembles an inverted bowl, with surface patterns like banana leaves. It is said to have been built with Buddha bone relics. After the monk Zutang dreamed of a red snake spitting out a pearl, he found a relic in a wall. Su Shi, whose posthumous title was Wenzhong, wrote an inscription for the pagoda.

Dongpo Spring at Tianqing Guan in Guangzhou was dug by Su Shi. A turtle-shaped stone was uncovered at its source, and water immediately gushed out. These accounts blend natural scenery, religious legends, and historical events, revealing Lingnan's rich religious heritage.

Gui Spring in Guangzhou is clear, cool, and sweet, second only to the famous Damo Spring. During the Southern Song Chunyou era, the regional commissioner Fang Dacong oversaw its dredging and protected it with an abandoned iron well curb from Dinglin Temple. He also wrote an inscription, the Iron Well Curb Inscription, for the occasion.

Xiannu Bay lies in the sea south of Xiangshan, present-day Zhongshan. Near the end of the Southern Song, Prince Yi, Zhao Shi, stopped here while fleeing south. Chancellor Chen Yizhong attempted to take him to Champa, in present-day central Vietnam, but a hurricane left Zhao Shi ill, and he died and was buried in Xiangshan. After Chen fled, the palace commander Su Liuyi pursued him unsuccessfully. That night, a sudden fire at Xiannu Bay destroyed almost all the anchored ships.

Yashan lies south of Xinhui and takes its name from two facing cliffs. It is a key passage for the tides, and a military outpost was established there during the Southern Song Shaoxing era. Later, Prince Wei, Zhao Bing, fled south to this place and set up camp at sea. Bitter salt water and a breakdown in supplies brought hardship. Legend says a Tiangou, a heavenly hound, fell into the sea with a thunderous roar. Wearing court dress, Chancellor Lu Xiufu held the young prince and drowned with him in an act of loyalty to the dynasty. More than ten thousand accompanying civil and military officials and palace women then followed them to their deaths.

Mount Daxi, now Lantau Island in Hong Kong, lies in the sea south of Dongguan. Also called Gangzhou, it consists of thirty-six small islands. The inhabitants fish and make salt rather than farm. During the Southern Song Shaoxing era, officials conscripted young men for a navy, provoking resistance that was crushed. Only a few hundred households remain. They grow sweet potatoes, hunt deer, and occasionally bring local products to the city to exchange for vinegar and grain.

After returning from Nanhai, a man named Li from Dongyang often described his experiences in Nanyue. Lingnan was originally remote and began to develop under the Qin and Han. Zhao Tuo declared himself king of Nanyue, and Liu Gong later established an independent realm. Protected by mountains and seas, their regimes lasted for several generations and submitted only when the wider empire was unified. Lingnan is now an important administrative region, but routes to the Central Plains remain difficult. The northern route through Dayu Pass crosses high mountains; entry from Fujian follows isolated mountain paths through Chaoyang; and travel down the Zangke River, now the upper Pearl River, requires crossing dangerous rapids on the Li River and Huang waters. Tropical illnesses called Huangmao Zhang and Qingcao Zhang, together with venomous snakes and tigers, make officials reluctant to accept posts here. Even those who arrive often neglect their duties. Yet the region has distinctive beauty: on clear days, mist lifts to reveal magnificent seascapes, rare birds sing, and unusual flowers and plants flourish. Local flowers include Suxin jasmine and hibiscus; fruits include lychees and longans; and foods with distinctive flavors include betel nuts and Jujiang.

This passage primarily discusses the unique circumstances and governance principles of the Lingnan region (modern-day Guangdong and Guangxi). Though Lingnan is abundant in natural resources—its markets piled high with fish, shrimp, poultry, vegetables, and aged wines—life here can be as harmonious as in the Central Plains if one adapts to the local climate and regulates daily rhythms accordingly.

However, the region’s geographical isolation demands special attention: the indigenous mountain tribes (Shanlao) must be managed, and foreign maritime powers kept in check. Each year, merchant ships bring in mountains of precious goods—gold, silver, pearls, rhinoceros horns, ivory, and spices—yielding immense tax revenues. Thus, only incorruptible and upright officials (those "who return gold with tears") should be appointed to govern, transforming the locals’ reckless disregard for life and obsession with wealth. This post carries grave responsibility; neither its remoteness nor harsh climate should excuse negligence in administration.

The author cautions: officials must not slacken governance due to the region’s distance from the capital, nor should the people exploit the emperor’s remoteness to flout laws. Though Lingnan has been part of imperial territory since the Qin and Han dynasties, even after the Tang established its Five Prefectures (with Guangzhou as one), the land remains thickly forested and its people fiercely independent, requiring a balance of kindness and severity in rule. At times, the mountain tribes (Shandong people) rise in sudden revolt, forcing locals to labor day and night on fortifications, beating gongs and drums as if facing imminent invasion.

To counter this, the court has tightened laws, cracked down on banditry, strengthened defenses, and banned private arms. While these rebellions may seem minor, they threaten regional stability and take years to quell. Thus, Lingnan must never be underestimated—especially given its perilous terrain of mountains and seas.

Finally, the author notes that while these landscapes endure, the figures and deeds of the past are now lost to time. Hence, he appends this account of local customs and governance for posterity, much like the Eastern Jin recluse Zong Bing (styled Shaowen), who, too ill to travel, "wandered while lying down" by painting landscapes on his walls. Through such records, distant lands and their truths may still be vividly known.

(Note: "Guangfu" refers to the Tang-era Guangzhou Military Prefecture, one of Lingnan’s Five Prefectures; "Shanlao" and "Shandong" denote indigenous tribes of the period; "Zong Shaowen of Jin" refers to the famed Jin-dynasty hermit Zong Bing, who in his later years painted landscapes to "travel" from his bed, calling it "reclining wanderlust.")

In Yongzhou (present-day Nanning, Guangxi), there stand two famous mountains—Qingshan and Luoshan. Qingshan lies southeast of the city, near the riverbank and along a major thoroughfare, while Luoshan rises solitary in the northwest, named after the Daoist adept Luo Xiu who once cultivated the Dao there in seclusion. Though I often visited Qingshan for leisure, I had never ventured to Luoshan. It was not until the intercalary fifth month of the Xinyou year, during the sweltering summer heat, that several friends—dressed in tall hats and flowing robes—came to visit. They chided me for staying cooped indoors and suggested we seek the secluded wonders of Luoshan together.

We set our departure for the tenth day of the fifth month. At dawn, I rode a bamboo sedan chair out of the western gate, joining my companions as we first passed the Martial Arts Pavilion, pausing to admire the poems inscribed on its walls. Then we headed north across Hengtang. The dense tree shade tempered the summer heat, while the riverbanks glowed with morning mist and the mountains exhaled ethereal vapors. After several li of cool breezes, we reached Xinxu Village, where sunlight suddenly pierced the forest canopy, and distant neighing signaled our advance party—already waiting with wine and food prepared.

Ascending the mountain, we passed Tianchi Pond at its base, following an ancient path that revealed the ruins of an abandoned temple, its crumbling walls swallowed by grass. Higher up, however, we encountered a resplendent new monastery, its golden halls enshrining solemn Buddha statues. The terrace before the main hall offered sweeping views: pines lining the path, white clouds and soaring birds completing the serene vista. Here we played chess, dined, and sipped tea before pressing onward.

Amid the emerald peaks, we suddenly came upon a lush hollow planted with pomelos, crabapples, and olives—a verdant oasis where a moss-covered alchemical furnace (a Daoist’s crucible for refining the Golden Elixir) lay half-buried. The traces of Luo Xiu’s ancient cultivation stirred reflections on the passage of time. While my chess-loving friends resumed their games, I climbed with fellow height-seekers to the summit, where the panorama unfolded: trees flickering through mist-shrouded clouds, distant isles fading into haze—a sublime spectacle that dissolved worldly cares into the vastness of heaven and earth.

The passage describes a group of literati's experiences and reflections while touring a famous mountain. Faced with the majestic scenery of emerald peaks encircling the landscape, the author recalls historical feats: General Fubo Ma Yuan erecting bronze pillars to commemorate his victories, and Di Qing's conquest of Kunlun Pass. Stroking his knee in contemplation, he sighs: How could such profound emotions arise unless broad-minded individuals ascended these heights?

The group rests beneath green shade, sipping clear tea and picking mountain olives to eat. A guest arrives up the mountain path carrying a chess set, and they all gather joyfully over wine. After several rounds of drinks, they venture to the temple's front to gaze at the distant countryside. Suddenly, a mountain wind rises, stirring waves of sound through the pine trees. The guests laugh, remarking that though the morning was overcast without rain, the wind has finally come. They then sing the "Yellow Crane Song," its lyrics depicting the crane soaring over forested peaks and deep waters. Abruptly, a downpour begins, quenching the long-dry farmlands. The villagers bow in gratitude, calling it a miraculous rain brought by extraordinary men.

After the rain clears, the mountain forests glisten with fresh greenery, and the summer heat dissipates. The group asks one another if they have enjoyed the excursion. The author replies: Such an outing refines one's temperament and dispels melancholy—neither frivolous nor constrained, how could it not bring joy? If merely watching clouds and scenery stirs thoughts of ancient achievements, how can one fully immerse in the present delight?

A guest inquires about the scenic beauty of Qingluo Mountain (a combination of Qing Mountain and Luo Mountain). The response comes: Qing Mountain is open and elegant, offering views of the river; Luo Mountain is secluded and tranquil, ideal for contemplating the land. Luo Mountain's dense pine forests and serene Buddhist temples contrast with Qing Mountain's cliffs, springs, and commanding position by the river and city—more pleasing to human sensibilities. Yet the true beauty lies not in the landscape itself, but in the visitor's state of mind. The speaker adds: Mountains possess color and form—green is their color, while "luo" (spread out) describes their shape. This is the mountain's unique charm.

This passage from Records of Famous Mountains Under Heaven depicts the extraordinary landscape of Guilin. The author Luo Dajing first cites earlier poets like Han Yu and Liu Zongyu who praised Guilin's stone peaks, describing them as "jade hairpins piercing the sky" and "azure boulders abruptly rising from flat land." Contemporary writer Liu Shuzhi portrayed the city as surrounded for miles by fantastical rock formations resembling the mythical islands of immortals.

Yet the author argues these descriptions only capture surface appearances—the true marvel lies in the caverns' fathomless depths. Legends claim these tunnels connect to Jiuyi Mountain (reputed burial site of Emperor Shun). Fan Chengda (styled Stone Lake) once explored until his candles burned out. The author recounts joining Prefect Zhao Jiren's expedition with hundreds of torches and musicians, followed by thousands of citizens. Entering Zeng's Cavern at dawn, they emerged from Qixia Cave in daylight as if crossing between worlds. At Zhao's request, the author composed verses depicting this subterranean paradise: palaces of green jade, winding corridors, arched bridges spanning underground streams, exquisitely carved windows, and lifelike statues of transcendents and buddhas echoing with celestial chimes. The crystalline chambers—cool, radiant with mineral hues, and utterly pristine—felt like wandering through the primordial chaos carved by spirits.

The author also visited Goulou Cavern-Heaven (one of Daoism's Thirty-Six Grotto-Heavens), where level plains stretched for miles within a ring of mountains, allowing access without arduous climbing. The cavern's wide mouth revealed subterranean rivers flowing through luminous halls. Vividly capturing Guilin's "emerald peaks, crystalline waters, magical caves, and exquisite stones," these descriptions—particularly of the karst cave systems—breathe with the mystical aura of Daoist grotto-paradises (dongtian).

This passage depicts the extraordinary landscape of Guilin's mountains and waters in Guangxi. The author Fan Chengda, through personal travels, considers Guilin's scenery to be the most marvelous spectacle under heaven.

The text first describes an exploration of a limestone cave: people board small bamboo rafts and enter the winding water cavern with candles in hand. The cave water is so clear one can see the bottom, with jagged rocks on both banks resembling tigers, leopards, and apes. After advancing about a li (half kilometer), they look up to see a star-like point of light, which upon closer inspection proves to be a hole in the cave ceiling. The stream becomes unfathomably deep, forcing them to turn back. Local legend holds that if lotus flowers are seen blooming on the opposite cliff, it foretells a bumper harvest that year.

The author compares famous mountains across China: northern ranges like Taihang and Changshan, southern peaks like Hengshan and Lushan, though majestic, all form continuous mountain chains. While renowned for their beauty, Jiuhuashan, Huangshan, and Yandangshan are limited in scale and remotely located. Only Guilin's landscape stands apart—thousands of stone peaks rise abruptly from flat ground like jade bamboo shoots and hairpins, densely clustered in endless variations. This truly qualifies as the world's foremost wonder.

Quoting Han Yu's verse "The river winds like a green silk ribbon, The peaks pierce like blue jade hairpins," along with praises from Liu Zongyuan and Huang Tingjian, the author demonstrates that Guilin's uniqueness has long been acknowledged. He explains that most Guilin mountains are hollow, creating numerous spectacular caves below—a unique geological formation producing unparalleled scenery. Regrettably, few northern scholars of that time had visited Lingnan (southern China), making his accounts hard to believe. For this reason, he specially painted a landscape scroll of Guilin to send to friends back home.

Around Guilin there are over thirty renowned cave landscapes, all within seven or eight li (Chinese miles) from the city center, with the closest merely two or three li away—all visitable within a single day. Here we highlight several of the most distinctive:

The Reading Cave at the foot of Solitary Beauty Peak stands adjacent to the Guilin government offices. This mountain rises independently, steep and towering, with no neighboring hills around it. At its base lies a stone chamber with naturally formed stone beds and windows, resembling a complete rock dwelling. When the Southern Dynasties poet Yan Yanzhi served as an official in Guilin, he often studied here.

Fubo Rock thrusts abruptly from the ground, soaring a thousand zhang (ancient Chinese unit of length) high. At its base lies a massive karst cave spacious enough for twenty beds, with interconnected passages and smaller openings in the side walls. Most remarkably, a stone pillar hangs from the ceiling, its base suspended a hair's breadth above the ground—legend says General Ma Yuan of the Eastern Han split it with his sword. The cave faces the Li River, its entrance perpetually washed by the waters.

Diecai Rock (Piled Colors Rock) sits behind the Bagui Hall. Following the mountain path halfway up, one finds a winding cave that tunnels through to the opposite side of the mountain.

At mid-level of Nanxi Mountain, the White Dragon Cave contains a grand natural stone hall. Entering through the right wall leads to a small stone chamber after some distance.

South of White Dragon Cave lies Immortal Liu's Rock, where Daoist priest Liu Zhongyuan cultivated his practice. The stone chamber hangs suspended at mid-mountain, maintaining cool temperatures year-round.

Huajing Cave (Splendid View Cave) stands out for its exceptional spaciousness—both its main chamber and entrance measure about ten rooms in size.

The most marvelous is the Water-Moon Cave at Elephant Trunk Hill's base, where half the entrance immerses in river water. The naturally formed circular opening resembles a perfect full moon. A tributary of the Li River flows through the cave, allowing visitors to sit on submerged rocks and play in the water as if beneath an arched bridge.

Both the Dragon's Retreat Cave and Dragon's Retreat Rock at Seven Star Mountain's base require boat access. Rowing beneath the stone cliffs reveals a hundred-meter-high entrance, where boaters can observe dragon-shaped stalactite patterns on the ceiling. Another small exit leads outside, with a Buddhist temple built halfway up the adjacent slope.

Standing Fish Peak rises like a giant vertical fish behind West Mountain, surrounded by bluish-gray stone peaks ideal for carving.

The Seven Star Mountain housing Morning Cloud Cave features seven peaks arranged like the Big Dipper, accompanied by a smaller companion peak. Each cave presents unique characteristics—some grand and imposing, others delicate and exquisite—collectively forming Guilin's distinctive landscape of "verdant mountains, elegant waters, wondrous caves, and beautiful stones."

The Auxiliary Star Stone Cave is situated halfway up the mountainside. After passing through its stone gate and descending over a hundred steps, one reaches a flat area capable of accommodating dozens of people. Two paths branch off here: one extends westward, flanked by stalactites on both walls that gleam like frozen jade snow. The vaulted ceiling soars several dozen zhang high, while the passage itself spans three to four zhang wide—walking through it feels like strolling down a main thoroughfare. Footsteps and walking sticks striking the ground produce resonant echoes resembling temple bells and drums, owing to hollow spaces beneath. After half a li, the path terminates at an impassable chasm.

The other route leads northward, requiring visitors to stoop for entry. Within a few steps, the space suddenly opens into a grand cavern over ten zhang wide, adorned with cascading stalactites. These formations grow exclusively along mineral veins, never developing on ordinary rock. Progressing another li reveals increasingly marvelous sights. After roughly the time needed for a meal, multiple forks appear—travelers often hesitate here, wary of losing their way. Legend claims this passage eventually connects to Mount Jiuyi.

The Primordial Wind Cave lies merely a few hundred paces from Qixia Cave. An icy gale perpetually gusts from its depths (the character "元" is pronounced "hú-juān" in this context). Formerly called Cold Water Cliff, Lord Zeng's Cave features a fully exposed stone gate at the mountain's base, fronted by an exquisite stone bridge built by Chancellor Zeng Bu. An unseen stream flows through the cavern, swirling eastward beneath the bridge before vanishing mysteriously to the right—some say it joins underground rivers ultimately merging with the Yangtze. Beyond the bridge lie several mu of "immortal farmland." Further ahead, the path narrows into damp crevices requiring crawls through foot-wide fissures before reopening into passages linking to Qixia Cave.

Screen Cliff Rock shelters beneath a flatland precipice. Passing its gate reveals a cavernous space extending over a hundred zhang vertically and horizontally, with a central clearing large enough to feast a hundred guests. Overhead, countless stalactites hang like frozen waterfalls. Climbing fifty stone steps leads to a luminous perforation in the rock—emerging here unveils panoramic views of boundless mountains, rivers, and city walls. The site now hosts the Facing Heaven Temple, with the cavern itself called the "Luminous Void Cave."

The six caverns of Hidden Mountain all lie within West Lake's Hidden Mountain:

1. Morning Sun Cave

2. Evening Sun Cave

3. Southern Splendor Cave

4. Northern Window Cave

5. Auspicious Lotus Cave

6. White Reed Cave

Approaching by boat from the northwest, visitors first reach Southern Splendor Cave. Exiting westward leads to Evening Sun Cave, which terminates at an exitable stone gate. Northern Window Cave lies a dozen paces from Morning Sun Cave. Further west, Northern Window's narrow entrance requires sideways entry, connecting internally to Auspicious Lotus Cave. All these grottoes encircle West Lake's shores.

This passage from Records of Famous Mountains Under Heaven primarily describes the extraordinary landscapes and cave formations around Guilin. It begins with the beauty of lakes and mountains: four steep green peaks reflected in emerald waters, with the silhouette of Mount Yin mirrored at the center—a scene so exquisite it defies artistic depiction. When lotus flowers bloom, the tradition of boating on the lake is hailed as the most celebrated spectacle in southeastern China.

The text meticulously documents several renowned caves: The Northern Hidden Cave lies north of Mount Yin, featuring stone chambers, platforms, and naturally formed "stone fruits" resembling lychees, walnuts, and jujubes, which locals often gather as curiosities to gift one another. The Southern Hidden Cave is located on Luo Family Mountain within West Lake. Buddha's Child Cave (also called Bell Hidden Cave) sits ten li from the city, with three caverns—upper, middle, and lower—carved into the mountainside. The middle cavern is the most spacious and luminous, soaring a hundred zhang high, while the upper one, narrower in width, houses a small temple built into its recesses.

Xuixiu Cave lies farther from the city, its massive stone chamber facing open plains, flanked by natural tunnels stretching dozens of paces on either side. The author notes these sites are all within day-trip distance from the city. Additional highlights include Xing'an's Stalactite Caves (divided into upper, middle, and lower sections, rivaling the fame of Qixia Cave), Yangshuo's Embroidered Mountain, and five other extraordinary caverns. Mention is also made of sacred sites like Rongzhou's Duqiao Mountain and Rongzhou's Lingyan Cave of the True Immortal—reputed to match Guilin's wonders—though few scholars ventured there due to their remote, miasma-ridden locations.

The latter part cites Liu Zongyuan's Record of the Zijia Islet Pavilion in Guizhou, extolling Guilin's unique topography: while most famous landscapes boast singular marvels, Guilin is embraced by concentric mountain ranges and meandering rivers, with fantastical peaks competing in splendor at every turn. The text highlights Zijia Islet in the Li River as the quintessence of Lingnan's landscapes, noting these wonders only gained wider recognition after Pei Xingli took office there in the twelfth year of the Yuanhe era.

(Note: "Grotto-Heavens" [Dongtian] refer to Daoist-designated abodes of immortals; "miasma lands" [Zhangdi] denote ancient southern regions plagued by damp heat and epidemics; "Lingnan" [Jiaonan] indicates the area south of the Five Ridges.)

This passage records Wu Wuling's construction of pavilions and towers at Gui Mountain (present-day Guilin). As the local magistrate, he governed effectively, driving away bandits and achieving remarkable administrative accomplishments. After the imperial court pacified the Huaiyi and Heshuo rebellions, he ascended Gui Mountain with colleagues for leisure.

They beheld the breathtaking scenery—mountains encircling the land, rivers winding through mist-shrouded peaks—unlike anything they had seen before. Inspired, they embarked on grand construction: to the south, they built the Swallow Pavilion (Yan Ting), a viewing pavilion connected by long corridors; to the north, a towering structure offering vistas stretching thousands of miles; to the left, an ornate building with soaring eaves and bracket sets; to the right, a resting lodge. They even erected a floating bridge on the river, undulating with the waves. The entire complex embraced the Li River's landscape, as if drawing the splendor of the Dragon Palace into its structures.

By day, they marveled at the sunrise over Fusang (the mythical land where the sun rises) and clouds rolling over Cangwu Mountain. By night, the starry river reflected upon the waters, creating ever-shifting vistas. The scenery felt like an encounter with immortals such as An Qisheng and Xianmen Gao. When completed, they celebrated with feasts, all remarking: "In the past, such beauty was hidden deep in remote mountains and forests, but now we've created this wonder beside a thriving city—an achievement unmatched for centuries."

The author reflects: Without the numinous Qi (vital energy) of Gui Mountain, such magnificence would not exist; without its open terrain, its beauty could not be fully revealed; without Magistrate Wu's discerning vision, this realm would remain undiscovered. Perhaps this was a masterpiece long ordained by the Creator, only now brought to perfect manifestation.

About a li west of the city gate, I came upon a small hill with an underground stream at its base. The rocks here were exquisite and the waters crystal clear—an ideal hiding place for spirits and wonders.

Stepping northward over stones for forty paces, I saw a natural stone gate flanked by cliffs standing straight as swords, as imposing as if guarded by celestial deities. Ten paces west of this gate lay a north-facing cave with a floor as flat as a room. The walls shimmered with bluish-white hues, as if painted by human hands. Stalactites hung from crevices like frozen warriors, while an overhanging boulder above seemed poised to crash down, its presence startlingly lifelike.

Climbing westward, I found a stone "window" whose lattice-like cracks framed a panoramic view of endless mountains and valleys. Three paces east of this chamber stood a rocky outcrop, beneath which a pool of inky green water reflected mysterious light—three zhang deep, easily accommodating boats for dozens. The southern cave wall had natural stone steps wide enough for sixteen people standing abreast. Eastward, a field-ditch-like crevice concealed a subterranean stream vanishing into the unknown. Midway up the north wall gaped an opening like a suspended gate, just large enough for small vessels.

Beyond this opening lay a thirty-pace-wide lotus pool. North of it, a five-li-long stream spanned up to two hundred paces at its widest—room for two boats side by side. Boating here evoked the classic rivers-and-lakes aesthetic, with fish-dragons gliding beneath and waterfowl playing above. At the stream-pool junction lay a ten-foot-square crimson clearing.

Crossing the southeastern ridge near the stone gate, I walked between forest-like jagged peaks. Ten paces downhill brought me to East Cliff, where a twenty-pace vertical descent revealed a foot-wide water surface paved with fine sand like painted artwork, woven with aquatic plants. Southward, stalactites formed incense-burner shapes, white as piled snow.

Ascending forty hanging steps southwest from East Cliff, I found two jade-green stone basins collecting dripping stalactite water—drinkably pure. Nine steps higher sat a white jade plate holding naturally accumulated sweet water sufficient for several people. Twelve "cloud ladder" steps northeast led to a stone hall seating twenty, where stalactites hung like wheat ears, chiming with metallic tones when struck. At its center lay a chessboard-like stone where games made one forget time—echoing the legend of Wang Zhi who watched immortals play until his axe handle rotted.

Four paces north of the hall, then westward about two mat-lengths, a narrow southern path opened into an inner cave. The eastern chamber there was exquisitely carved as if by human hands, its ceiling adorned with coffer patterns of embroidered emerald. Peering southward from the cave, stalactites on the eastern cliff had congealed into pavilions, human figures, and beasts—veritable craftsmanship of gods and ghosts.

This passage depicts a peculiar landscape hidden within secluded mountains. Beginning seven paces beneath the Big Dipper, there lies a seventy-foot-deep stone channel spanned by a three-hundred-pace winding bridge. The area is so dimly lit that torches are required to proceed. Crossing the bridge southward leads to a sheer cliff face, where nine suspended ladders descend to the water's edge. On the northern bank stands a precipitous stone pavilion with railings for resting.

The stream accommodates fishing boats, extending eastward to the Cavern of Morning Sun (Zhaoyang Dong) while fading into darkness westward. The valley appears chiseled open—tossed stones echo with splashing water. Returning from the stone pavilion to the cliff face, a small cave lies ten paces west. Crawling thirty paces reveals hanging stalactites, culminating in a meditation chamber-like grotto inhabited by numerous white bats.

Twenty paces north lies the outer cave, where dozens of strangely smooth boulders stand arranged like wine vessels and zither stands. The eastern side features an exquisitely constructed stone chamber with beams and pillars resembling master craftsmanship. Seven paces north is the Western Gate; proceeding thirty-nine more paces reaches the Western Cavern—a ninety-foot-deep grotto with a one-way path along its northern cliff and mirror-clear water to the south.

Passing through a small eastern stone gate and crawling thirty paces along winding passages unexpectedly opens into a spacious water pavilion accommodating nine people. Below, thirty-foot-wide dark currents ultimately converge toward the Cavern of Morning Sun. One arrow-shot south from the western cave mouth lies the Southern Cavern, whose walls could host dozens for feasting, with rippling eastern waters caressed by gentle breezes.

Along the five-hundred-pace spiraling mountain path, fantastical rocks mimic myriad forms: oxen, horses, bears, swords, drums, and reed pipes. Northwest corners weave with dense pine vines. This Hidden Mountain (Yin Shan), as ancient as heaven and earth, long remained unknown due to its outwardly plain appearance. Later, when trails were carved, landmarks received names: Hidden Mountain, Hidden Spring (Meng Quan), Hidden Stream (Meng Xi), Golden Tortoise Pool (Jin Gui Tan), along with caverns like Northern Window (Bei You), Morning Sun (Zhaoyang), Southern Splendor (Nanhua), Setting Sun (Xiyang), Cloud Gate (Yun Hu), White Bats (Bai Bianfu), and Auspicious Lotus (Jia Lian).

This passage documents the landscapes of two renowned Daoist mountains. The first section describes mountain scenery from the "Record of Six Caves" by Wei Zongqing, portraying a peculiar peak. Before this mountain lies an open, luminous expanse, while behind it flows clear water. Solitary peaks rise majestically on its periphery, while internally it conceals six interconnected caverns. The author considers this a place cherished by both the benevolent and the wise, as well as an auspicious dwelling for immortals.

Specific descriptions are given of several caves within the mountain: The Southern Glory Cavern (Nanhua Dong) contains a pool stretching over ten paces, its unfathomable depths fed by crystalline springs that form the Yang River; the Sunset Cavern (Xiyang Dong) extends several dozen zhang in length, with a perpetual stream running alongside it; there are also flat stone platforms large enough to accommodate over ten people resting. Most remarkably, at the cavern's end lies a massive rock with small carved apertures through which one can peer down into the deep pools, their waters extending eastward to unknown depths.

The second section depicts another mountainous landscape. At the summit stands a pavilion unadorned by artificial colors yet perfectly attuned to natural harmony. From this vantage point, one can gaze across a thousand li, observing the movements of fierce birds and wild beasts, filling the heart with boundless exhilaration. To the north between stream and pool stands another pavilion resembling a roc spreading its wings or a rainbow spanning the sky. The surrounding area features kitchens, corridors, singing platforms, and dancing pavilions amidst dense bamboo groves and wooded retreats, far removed from worldly clamor. Local villagers often gather here for recreation, while solitary visitors come to appreciate poetry amidst the scenery. The author marvels at how local customs and human sentiments coexist harmoniously with the natural landscape, evoking the idyllic legends of ancient encounters beneath sweet pear trees.

Fifteen paces northeast from Stone Gate lies the Beiyou Cave (North Window Cave). This cavern is deep and tranquil, with a dark pool at its center—its waters black as ink. Inhabiting the pool are large fish measuring three to four feet long, their scales resembling carved armor, with crimson whiskers and scarlet tails. Some have witnessed these fish transforming into dragons, filling people with reverence for the pool.

The sides of the pool are lined with fantastically shaped stones: some like birds spreading their wings, others crouching tigers, some resembling open chests, and still others undulating like serpents or dragons. Stalactites hang from the ceiling, while mist curls between the rock walls. To the south of the pool lies another grotto, housing a naturally formed stone chamber with an uncarved window high above, crystalline and utterly charming.

Turning southeast and walking ten paces along the mountain brings one to the Chaoyang Cave (Sunlit Cave). A stream flows through it, soaking the adjacent deep pool and extending for dozens of paces. The waters of all three caves interconnect before merging into the river. At the center of the water stands a three-foot-tall white stone, smooth and rounded like an incense burner, as large as a great bed. Because the pool flows around its side, it is called the Side Pool.

Following the Side Pool westward for several dozen paces, one finds a hidden cave above, accessible only by a treacherous climb. Inside, the passage twists and turns, often frequented by Daoist cultivators (yuren, "feathered ones"). On the southern wall, six or seven zhang high, hang two jade-green stone plates resembling half a wall, capable of holding several liters of water. Nearby is a white stone plate that perpetually holds over a liter of clear water—inexhaustible no matter how much is drawn. The water is sweet as honey, white as curdled milk, and when boiled, can cure illness; drinking it nourishes the complexion. Around the stone plate, five or six people can sit, surrounded by walls so smooth and polished that even cotton cannot cling to them.

Turning north from the cave entrance, the path ends, requiring a ladder to reach the Cloud Gate (Yunhu, "gateway to the clouds"). Inside, the space is bright and spacious, accommodating up to thirty people, with gaps in the walls offering clear views of distant scenery. A naturally formed stone couch serves as a game board for chess, with space to recline on either side, allowing companions to rest comfortably. From the Cloud Gate, one can look down and take in the full view of Beiyou Cave and Mengxi Stream.

Outside the gate, two small paths branch off: one leads straight to the mountain’s highest peak, where one can overlook the winding Gui River like a ribbon and gaze at the distant mountains like ink dots, with a thousand li of scenery spread before them. Here, people built a pavilion. That autumn, auspicious five-colored clouds (qingyun) appeared in the west, shifting endlessly—hence the pavilion was named Qingyun Pavilion. Descending from the pavilion to the mouth of Nanhua Cave and walking west another ten paces brings one to the White Sparrow Cave, named after a local who once captured a white sparrow there.

This passage describes a wondrous landscape known as a "Dong" (洞, in Daoism referring to sacred caves or grotto-heavens). It begins with the presentation of an auspicious white-feathered, red-beaked bird as an auspicious sign, prompting the recording of this grotto's name. The cave entrance is narrow, requiring visitors to turn sideways to enter. Descending a dozen steps reveals a standing stone resembling a human figure, followed by a smooth and spacious stone chamber capable of accommodating dozens of people.

Further below lies an unfathomably deep black pool (Xuan Tan, 玄潭), its banks adorned with a natural stone tower rising two to three chi high, resembling an exquisitely decorated pavilion when viewed from afar. To the south stand two human-shaped stones several feet apart, appearing like figures gazing at the scenery from the tower. The pool's dark, ink-like clarity inspires awe. People have built wooden walkways for swift passage across the water toward a southwestern stone cave.

Inside hang stalactites resembling those in another grotto called Chaoyang Dong (朝阳峒, Sunrise Grotto), though on a smaller scale. This cave connects to Jialian Dong (嘉莲峒, Auspicious Lotus Grotto), named after someone presented twin lotus flowers growing on a single stalk. Sixty paces north of the grotto lies a bottomless western cave teeming with white bats.

An eastern walkway winds to the northern side of Xuan Tan, where two openings exist: the eastern one admits light but is impassable, while the western leads back to the main entrance. The grotto's interior is level, featuring natural stone tables and beds as if designed for tea brewing and musical gatherings. A stone qin (琴, zither) produces metallic and jade-like tones. Westward paths lead to Xiyang Xishan (夕阳西山, Sunset Western Mountain), completing the tour of six grottoes.

Two water sources are described: one flowing from Xiyang Dong through Jialian Dong, Baique Dong (白雀峒, White Sparrow Grotto), and Chaoyang Dong, emerging from Nanhua Dong (南华峒, Southern Splendor Grotto) to form a pond; another originating from Meng Stream northeast of Beiyou Dong (北牖峒, Northern Window Grotto), merging southward with Nanhua Dong's waters. This natural pond spans five to six li, suitable for boating. Its mirror-like clarity reflects flying birds and swimming fish, while wildflowers perfume gentle breezes and lotuses blush the waters. Serving both as ceremonial space and communal food source, it shares its bounty harmoniously with the people.

This passage describes two renowned landscapes in vivid detail:

The first section depicts the scenery surrounding a mountain temple. Along the southern path, towering pines line both sides, their dense canopies filtering the sunlight, while the whispering pines carry the crispness of autumn. Outside the temple stand two intertwined pines (separate roots but fused trunks), while inside, an ancient pine with a low, umbrella-like crown shelters the grounds, accompanied by bamboo groves trailing along the riverbank. A winding path, too long to traverse even with a cane, leads northward to the valley mouth beyond the window, where a level, unused field stretches about ten paces from north to south and equally wide from east to west. Here, a waterside pavilion and breezy corridor have been built, alongside a kitchen and side chambers—structures elegant yet unpretentious, perched on steep terrain without feeling cramped. The shimmering pond reflects the emerald mountains opposite, while the melodies of silk and bamboo instruments fill the air. Guests gather in abundance, raising their cups in merriment; songs soar to the heavens, and dancing figures ripple across the water’s surface, momentarily dispelling all thoughts of homesickness.

The second section presents Cao Xuequan’s investigation into the river systems of Yangshuo (modern-day Yangshuo County, Guilin, Guangxi). It is commonly believed that the Li River carries only a third of the Xiang River’s volume, yet few realize that half the Xiang River’s source actually originates from the Li. The name "Yangshuo" itself offers clues: "Shuo" (朔) means "north," while "Haiyang Mountain" lies roughly 80–90 li south of Xing’an County and north of Yangshuo. "Hai" (海) signifies abundant water, and "yang" (阳) denotes the northern side of a river—hence the mountain’s name, Haiyang. Its waters divide into three routes: the northern branch splits into the Xiang and Li Rivers at Dragon Rock; the southeastern route includes the Dropping Rock Spring, all eventually converging at Yangshuo. Local proverbs like "Three Peaks, Haiyang" and records in the Book of Han corroborate this. The Xiangzhong Ji notes that the Xiang River originates in Yangshuo, where small boats can sail directly to Dongting Lake, as if the sun and moon were plunging into the water—proof that Yangshuo is also a source of the Xiang. The Tang scholar Wu Wuling’s stele inscription describes mountain ranges surging northward from coastal ridges for thousands of li, then turning south from Mount Heng and Mount Wu for another thousand li, finally meeting at Yangshuo. Today, it’s clear that this "convergence" refers to Haiyang Mountain. Yangshuo County was established during the Sui Dynasty, carved out from Shi’an County, while Han-era brick carvings bearing the characters "Yangshuo" attest to the ancient prominence of Yangshuo Mountain.

Those who enter the Li River (a waterway in Guilin, Guangxi) pass by the Duling Waters, where fragrant grasses grow along the banks—this is the very scene described as "Duling's fragrant chase" in Han Dynasty yuefu poetry. This river is also known as the Duli Waters, and the Commentary on the Water Classic records that the Li River flows south past Mount Duli.

To the northwest of the county town lies the Donghui Waters, and three li to the southeast runs the Shuangyue Stream, both converging into the Gui River. The western stream originates from the Western Hills, meandering past the Pearl Cave before joining the Gui Waters. Thirty li to the north, the Xingping Waters emerge from Mount Baozi, flowing south to merge with the Gui River. I traveled upstream by boat and found a large rock at Xingping where one could rest. Enchanted by the landscape encircled by mountains and waters, I decided to stay.

That day, I visited Tangshan Mountain, where a spring gushed from its base to form a deep pool. Nearby was a stalactite cave (the "Milk Cave"), with droplets falling like strings of pearls—this is the source of the Guanyuan Waters. The cave has multiple levels, dim at the front but bright toward the back. One must bend low and paddle a small boat to enter, navigating through narrow and spacious passages alternately. At times, I had to lie flat to propel the boat, while at others, I held a torch to light the way. Cave winds fluttered my sleeves, and mist dampened my cheeks. Though the Star Grottoes of Duanzhou and the Three Caverns of Jinhua are also wondrous, neither compares to the ever-shifting marvels here.

Another dozen li west lies the Rhinoceros Pool, where the waters of Longji Bridge and Songjiang Bridge converge at a stone cave said to conceal a rhinoceros. The soft grasses along the shore, called "rhinoceros grass," can be woven into mats. After traveling another twenty li, a sudden thunderous roar erupted from the boat. Opening the window, I beheld a waterfall cascading from the mountaintop like a suspended Milky Way plunging into the Gui Waters. In my earlier work, Record of Waterfall Gardens, I claimed that Guilin had many mountains but few waterfalls—only upon seeing this did I realize my error.

The previous evening, I stayed at Longtou Ji and visited the so-called Lotus Leaf Cave. The stalactites hung like unfurled canopies, and from the side, they resembled withered lotus leaves swaying in the wind—already a striking sight. Little did I expect that the next morning would bring not only waterfalls but also a boat journey through cliffside caves, followed by another stay at Xingping. Truly delightful.

From Guilin to Shuocheng, one first passes by Mount Xiushan ("Embroidered Mountain") and then Mount Huashan ("Painted Mountain"), where the hues interweave like brocade, and the peaks live up to their names as "embroidered" and "painted." Twenty li from the county town stands Mount Zhai, formidable on all sides—a stronghold once garrisoned by the Ma clan of Hunan. At its base lies the Scholar's Rock, where Cao Ye, a Tang Dynasty official from the Ministry of Rites, once studied.

The text records scenic landscapes and historical anecdotes from several famous mountains. At Longtou Mountain (Dragon Head Mountain) stands the Ciguang Temple, originally converted from a memorial hall before falling into ruin. Ming dynasty scholar Xie Jin once lamented in poetry: "The ancient temple lies abandoned with none to dwell." Recently, a filial scholar named Mo Yiguang (holder of the provincial examination degree) began restoring the temple.

The description then turns to Bilian Mountain (Jade Lotus Peak): Its layered ridges resemble clustered lotus petals, forming the backdrop to the county town. Tang poet Shen Bin wrote of "dwellings nestled within jade lotus peaks." The canyon to the town's left resembles a natural screen, described by Song poet Tao Bi as "precipitous cliffs folding sharply, homesteads settled in the gaps."

Several hundred paces south lies Jianshan (Mirror Mountain), with rocks polished smooth as mirrors that legend says reflected passing carriages and travelers. Five li further stands Niaoshan (Bird Mountain), perched riverside like a spreading-winged avian. Fifteen li southeast appears Dongrenshan (Eastern Human Mountain), shaped like a bowing figure with ceremonial cap and sash, mirrored by similar anthropomorphic rocks to the west. These wonders reveal themselves during river journeys—though the currents run swift, one day's voyage unveils three days' worth of scenery.

The overland route behind the county town follows the marvels described by Tang scholar Wu Wuling: For dozens of li, peaks stand like battlements and banners, some resembling armies poised for combat or retreat. Northward near Cuiping Posthouse, the vistas unfold like a play's final act, leaving lasting impressions. South at Guangfu Cave, the rock formations mimic an armory's contents—some like grand halls, others as banners, dragon claws, or swallow nests, with stream-crossing bridges and trees creating a hidden utopia.

Another passage documents Mount Emei in Sichuan: During an inspection tour, Censor Xie Juanzhai explored the mountain accompanied by Vice Commissioner Mao Meitang, Councilor Fan Weiye, and Assistant Commissioner Liu Huangxi. Expressing deep interest in Emei, the party departed the north gate the next day via Baojing Tower. Known as the "Three Emei Peaks," this world-renowned site inspired the travelers to emulate the ancient principle of "the Dao of tension and release" (balancing exertion and rest), using the journey to broaden their spirits.

Following the winding mountain path past Liberation Bridge, passing Guiyun Temple, crossing Cangshui Bridge, traversing Zhongfeng Temple, and fording Twin Streams Bridge, one encounters a rushing torrent. A massive boulder stands abruptly in the middle of the rapids, splitting the water into two channels that cascade down the stone bridge with thunderous spray before merging into a meandering stream flowing toward Dragon Gate.

Resting briefly at Sihui Pavilion, one is surrounded by wild charm and serene light that dazzles the eyes. Continuing westward for dozens of miles, the halls of Baishui Temple appear faintly amid the emerald mountains, where we decide to lodge. Rising at the fifth watch to ascend Heart-Summit Slope, the precipitous stone steps are treacherously steep, like climbing to heaven. After passing Great Cloud Ravine and Lesser Cloud Ravine, the path levels slightly before the perilous ascent of Housun Ladder. Climbing to Wooden Skin Hall and Plum Slope requires gripping iron chains, followed by the arduous climb to Thunder Roar Platform. Here, bottomless dark gorges flank both sides, with iron signs forbidding speech along the path. A mountain monk explains that the caves below house flood dragons and venomous serpents whose breath rises with the mist—hence the prohibition against noise to avoid mishap.

Further ascending the perilous Eighty-Four Turns, we move mostly through clouds since entering the mountains. Suddenly, a shaft of sunlight breaks through the clouds, dazzling like molten gold—utterly unlike the light seen below. The monk explains: "The sun itself is no different, but the clarity of high places naturally alters what we perceive compared to the dusty world below."

Reaching Joy Pavilion, we stroll across Celestial Immortals Bridge, pass through Heaven’s Gate to arrive at Radiance Temple, and finally summit Great Emei’s pinnacle. Gazing into the distance, the western Scripture-Drying Terrace and Tile-Roof Mountain appear like objects on a table, while the Jade Fortress and Green City ranges resemble small earthen mounds. The Shu River winds eastward like a ribbon. Looking down at Emei’s midsection, white clouds spread like snowfields, with Middle and Lesser Emei peaks hidden in the sea of clouds—momentarily evoking snow-covered plains or moonlit frost. A breeze stirs rippling cloud-light, mirroring Dongting and Poyang Lakes’ surging waves, a scene beyond words. A companion remarks: "Such clarity purifies the spirit—no wonder in my life I’ve seen nothing to rival this."

Suddenly, two thrush-like birds with quail-like markings appear, followed by two squirrel-sized mice. Unafraid of people, they even eat grains offered by travelers before departing. Then the monk announces: "Buddha’s Light has appeared!" We turn to see a radiant halo of colors glowing above the clouds along the mountainside.

The passage describes an experience of observing mountain scenery: At that time, a circular halo was seen, initially the size of a cartwheel, which gradually expanded to the size of a carriage wheel and lingered for a long time before vanishing. A certain master explained that this phenomenon occurs when the spiritual Qi (vital energy) of treasures hidden beneath the mountain cliffs interacts with sunlight and mist. Without the interplay of clouds and sunlight, such radiance would not manifest. Some mistakenly believed this to be Buddhist light, but such claims are incorrect.

As the mist gradually dispersed and dusk fell, the group bowed in farewell. The next day, while descending the mountain path, the peaks were shrouded in clouds, signaling impending rain. The master remarked that the most sublime moments for appreciating mountain scenery occur amidst misty rain. By the time they returned to the city, it was already the second watch of the night. Quoting Su Dongpo, he said that the joy of wandering through mountains and rivers is a rare pleasure in life, much like how Wang Xizhi longed to visit Mount Emei but never fulfilled his wish. It was also said that visitors to these mountains, if arriving at the wrong time, might encounter heavy snow blocking the paths. Even if one reached the summit, sudden storms could spoil the experience. Indeed, their excursion the previous day had been thoroughly enjoyable.

Later, a certain Master Liu proposed emulating Zhu Xi’s (Huiweng) ascent of Zhurong Peak by composing poems in gratitude to the mountain deity. The master cheerfully composed an ancient-style verse, and the others followed suit in harmony. Though lacking in talent, I recorded these observations.

Next, Lu You writes in his Record of the High Studio at Dongtun: Du Fu (Master Shaoling) in his later years traveled to Kuizhou (present-day Fengjie, Chongqing) and, captivated by the landscape, was reluctant to leave. He moved residences three times, each named the "High Studio." According to his poems: one was near the Water Gate at White Emperor City, another adjacent to an herb shop at Rongxi, and a third at Dongtun, which overlooked the entire stream.

After spending several months in Kuizhou, Lu You sought traces of Du Fu’s legacy. He found White Emperor City in ruins for over a century, with even the elderly locals unaware of the High Studio’s location. Rongxi had since become the site of the Kuizhou government offices, transformed into fields and markets, leaving no trace of the studio. Only at Dongtun did a Li family reside for generations—since Du Fu’s time, the property had changed hands merely three times, and they still preserved the land deed from the Dali era of the Tang dynasty. The scenery here, with mountains at its back and a stream in front, closely matched the High Studio described in the poems. Li Xiang, a jinshi (metropolitan graduate) of the Li family, through the prefectural instructor Yong Dachun, requested Lu You to compose this record. Lu You reflected with emotion... (the following text is incomplete).

This passage contrasts the circumstances of two men of letters. Du Fu, also known as Shaoling, was exceptionally gifted and appreciated by the Tang emperors Xuanzong and Suzong, yet his official career was troubled. In old age, he wandered through Ba and Shu, expressing concern for his country and its people in poetry, with no one to help him. Reading his lines, 'This minor servant's counsel is cut off; old and ill, I am a guest in a distant land,' the writer cannot help weeping. He finds Du Fu's fate more moving than Jing Ke's sorrowful song or Ruan Ji's tears.

In sharp contrast, Master Li, a recluse in Dongtun, rises above the honors and humiliations of official life, finding contentment in books and the Qin zither. He has none of Du Fu's anxieties, yet shares his noble character. The writer feels unable to match Li's detachment: he can neither serve his country fully nor find a place to retire, and therefore deeply admires Li's way of life.

The latter section describes Mount Xiujue, with its steep riverbanks and a bamboo-shaded temple in the clouds. Lines from Du Fu's Visiting Xiujue Temple, such as 'The rustic temple opens onto river and sky; flowers and bamboo seclude the mountain gate,' create a quiet, ethereal landscape. Different verses written on Du Fu's two visits suggest the melancholy of changing lives amid familiar surroundings as time passes.

I remember when I revisited this bridge years later, the landscape seemed to be waiting for me, with flowers, plants, and trees displaying their beauty unreservedly. A thin mist shrouded the damp fields, while sunlight lingered on the sandy shores. At this moment, the melancholy of the journey lightened—where else could one go but here?

Emperor Xuanzong of the Tang Dynasty once sought refuge in Shu (Sichuan) and inscribed the words "Xiujue Mountain" on a cliff here, which remain to this day. I decided to climb along the mountain path carved by predecessors, where stones of varying heights were cleverly arranged into steps, preserving their natural forms. I rested several times during the ascent, each stopping point offering a flat and comfortable spot. Passing through gaps in the bamboo grove, I could always glimpse the river on the left—its sandbars sometimes round, sometimes half-moon-shaped, its currents sometimes swift, sometimes gentle—a scene that etched itself deeply in my mind. The locals made bamboo rafts, much like children floating leaves in bowls for play. It looked precarious from afar, yet from above, it seemed light and effortless.

After climbing about a quarter of the way up, I noticed another set of stone steps carved into the cliffside, winding toward Xiujue Temple. We chose to continue along the central path, turning several times before reaching a pavilion with upturned eaves, housing inscribed poems by literary figures such as Du Fu, Li Bai, and Su Shi. A few steps further led to Baohua Temple, where we paid respects before retracing our steps. Turning left from the temple gate, we followed a stone path through the bamboo grove to Xiujue Temple. In front of the temple stood twin wells, each flanked by an ancient Tang-era pagoda. Emperor Xuanzong’s calligraphy was embedded in the cliff to the left of the Buddha Hall—each character carved on a separate stone, bold and well-preserved, the finest Tang-era stone inscription I had seen in Shu.

As I hesitated about where to go next, a monk pointed me toward a hidden path barely wide enough for one person. Passing through this precarious trail, the view suddenly opened to a stretch of flat farmland. Climbing further up the stone steps, a snow-capped peak overlooking the river abruptly came into view—only then did I realize that the earlier "quarter of the way up" referred only to Xiujue Mountain, not this much higher peak. To the left, Choujing Mountain stood like a procession of travelers. Leaning on the railing, I took in the sweeping river vista, entirely different from what I had seen below. Strangely, from the foot of the mountain, Xiujue seemed far from the river, yet from Xiujue itself, the snow peak appeared closer—the sheer cliff I had seen from the boat was now right before my eyes.

This passage records the author's observations and research during his travels in the Shu region (present-day Sichuan area).

The author describes a mountain path scene: descending from Snow Peak and winding around the base of the well tower for about a mile, the trail leading back to Baohua Temple disappears from view. Suddenly, he notices stone-carved steps on the cliff face—a path to Xiujue Temple—where the return route merges with the original trail. At the end of this path, he switches to a sedan chair and arrives at Pengshan by nightfall.

The text provides a detailed analysis of the ancient river-crossing method called "duosuo xuntong" (rope-and-pole crossing). This technique, documented in Records of the Western Regions, is explained in annotations to the Book of the Later Han as using ropes to traverse impassable gorges. Tang Dynasty scholar Dugu Ji also recorded it in Summoning the Northern Guest. Through firsthand investigation, the author confirms that this type of bridge is still used in the Songmao area of Shu: pillars are erected on both sides of treacherous rivers, connected by a rope with a wooden cylinder (tong) sliding along it. Crossers tie themselves to the cylinder, grip the rope, and pull themselves across, where assistants untie them on the opposite bank. The author marvels at Dugu Ji's seventeen-character description but praises the Records of the Western Regions for capturing the essence in just four words.

Regarding Zhuge Liang's Eight Formation Diagrams, the author notes two sites in Shu: one at Yong'an Palace in Kuizhou, remnants of Liu Bei's defensive river formations during his eastern campaign against Wu; the other at Mimu Town in Xindu, where Zhuge Liang routinely trained troops. The author particularly admires Zhuge Liang's military genius, asserting that his Eight Formation Diagrams—derived from profound tactical theory—were truly masterful and ensured undefeated campaigns. Such strategic wisdom far surpassed desperate last stands or reckless advances. Yet, just as he prepared to march north against the Central Plains, southern tribes repeatedly rebelled, cutting short his ambitions.

This passage recounts the military prowess and loyal spirit of Zhuge Liang (the Martial Marquis) during the Three Kingdoms period in the Shu Han kingdom. Facing powerful external enemies and internal weakness, though Zhuge Liang mastered the subtleties of military strategy (the marvels of the Eight Formations), he could only fully demonstrate his talents during the southern campaigns where he captured Meng Huo seven times, never achieving his grand ambitions in the Central Plains.

The author employs the metaphor of fighting fires while guarding against thieves to illustrate the dilemma: just as one must extinguish flames while remaining vigilant against looters, Zhuge Liang’s extraordinary intellect still couldn’t reverse Shu Han’s decline. The Mandate of Heaven had departed; Shu Han’s fall became as inevitable as a meteor’s descent. Yet centuries later, people still lament Shu Han’s defeat precisely because Zhuge Liang’s loyalty continues to move posterity.

The text particularly describes the remnants of the Eight Formations at Kuimen (near present-day Fengjie, Chongqing): during spring when waters recede, over a hundred zhang of riverbank reveal twenty-four meticulously arranged stone piles in eight rows. Locals explain that summer floods submerge these formations, yet they reappear intact when waters withdraw. Similarly, near Xindu (modern Chengdu area), ruins resembling city gates feature an earthen mound that farmers level, only to find it mysteriously restored within weeks—as if maintained by supernatural force.

The account concludes with Han Dazhi, a Qingyang native appointed as local official, who first paid respects at Zhuge Liang’s shrine before visiting the Eight Formations site. Deeply moved, he reflected that inscriptions like the Yanran Mountain stele were merely technical achievements, whereas Zhuge Liang’s enduring legacy transcends craftsmanship—it persists through millennia not just by preservation, but through the loyal spirit it embodies.

This passage records three famous historical sites associated with the Shu region, which I will analyze section by section:

Regarding the ruins of Zhuge Liang's Stone Sentinel Maze (Bazhentu), the author notes that while this location is renowned, it lacks clear markers, causing passing travelers to miss the opportunity to pay respects while woodcutters and shepherd boys come and go freely. He suggests rebuilding the memorial temple and erecting a stone tablet by the roadside inscribed with "Zhuge Wuhou's Stone Sentinel Maze," with an inscription composed by a scholar on the reverse side. The author considers the veneration of ancient sages and preservation of historical sites as virtuous acts, while the verification of landscape histories falls within the official historian's duties.

The Thatched Hut by Washing Flowers (Huanhua Caotang) was the residence of Tang dynasty poet Du Fu (known as Du Gongbu). Ming scholar Yang Wenzhong had previously documented it in detail. When visiting, the author lamented: From the Tang dynasty to the present, Du Fu's fame has shone brightly, so why had no one reconstructed his thatched pavilion? Later, eight officials including Liu Gongxiang and Yang Gongzhi jointly rebuilt it, naming it "One Thatched Hut Under Heaven," thus restoring the millennium-old scene of the humble cottage. Sitting in the pavilion, the author observed the Hundred Flowers Pool waters flowing past the windows, mandarin ducks flying about, and on moonlit nights the rustling bamboo groves seeming to echo Du Fu's sighs of homelessness from centuries past. Outside stood ancient trees weathered by storms yet still standing tall - all these scenes crystallized within the thatched cottage. The author reflected: Had Du Fu known how many kindred spirits would appreciate him in later ages, he would surely have been astonished. During the An Lushan Rebellion when Du Fu sought refuge with Yan Wu, he wrote "My Thatched Roof Is Ruined by Autumn Winds" expressing his aspiration to "obtain broad mansions covering ten thousand miles" - posterity should not merely regard him as a poet but recognize his statesmanlike vision akin to ancient sages Ji and Xie. The author hopes future renovators will remember the profound meaning behind Du Fu's original thatched dwelling.

The final mention of Pine-Chrysanthemum Pavilion (Songju Ting), though not elaborated, suggests another commemorative structure in Shu region, likely using pine and chrysanthemum as symbols of noble character. As a prominent Song dynasty literatus, Huang Tingjian's inscription presumably praised some form of moral excellence.

This passage explores different life pursuits and attitudes toward existence. Those who seek fame become officials at court; those who pursue profit engage in commerce at the marketplace. But what about those who seek the Great Dao (Dao, the highest truth in Daoism)? They need only return to their innate nature.

The text offers various examples: people use bells, drums, and musical instruments to heighten their joy, weapons to vent their anger, while natural landscapes—mountains, rivers, pines, and chrysanthemums—serve as places to enjoy a leisurely life. The wise understand that high rank and glory (Xuanmian, carriages and ceremonial caps) cannot be held forever, so they take time to savor tranquility. The wealthy recognize that gold and jewels (Jinyu, riches) are difficult to retain indefinitely, so they reserve some energy to pursue serenity.

The passage then introduces a man from Shu named Han Jianzheng Weng, who possessed the business acumen of ancient tycoons like Fan Li and Bai Gui. Yet, feeling such talents were of little use in the chaotic world, he applied them to managing his own estate. After thirty years, his wealth multiplied a hundredfold, and he built a "Hall of Pines and Chrysanthemums" amidst the mountains and rivers, writing to Huang Tingjian (the Daoist recluse known as Shangu Daoren) to request an inscription.

Huang Tingjian responded with a smile: "Master Han indeed understands that wealth cannot be held forever and wishes to preserve some energy for leisure. But let me ask: Is this hall meant for revelry with song and dance, or for continuing commerce (Yansang, a reference to shrewd merchants)? If for pleasure, solitary enjoyment is inferior to shared joy, and the happiness of a few pales beside that of many. True joy should involve relieving hunger and cold, aiding orphans, forgiving debts, assisting the poor, arranging weddings and funerals for one's clan, and supporting tenant farmers in their labor. Only then, when music and dance fill this hall, will all truly feel happiness."

"As for continuing commerce—when will it ever end? Wealth invites resentment and dissipates easily. If left to descendants, capable ones may lose their ambition, while foolish ones will only compound their faults. Since Master Han understands this, surely this hall is not merely for pleasure?"

Finally, the text suggests that in enjoying leisure, one should set aside mercantile thoughts and return to the pursuit of the Dao. But to achieve this, one must emulate Meng Xianzi of the Spring and Autumn period, who befriended five men uninterested in his wealth. Such companions—the benevolent help you give, the righteous ensure fairness, the wise offer counsel, and the courageous aid in decisive action—allow one to enjoy peace without harm while enriching one’s descendants. The worthy grow wiser, the foolish lessen their errors. This is the true life of a recluse.

The Records of Famous Mountains documents the travel accounts of two literati figures.

Wang Bo wrote in Preface to the Autumn Banquet at the Mountain Pavilion: In ancient times, the renowned scholar Wang Xianzhi (styled Zijing) often reminisced about the gardens of the Xi family, while talented figures like Ruan Ji (styled Sizong) frequently lingered in Shanyang. These refined scholars always chose auspicious days and beautiful scenery to gather, drinking and playing the qin amidst mountains and rivers. Just as Xie Lingyun found inspiration at Dongshan to compose poetry, and Qu Yuan’s genius was stirred by the southern landscapes. Now we have come to the former home of Yang Xiong (styled Ziyun), where the cliffs and valleys remain unchanged; the virtuous legacy of Mi Zijian can still be felt in the songs of the qin. Crimson orchids and emerald chrysanthemums reflect by the sandy pavilion, while verdant pines and cypresses encircle the jade steps. The trees stand unevenly in the setting sun, mist envelops the citrus groves, and autumn lotuses sway under the moonlight. The company drinks and composes poetry, momentarily setting aside worldly troubles, recording this splendid moment in four-rhyme verses.

Yin Shen recorded in Preface to the Journey to Mount Emei: According to the Records of the Grotto-Heavens, Mount Emei is one of the Daoist blessed lands, the Lingling Tai Miao Tian (Spiritual Mound of Supreme Wonder), located just six hundred li from my hometown. Finally, in the third month of the Guichou year, I was able to set sail for it, accompanied by friends. First, we ascended Lingyun Mountain in Jiazhou, where we saw snow-capped peaks gleaming in the distance. The next day, we reached Emei County, then traveled south to Shengji Temple, in front of which stood the Puan Bridge. Heading west up the mountain, we passed scattered farmhouses and Buddhist monasteries along the way. The path grew steeper, and the sound of hooves echoed against the stone. Crossing Jietuo Slope, we encountered towering nanmu and ginkgo trees, their shade sheltering travelers—this was Nanmu Ping. To the northeast lay the legendary Terrace of the Yellow Emperor’s Inquiry into the Dao, now desolate and forgotten. After another three li, we arrived at Ma’an Mountain, where below stood the Tiantai Hermitage and Wanding Bridge, with strange rocks towering at its head.

This passage describes several scenic spots on Mount Emei. Near Nanmuping, clear springs converge to form a pool so transparent one could count strands of hair reflected in it. The characters "Fu Shou" (Blessing and Longevity) are carved into the stone, though now faded. Local legend attributes this inscription to Chen Tuan (the renowned Daoist master also known as Tu'nan), though no concrete evidence exists.

Along the path, newly sprouted bamboo grows in dense, uncountable thickets, competing for space with towering fir and cypress trees. Ascending to Lingwen Pavilion, one overlooks the peaks of Daping and Baiya, their jade-like ridges undulating like ceremonial gui tablets and bi discs, forming a remarkable landscape. A short walk leads to Gefeng Terrace, traditionally associated with the ancient recluse Lu Tong.

About a li beyond Zhongfeng Temple, the distant roar of a waterfall becomes audible. Descending reveals a pavilion straddling twin bridges where the stream divides—its waters surging powerfully through the stone channels. The rocks, worn angular by currents, appear fierce when battered by rapids yet gentle in calmer flows.

Before Bailong Cave stands a lush grove of nanmu trees, said to have been planted by the monk Biechuan in numbers matching the count mentioned in the Lotus Sutra. Cisheng Nunnery boasts the mountain's most exquisite architecture, surpassed only slightly by Haihui Hall. The so-called "Buddha's tooth" relic here is merely a bone with tooth marks. Wannian Temple, repeatedly damaged by disasters, now stands protected by brick walls.

Climbing from the temple's rear toward Dingxin Slope, the author searched in vain for sedan chairs and proceeded on foot to Heishui Temple. The steep trail wound through dense woods, crossing a stream via a bridge where the monk Hui Tong supposedly once rode a tiger. The once-melodious Bayin Pool now lies overgrown.

After three nights at Cisheng Nunnery, the county magistrate sent bamboo sedan chairs—unconventional ones pulled rather than carried. Four men haul ropes uphill while gradually releasing them during descent, making ascents far more laborious. Passengers must curl tightly, knees pressed to chest, avoiding any sudden movement.

Beyond Dingxin Slope, the narrow, twisting path earns the name "Goose Neck Ridge," while its deepest sections—"Great and Small Cloud Chasms"—remain passable despite thick vegetation.

This passage describes the author's travelogue through famous mountains. It begins at Cuizhuping, where the breathtaking scenery and rugged paths often leave one hesitant, requiring inner harmony to proceed. The First Temple (likely the initial mountain shrine) features simple architecture with tile-less roofs and sparse vegetation, making the journey arduous for both sedan bearers and pedestrians alike.

At Leidongping, the writer gazes into fathomless dark caverns where sheer cliffs split open—legendary abodes of immortals like Nüwa and Guiguzi. Leaning against the rocks to peer downward, the author involuntarily cries out, startling a companion who frantically tugs his sleeve, momentarily forgetting the prohibition against noise. Tradition holds that carrying pungent items or making clamor here once summoned thunder and hail, though none appeared this time—perhaps the deities were temporarily absent.

During rainfall at Yuanjue Hermitage, the party stays three days before proceeding by sedan to Guangxiang Temple. At sunset, swirling clouds obscure the peaks in a sea of mist where mountain, cloud and sky become indistinguishable. Peering over railings induces vertigo as if plunging into the void. Westward, the Scriptures-Drying Mountain and Tile-Roofed Mountain appear distinctly, while distant snow-capped ranges like Tianzhu and Min Mountains remain visible only through monks' descriptions.

The narrative continues through Qibao Terrace, Bronze Hall, and Pure Land Hermitage. The next day brings explorations of Hongchunping and Longmen Cave's wonders with monastic guides, passing Turtle Rock and Jiliang Spring—reputed to be where Tang dynasty physician Sun Simiao played chess with Master Maozhen, lending the site its name "Echoing Call Hermitage." Crossing Twin-Flying Bridge leads to Niuxin Temple, left of which lies Sun Simiao's reclusive Cinnabar Cave. Further descent requires traversing sheer cliffs and vertiginous plank paths, precluding horseback travel.

Along the route, tinkling mountain springs accompany endless peaks. The twelve summits beyond Elephant Trunk Mountain stand elegantly steep, their caverns adorned with lotus-like stalactites reminiscent of Moon Gorge's scenery.

This passage recounts the author's travels through famous mountains, divided into two main sections:

The first half details the landscapes around Niuxin Mountain (Ox-Heart Mountain). Here lies White Cloud Gorge, where the mountainside has been carved into terraced platforms supporting a four-tiered pavilion complex. Monks in black kasaya robes would greet visitors by the roadside, holding incense in ceremonial welcome. Dozens of mountain ascetics sat in full lotus posture facing cliffs in meditation—a scene the author praised as the most exemplary manifestation of spiritual discipline. After meals, heading northward, they discovered the namesake ox-heart shaped boulder that gave Niuxin Temple its name. Nearby at a stream confluence stood fantastically shaped rocks resembling rooster combs and horse manes. The next day crossing Wanding Bridge, they observed a long horizontal stone in the stream called the "Stone Boat," alongside countless waterfalls cascading from heights ranging from several to over ten zhang (tens of meters), winding through foliage like silver dragons. South of the stream lay the perilous Longmen (Dragon Gate) cave, accessible only by descending wooden ladders. Its spacious interior was illuminated by natural light, with the characters "Longmen" carved into the stone wall—legendarily inscribed by Su Shi.

The latter section, titled "Investigation of the Great River," briefly documents the Yangtze River's (historically called the Great River) course: originating from the Min Mountains with headwaters in Rongwan Mountain of western Shu, merging with the Mo River (modern Dadu River) at Jiazhou, absorbing the Mahu River at Xuzhou, joining the Inner River at Luzhou, and finally converging with the Jialing River at Chongqing.

Notable references include: Su Changgong (the honorific name of Song dynasty literary giant Su Shi), Zhurong (the mythological fire deity), and Tiantai (Mount Tiantai). The author's friend Xiang Song enjoyed discussing metaphysical philosophy, while the monk Yongxuan excelled in poetic discourse. These vivid records exemplify Ming dynasty literati's refined appreciation of landscape journeys while preserving valuable geographical and cultural documentation.

The Yangtze River, after converging with tributaries from Lizhou, Langzhou, and Guozhou, meets the Qian River and waterways from southern ethnic minority regions upon reaching Fuzhou. At Wanxian, the Kai River from Kaizhou and Dazhou joins its flow. All these waterways ultimately pour into the Three Gorges. West of the Three Gorges, the Yangtze receives eight major tributaries; eastward beyond the gorges at Yueyang, it merges with Dongting Lake, which itself gathers countless rivers from Hunan and Hubei. Continuing downstream to Ezhou (modern Wuhan area), the Han River delivers waters from Xingyuan and beyond. Forty-five li east of Huangzhou, the Ba River joins the Yangtze. At Jiujiang, Poyang Lake (ancient Pengli) collects all Jiangxi's waterways before emptying into the Yangtze. Further downstream, the Wan River brings Huaixi's waters into the great current, which finally surges into the sea. Thus east of the Three Gorges, the Yangtze absorbs five major water systems. By rough estimate, half of China's rivers flow into the Yangtze, with thirteen major tributaries documented by name. Though its source is but a jar's mouth in size, the Yangtze traverses ten thousand li to the sea precisely because it excels at embracing a hundred rivers. Is this not the very principle of scholarly pursuit?

Regarding the Three Gorges' identification, two distinct classifications exist. West of Yilingzhou beyond Nanjinguan lies Xiling Gorge, further upstream is Moon Gorge (named for the round stone cavern on its northern peak), then Ox Gorge (with Huangling Temple on its southern bank). The Records of Yidu state that eastward from Ox Beach through Xiling Gorge's hundred-li boundary, mountains twist densely forested where a single ape's cry echoes thrice—these constitute Chu's western Three Gorges, serving as the Yangtze's gateway into Shu.

The second classification lies further upstream: ascending from Guizhou past Badong County's East Rang and West Rang streams enters Wu Gorge; piercing Wushan's Ghost Gate leads to Gui Gorge; beyond at White Emperor City's west stands Qutang Gorge (anciently called Xiling). Here lies the famed Yanyu Rock, which the Commentary on the Water Classic attributes to ancient Shu King Duyu's excavation—a seven-hundred-li canyon of layered cliffs blotting out sun and moon until high noon or midnight. These are Sichuan's eastern Three Gorges.

This passage vividly depicts the perilous landscapes and navigational challenges of the Yangtze River's Three Gorges and surrounding canyons.

It first identifies the Gorge River as the vital passage to Sichuan, listing numerous canyons along the route: Kongling Gorge (mistakenly called Tongling Gorge by locals) in Guizhou, Lingzhi Gorge above Xintan, Military Manual Gorge, Nanyang Gorge (colloquially known as Sow's Rapids), and Bayang Gorge on the Xiaojiang tributary. However, the author emphasizes that despite bearing the name "gorge," none compare to the sheer thousand-foot cliffs of the Three Gorges.

The text then meticulously records lesser-known but equally treacherous gorges: Windbox Gorge in Guixia, Jianyang Gorge in Xingshan, Warm Springs Gorge in Baxian, along with Moonlight Gorge, Xilong Gorge in Fuzhou, Green Grass Gorge at Mudong Station, Bronze Gong Gorge, Yellow Mountain Gorge at Yudong Station, and Luohuang Gorge. Some appear in classical texts while others survive only in local lore—all dangerous stretches avoided by ordinary travelers and vessels alike, where capsizing occurs frequently.

A striking description follows of the Three Gorges' bizarre rock formations: some resemble inverted bowls with flat tops and split bases; others tower like stacked millstones; some fold like screens of yellow-green barriers; while russet-colored cliffs extend horizontally like city walls. The mineral hues shift dramatically—some blue-green as Taihu limestone, others purple-black like mist-veiled sunset glow. Certain formations appear naturally sculpted into ponds, steps, or flat stones; some display black-white or blue-purple striations like carved latticework; others mimic crumpled silk, layered waves, unraveled hemp, or slanting halberds. The author marvels how these vistas encompass every landscape painting technique imaginable, with countless peaks uncannily resembling human figures or objects, competing in grotesque splendor and terrifying grandeur.

The passage concludes with navigation hazards: submerged peaks create violent whirlpools where currents collide. Only veteran boatmen intimately familiar with the Min River's hidden shoals can safely steer. Locals and merchants respectfully address these elders as "Taigong" (Grand Sires), offering them food and wine first each morning and evening—for all lives aboard depend on their skill, honored like ancestral patriarchs. Most vessels are small three-plank or five-plank boats with six or eight oars, threading through labyrinthine stone forests where the slightest misjudgment spells disaster. Yet profit-driven adventurers still brave these waters seeking Sichuan's riches.

(Note: "Taigong" here denotes highly experienced boatmen; "three-plank"/"five-plank" refers to small craft constructed from three or five wooden boards; "six-oar"/"eight-oar" indicates boats propelled by six or eight oars.)

In the Jiangling region, people often craft a bamboo tool called the "fire pole." They split moso bamboo into four strips and bind them end-to-end with white hemp rope, creating poles up to a hundred zhang in length. Using these requires over twenty people to pull in unison, with drumbeats from the boat directing the rhythm. When multiple vessels gather, the thunderous drums and work chants reverberate through the entire gorge. Troops of gibbons often frolic along the cliffs, their young leaping like birds between bamboo branches and scaling rock faces—a most amusing sight.

Scattered patches of arable land in the gorges are terraced into small fields resembling plates or bowls. Woodcutters and farmers gazing upward might spot white-clad figures clinging to sheer cliffs like chestnuts or crawling like snails on towering walls—a truly peculiar spectacle. Historical records note the 1,200-li journey from White Emperor City to Jiangling, and Li Bai's verse "At dawn I left White Emperor crowned with rainbow clouds; To Jiangling in a day—a thousand li gone by" vividly captures the river's torrential speed.

Two merchants once rafted past Yanyu Rock in midsummer. At dusk, as they tried mooring, a sudden rapid snapped their ropes, sending their raft adrift. Terrified through the night, certain of doom, they miraculously washed ashore at Jiangling by dawn. Seeing morning smoke, their dread turned to joyous awe, as if deities had intervened. To this day, merchants still observe purification rites before launching "spirit rafts" to seek blessings.

Though sparsely populated, the gorges sustain life through fishing, woodcutting, and farming—ideal for reclusion. Thatched cottages dot the landscape with small fishing boats moored alongshore. Sandy soils suit millet, beans, and wheat but not rice. A Yunnan-introduced "eagle-claw barnyard grass," named for its shape, competes with crops—a species unseen in southeastern regions.

Traveling overland from Yiling requires traversing perilous passes like "One Bowl of Water," "Where Snakes Retreat," and "Ghosts Despair," along with steep slopes such as "Horse Corral," "Elegant Boat Flat," and "Monkey's Nine Battles"—all towering, treacherous mountain paths.

This passage primarily describes several renowned mountain and water landscapes in Yunnan.

Yu'an Mountain lies twenty-five li west of Yunnan's provincial capital, also known as Liehemeng Mountain. It boasts exquisite scenery with numerous springs and peculiar rock formations. The mountain features chessboard-like stones, while its northern slopes contain three spring pools resembling basins, where locals often gather for spring outings. A temple called "Yu'an Lanruo" is nestled within its peaks.

Jinma Mountain (Golden Horse Mountain) stands twenty-five li to the east, connected to Biji Mountain in the west with Dian Lake between them. Though not particularly high, it stretches southwest for dozens of li. The mountain features a long pavilion at its summit and Jinma Pass at its base.

Biji Mountain (Jade Rooster Mountain), thirty li southwest, overlooks Dian Lake to its east. With towering cliffs embraced by emerald waters, where moonlight dances on crystalline surfaces and clouds drift above its peaks, it represents one of Yunnan's most spectacular views. During Emperor Xuan of Han's reign, a fangshi (Daoist practitioner) claimed the spirits of a golden horse and jade rooster resided in Yizhou, obtainable through ritual. Wang Bao was dispatched to conduct the ceremonies but died en route in Shu. Yan Shigu recorded that the golden spirit took equine form while the jade spirit appeared avian, though the veracity remains uncertain.

Taihua Mountain lies northwest of Biji Mountain.

Qimeng Mountain stands forty li east of Songmeng Prefecture. Legend tells that when Meng Shilong returned from conquering Wumeng with four captive women, the women sighed while gazing toward their homeland, whereupon mountain mists coalesced into three peaks. Locals call "three" "qi" and "mist" "meng." This precipitous mountain, offering panoramic Yunnan views from its summit, is also called Juncong Mountain.

Dian Lake, south of the capital and alternatively named Kunming Pool or Southern Yunnan Marsh, spans over five hundred li in circumference. Fed by the Longpan River and Huanglong Stream, its waters nurture magnificent lotuses with thousand-petaled blooms in three colors. The downstream Mantis River flows past Great and Small Wona Mountains within the lake. The Records of the Grand Historian notes Dian River's unusual geography—broad upstream but narrowing downstream like counterflow, hence its name. Emperor Wu of Han, preparing to conquer the Dian Kingdom, excavated Kunming Pool southwest of Chang'an to simulate Dian Lake for naval training.

(The description of Waterfall Spring remains unexpanded in the original text.)

The Waterfall Spring is located twenty li west of the prefectural city, behind the Baozhu Temple. The cliff stands over ten zhang high, with spring water cascading down from the heights, its spray scattering like scattered pearls, clear and radiant, a delight to behold.

Mount Diancang rises west of Dali Prefecture, towering over a thousand ren (an ancient unit of measurement). It comprises nineteen peaks, their verdant hues resembling jade, with the mountain range stretching over three hundred li. At its summit lies an unfathomable alpine lake, and numerous waterfalls and springs converge to form eighteen rivers, including the Jinlang River. The Meng royal family of the Nanzhao Kingdom revered it as the "Central Sacred Peak" (the central mountain among the Five Sacred Peaks).

Mount Fengyu lies thirty li southwest of Langqiong County, originally named Mount Luofu. Legend holds that when Xinuluo, the founding ruler of Nanzhao, rose to power, a phoenix once soared here, prompting the mountain's renaming. Later, after the phoenix's death, flocks of birds would gather each winter to mourn with sorrowful cries, earning it the alternate name "Bird Mourning Mountain." To this day, locals light torches when the birds arrive, and the birds, drawn to the flames, plunge into the fire to their demise.

Mount Jiuqu stands over a hundred li east of the Er River, its clustered peaks blooming like a lotus flower. Ascending requires winding through nine bends, hence its alternate name, "Nine-Tiered Cliff." At its summit lies a mysterious stone cave, yet to be entered by any explorer.

West Er Lake, east of the prefectural city, is the ancient Yeh Yu River, also called Er Lake or West Er River. Formed by streams from Dengchuan converging with eighteen rivers from Mount Diancang, its ear-shaped expanse spans over three hundred li in circumference. Within lie three islands—Luoquan, Nonghe, and Chiya—and four sandbars, with Nonghe Island resembling a writing desk, hence its alias "Jade Table Mountain." The lake's waters ultimately flow into the Yangbei River.

Mount Panzhang rises twenty li south of Lin'an Prefecture, towering over a thousand ren, with three sharp peaks resembling a brush stand. Tradition holds that Cuan Pan, father-in-law of Duan Siping, founder of the Dali Kingdom, once lived in seclusion here, lending the mountain its name. A memorial shrine still remains on its slopes.

The Jasper Peak stands fifty li north of Ningzhou, its cliffs rugged and precipitous. Gazing down at Fuxian Lake, the shimmering reflections make the mountain glow like translucent jade. At its summit lies the Jasper Deity Shrine, beside which stands a massive boulder shaped like a hanging bell, giving the peak its alternate name, "Stone Bell Cliff."

Mount Yubi is located sixty li east of Dingyuan County, nearly a thousand ren high, resembling a wall of green jade from afar. To its east lies Mount Fengyu, to the south Mount Yizhe, and to the north the Summit Peak—all featuring sheer red cliffs that dwarf surrounding mountains. Snow Mountain (likely an abbreviated reference to another peak) is equally majestic in stature.

About twenty li northwest of Lijiang Prefecture stands the Snow Mountain, also called Jade Dragon Mountain. This mountain range stretches for a hundred li, towering and majestic, with ten peaks piercing the clouds, while the Lijiang River flows at its base. The snow atop the mountain remains unmelted until spring, and crystal-clear springs cascade through the ravines between its cliffs. The Nanzhao king Yimouxun once enfeoffed this mountain as the "Northern Peak."

Seven li south of the administrative city lies Jiulong Mountain, named for its nine ridges, also known as Jiupo Ridge. The Sha River originates here. Legend tells of a woman named Shahu who, while washing cotton in the water, encountered a submerged log and became pregnant, giving birth to nine sons. Later, the log transformed into a dragon, frightening away all but the youngest son, who sat with his back to the dragon. The dragon licked his back (in the local language, "back" is called "jiu" and "sitting" is "long"), hence the name Jiulong. When he grew up, his wisdom led him to be chosen as leader. At the mountain's base, another couple bore nine daughters, whom the Jiulong brothers married, and their descendants multiplied, all adorning their bodies with dragon tattoos and their clothing with dragon tails. When Zhuge Liang marched south, he cut through this mountain's veins to drain its royal qi (vital energy), and traces of this remain to this day.

Twenty li east of the city stands Ailao Mountain, originally called Anle Mountain, its name evolving through local minority languages. At its summit sits a rock resembling a seated human, with two holes known as the "Heavenly Wells." Each early spring, locals observe the water levels in these holes to divine the year's fortunes—full wells are considered auspicious. The two wells are connected: drawing water from the left well dries the right, and vice versa. Below the mountain, another rock shaped like a nose emits two springs—one warm, one cool—called the Jade Springs, giving the mountain its alternate name, Jade Spring Mountain.

Forty li southwest of Yongping County lies Boliang Mountain, also called Jinlangdian Mountain or Dingdangding Mountain. Its terrain is extremely treacherous and was once the domain of the Puman people.

The Lancang River flows past Luomin Mountain, eighty-five li northeast of the city. When Emperor Ming of the Eastern Han sent troops to open the Bonan Road, the journey was so arduous that the soldiers composed the ballad "Han Virtue Spreads Wide." In ancient times, a bamboo cable bridge spanned the river here but later fell into disuse. In the late Hongwu era of the Ming dynasty, Garrison Commander Hua Yue cast three iron pillars on either bank to anchor boats for crossing.

Mount Fangzhang is located one hundred li south of Heqing Prefecture's city walls, with towering and precipitous peaks. Midway up the mountain lies a cavern housing an unfathomable pool, where water dripping from the stone walls produces sounds resembling the ancient musical instrument "Fangxiang" (a type of chime stone). Meng Luofeng, a chieftain of the Nanzhao Kingdom's (a Tang-era regional regime in Yunnan) Meng clan, once carved an image of Guanyin (the Bodhisattva of Compassion) on the cliff face, hence the mountain is also called Guanyin Mountain. Among the seventeen sacred mountains within Nanzhao territory, this was one of them.

Mount Mengle, ninety li north of Jingdong Prefecture, is also known as Mount Wuliang—its heights seemingly infinite, with mountain ridges stretching over three hundred li. Within its depths lie fathomless stone caverns, while one particularly prominent peak resembles the legendary Mount Kongtong. The Meng clan enfeoffed it as the Southern Sacred Peak. Springs from its southern slopes form the Tonghua River, while northern springs feed the Qingshui River, both flowing eastward into major waterways.

Mount Wumeng, three hundred li northeast of Luquan Prefecture, bears the alternate name Mount Jiangyunlu and borders the Jinsha River to its north. Its twelve elegant peaks dominate the surrounding ranges. From August to September each year, snow often caps its summit, where the Wulong Spring feeds the Wulong River below. The Meng clan designated it as the Eastern Sacred Peak.

Mount Gaoligong, one hundred twenty li northeast of Sicheng, is also called Kunlun Ridge—locally mispronounced as "Gaolianggong." This extraordinarily steep mountain straddles the Tengchong and Lujiang regions. While frost never touches Lujiang in winter, its summit remains icebound year-round. The Meng clan honored it as the Western Sacred Peak. At its apex lies the Fenshui Spring, whose crystalline waters are sipped reverently by passing travelers.

Mount Woshi (Reclining Lion), five li south of Mount Fabao, earns its name from its leonine silhouette. Rising over a hundred zhang (approx. 300m) and stretching two li (approx. 1km), locals call it "Lion's Den." Below lies the Bajiao Cave—two xun (approx. 3.6m) wide with equal height—penetrating 150 paces inward. Its dazzling stalactites resemble lotuses, bronze bells, and canopies, hence its alternate name: Stone Blossom Cavern.

Mount Yunyan, twenty-five li north of the city walls, ascends over two hundred zhang across a three-li winding massif. Dense forests cloak its slopes, while hundred-pace-deep fissures split its rocks. Within lies a recumbent stone Buddha—carved by enthusiasts from a ten-foot boulder—enshrined in the "Cloud-Rock Reclining Buddha" temple. To its left, a three-foot-high cave mouth opens into a hundred-zhang abyss. Outside the temple, elevated terraces and mountain gates overlook a pool, framing expansive eastern vistas of exceptional beauty.

Mount Luomin (text incomplete; contextual reconstruction)

Mount Luomin stands eighty li north of the city, on the western bank of the Lancang River. Towering nearly a thousand zhang high, it stretches across forty li. During the ancient Nanzhao Kingdom, legend speaks of an Indian monk named Luomin who frequented these slopes. When he danced in play, the very stones would move with him. After his passing here, later generations built a shrine in his honor. Rocks often tumble from the cliffs below, startling travelers into swift retreat—locals call them "hastening stones," though in truth they're merely dislodged by mountain beasts. Another tale tells of dawn sightings where river stones soar into the mist. The southern face of Luomin is precipitous, though in recent years bird paths have been widened into trails for passage.

Yiluo Pool lies beyond Dragon Spring Gate, overlooking the foothills of Jiulong Mountain. Nine subterranean vents gush ceaselessly day and night—a marvel locals revere as the "Nine Dragons Pool." Bricked embankments frame waters where lotuses bloom in summer. Two pavilions grace the western shore: one originally named "Watching Billows," rebuilt by Censor Yin Rudeng and renamed "Dawn at Dragon Pool"; the other straddling bubbling springs, formerly "Shared Joy Pavilion," restored by Vice Commissioner Guo Duzhen as "Clear Stream of Nine Dragons." With crystalline waters and immaculate stones, this scenic spot draws endless visitors.

Stone Gate Mountain forms the rear of Diancang Range. In spring 1554 (Jiajing reign), I ventured there with Zhao Xueping and Yang Jiangjin. Following the Er River past Heaven's Bridge, we lodged at a farmhouse in Yangbi Village. By noon next day, we dined at Golden Ox Village—named for a boulder resembling an ox near its main road. Riding toward Stone Gate, we battled thorns and jagged rocks until reaching the eponymous pass: twin cliffs like towering walls, verdant peaks piercing clouds, a natural gateway ten thousand zhang high. Inside, ancient pines scraped the sky while sheer bluffs blotted the sun across ten li of winding depths—narrow as Iron Gorge in places, broad as Peach Blossom Spring elsewhere. Moss-clad walls offered no foothold: the southern precipice stood dark and sheer, while the northern slope, though steep, bore soil amid pines where pavilions might perch. Springs carved channels through stone, their murmurs—now silent, now ringing like jade pendants—playing nature's zither.

Walking through the mountain forests, we heard birdsongs unlike any we'd known before, stirring in us thoughts of bigu (a Daoist fasting practice abstaining from grains). Gazing eastward, we saw a jagged peak still crowned with unmelted snow, standing sentinel over a deep valley. At midday, the jade-bamboo-like summit rose sharply from emerald woods, its reflection dancing with the water-worn stones below.

Suddenly, a tempestuous wind descended with thunderous roar, its icy breath driving us to seek shelter with our attendants' assistance. An old mountain dweller told us: "No path crosses this valley's depths—you must view it from the heights." So we three turned northeast, climbing several li along the slope until reaching a mountain temple where we boiled spring water for tea.

Another li eastward brought us to a knife-cut monolith where villagers once built a pavilion, now ruined. Three more li southeast brought us to the Immortals' Pavilion. South of it gaped a stone grotto with a railing overlooking the valley—the very stone gate we'd seen earlier now lay below to the west. Peering down the thousand-foot chasm, we beheld water-carved stones in fantastic forms: some hollowed like basins, others squared as troughs, their dark pools congealed like jade grease beyond description. When mountain gusts stirred these waters, the roaring echoed like storm waves—revealing the source of the thunder we'd heard.

My companions sighed: "Had such scenery graced Huaiyang or Wu-Yue regions, they'd have gilded it with pavilions worth their weight in gold." Sitting in the grotto composing poetry over wine, we were served vegetarian delicacies by two Daoists—unnamed yet exquisite. "Mountains nurture their own feasts," I remarked, "why crave rare delicacies?" earning their nods.

At dawn we rode thirty li toward a famed crag, spotting from afar a white lotus of stone blooming from emerald slopes. Our retinue cheered—horsemen whipped their mounts, palanquin bearers strained forward. Reaching the cliff-hanging Buddhist monastery (likely behind Mount Diancang's Siddhārtha site), we found vistas stretching endlessly, stirring transcendent aspirations.

Companion Xueping mused: "The deep valley made me crave reclusion; these open heights awaken wanderlust—how to choose?" Shicheng replied: "Depth inspires profound thought; expanse kindles lofty aims—such is terrain's influence." I observed: "Changing scenes shift perceptions; stirring emotions alter wisdom—both stray from the sages' constant Dao."

This passage from Records of Famous Mountains Under Heaven documents Li Yuanyang's journey with friends to Huadian (a valley northwest of Mount Diancang in Yunnan). Departing from Dali City, they traveled by turns on horseback, in sedan chairs, and on foot, savoring the interplay of lake vistas and mountain scenery along the way. On the first evening, they reached Shengyuan Temple, where they drank and sang exuberantly under moonlight with companions like Yang Chunjiang before sharing sleeping quarters. The next day, after visiting their friend He Meizhong's home, they ventured deeper into Wanhua Creek, marveling at the dazzling array of exotic blossoms. Pausing briefly at the Xuanwu Shrine—its architecture evoking the forms of tortoise and snake—they finally arrived at the broad, flat expanse of Huadian. Here, people galloped freely on horseback, practiced archery, or danced with abandon, embodying the unrestrained joy of wilderness living.

The text references two historical sites: the "Path of Jujiang Paste," an ancient route Han dynasty envoys once traveled seeking this condiment, and the "Land of Bronze Pillars," where Tang official Tang Jiuzheng erected boundary markers. Li's alternating modes of travel—"horseback-sedan-foot"—vividly illustrate the classic literati approach to mountain excursions: riding on level ground, using chairs for slopes, and walking treacherous paths. The concluding depiction of Huadian mirrors the Daoist ideal of "grotto-heavens and blessed lands" (Dongtian Fudi), where humanity harmonizes effortlessly with nature.

(Note: "Jujiang" 蒟酱 is rendered phonetically as no standard translation exists for this obscure condiment. "Grotto-heavens and blessed lands" follows Daoist terminology conventions while clarifying the concept parenthetically.)

On the path from the mortal world to the immortal realm, each traveler beholds unique vistas. In this vast mountainous region, the western ridges rise in layered tiers like celestial stairways to heaven, while the eastern cliffs stand sheer as suspended scrolls of honor. Lush forests of myriad trees flourish here, adorned with rare blossoms like strings of hanging pearls.

Passing through bamboo groves and floral seas, one traverses secluded spots that suddenly open onto expansive plains—this alternating rhythm of openness and mystery repeats four or five times before reaching White Deer Ridge. This landmark takes its name from the Daoist adept Long Youxi, who attained immortality here while riding a white deer; legend claims this very spot witnessed his ascension.

A mile eastward, two precipitous cliffs frame a mountain stream stretching over ten miles, its width never exceeding a hundred paces. Within this ravine, exotic flowers and extraordinary trees thrive amidst dark bluish rocks forming natural gateways so profound they sever the northern valley from the mundane world. Unofficial histories record four hermit villages here: Yellow Bear Den, Wolf Fragrance, Cedar Grove, and Milk Cow Mound—likely refuges for recluses until Tibetan invasions during the Jin Dynasty left them abandoned.

Another mile north lies Bronze Screen Mountain, where the unfathomable dark waters of Nanzhao Pool shimmer beneath shores lined with soft cattails for rest. Just as we unsaddled in the shade, Zishou arrived with a Daoist companion bearing wine gourds. Servants played reed pipes in harmony with distant woodcutters' songs and shepherd boys' flutes, all keeping rhythm in joyous abandon. Suddenly, dark clouds gathered over the pool's northern reaches, sending our party scrambling back to White Deer Ridge to cut grass for fires and shelter.

At dawn, the ridge's summit unveiled panoramic wonders: the western slopes boasted Sea-Gazing Peak, Fragrant Cypress Ridge, Stone Drum Cliff, and Watershed Ridge; the eastern slopes featured Arhat Hall, Worship Stone, Stone Drum Temple, the Jiao Dou Altar (for Daoist Zhaijiao rituals), Gibbon-Subduing Cliff, Jeweled Light Stone, Flute Cave Cliff, and Harvest Prayer Stone. Unable to visit all, I dispatched companions to explore separately. Suddenly, a rider emerged from bamboo thickets—Zhang Dou had raced ahead with refreshments. That day's twenty-mile journey would weary even birds mid-flight, yet our mounts climbed effortlessly to the highest peaks.

In the "Records of Famous Mountains Under Heaven," Yang Shen documented his journey to Diancang Mountain. Having traveled thousands of miles and visited renowned peaks across Qi, Lu, Chu, and Yue, this scholar thought himself no longer susceptible to the charms of landscapes. Yet when he arrived at Yeyu in Dali, Yunnan (modern Dali region), the first glimpse of Diancang Mountain instantly refreshed his spirit.

Passing through Longwei Gate, he walked while admiring the scenery: emerald ridges coiled like jade dragons, Erhai Lake glowing like a crescent moon, the city nestled between mountain and sea, its towers seemingly floating on mist. The air carried floral fragrances that left him intoxicated yet awakened, as if rousing from a long slumber to realize he'd never truly witnessed nature's beauty before.

In the second month of 1529, he arranged an excursion with his friend Li Zhongxi. At night they marveled at Tiansheng Bridge's vistas, lodging at Zhuhai Temple to await the "Dawn Moon at Dragon Gate" spectacle—a full moon suspended between thousand-foot cliffs. Villagers greeted them with wine along the path; they gathered firewood among fir trees to brew tea and discovered ancient inscriptions with vigorous calligraphy on temple walls. Monks spoke of the pagoda's nocturnal radiance and requested commemorative verses.

The account highlights Guanyin's miracle at the watershed: legend tells how the bodhisattva moved boulders with divine power, diverting water westward to irrigate Fengyu's fields, transforming the useless into the beneficent. Travel companions shared their wonders before parting reluctantly at Bailu Creek, watching until the eastern moonrise. Someone sang "Thirty-six thousand acres of Taihu Lake, to whom does the moon in the waves speak?" as they descended moonlit paths to cross streams and lodge at the Zhang estate.

This vivid record captures Ming literati's refined pleasure in mountain pilgrimages, particularly Diancang's "snow-capped peaks and moonlit lake," alongside local Guanyin folklore. Yang's "drunken awakening" metaphor perfectly conveys the epiphany of discovering nature's splendor.

This passage recounts a journey through the scenic landscapes near Cangshan Mountain and Erhai Lake in Yunnan. Under a lingering moon that remained suspended as if enchanted, the author and his friend Zhongxi composed poetry by the moonlit stream—a marvel where the moon seemed frozen in time even after they finished writing.

After descending the mountain, they took a boat to Haimen Pavilion for drinks. The next day, they continued their travels, passing through the Hunhun Pavilion to reach Juezhen Nunnery. Turning northward into a valley, they admired the camellias at Baolin Temple, then brewed tea with spring water at Yuanhai Temple, resting beneath ancient pines. Later, leaning on their staffs, they descended to North Gully, crossed Stone Pass, and arrived at Heding Temple. There, amidst pines and bamboo framing the windows, the shimmering waves of Erhai Lake seemed to lap at their seats as they sat cross-legged, drinking and savoring the view. As the sun set, a sliver of crimson-gold light pierced through a gap in the western mountains—first hair-thin, then broadening—until it cast a radiant path across the lake. A monk explained this was the famed "Sunset at Mandarin Duck Cove," though nowadays the mandarin ducks rarely gathered due to dense fishing nets. Yet the sight of golden ripples dancing on the water was breathtaking enough.

On the third day, they followed the northern slopes to the ruins of Jinxiang Temple, which housed a Tang-dynasty scripture stele. Skirting the mountain's western foot, they reached Songluo Cliff, where they drank and composed poetry in a secluded stone grotto before lodging for the night at Gantong Temple. By lamplight, listening to monks chant sutras, Zhongxi discussed misinterpretations of Chinese character etymology (particularly zhuanzhu, one of the "Six Scripts") by Song scholars. The author penned a thousand-word philological treatise on the spot, inspiring Zhongxi to inscribe a plaque naming the chamber "Poetic Rhyme Tower." Their twenty-day stay at the temple included viewing surviving stelae of Emperor Hongwu's (Zhu Yuanzhang) eighteen poems—only half remained.

On the 3rd day of the third lunar month (Yiyou), they trekked five li north to Yuju Temple, home to Zhaowen Shrine honoring Tang censor Du Guangting. Southwest lay the crystalline Qingbi Stream, its waters cascading between layered cliffs over jade-green stones. Another two li north brought them to Tiantai Mountain, where locals had erected eight pagodas over a stone allegedly engraved by Zhuge Liang. A final li east led to Honggui Temple, its 60-meter-tall pagoda towering above the landscape.

(Notes: Fuzuo refers to the cross-legged meditation posture; liushu denotes the six methods of Chinese character formation; "High Emperor" refers to Ming founder Zhu Yuanzhang; futu means Buddhist pagoda.)

This passage records the author's travelogue of visiting Diancang Mountain in Yunnan. The text mentions a sacred shrine on the mountain, said to be the site where the Tang Dynasty formed an alliance with the Nanzhao Kingdom. Within the mountains stands a temple, behind which lies the "Questioning Customs Pavilion" offering panoramic views of the towns below and distant seascapes, surrounded by pine trees and sunlit rocks. Local villagers treated them to rice noodles, and after feasting, they continued northward.

They lodged at the Three Pagodas Temple, which had been restored by a man named Zhongxi. The temple housed a library building where they stayed for several days, donning straw sandals and leaning on wooden staffs to visit cascading streams. A hundred-foot waterfall crashed onto stone plates, producing thunderous echoes. On the cliff walls, faded red inscriptions of poems could be seen through the mist.

Later, they spent the night at the Indra Temple, where they heard celestial music. A monk explained that this occurred because the temple enshrined a statue of Indra (the Buddhist guardian deity), and legend spoke of heavenly beings playing music here. The author reflects that such supernatural phenomena defy rational explanation.

Finally, they arrived at Wuwei (Non-Action) Temple, where they saw ruins marking Kublai Khan's former encampment. A sudden downpour occurred, yet sunlight bathed distant fields where farmers harvested wheat. Their companion Zhongxi explained this was one of Diancang Mountain's "Ten Wonders" - the marvel of "Simultaneous Rain and Sunshine."

This passage records the author's travelogue through famous mountains. In the Chuan'yang region, it rains daily by the streams every May, yet the fields remain sunny, allowing both wheat harvesting and rice transplanting to proceed without delay. Locals attribute this phenomenon to the miraculous intervention of Guanyin (the Buddhist bodhisattva). About a li westward stands the Temple of Epidemic Relief, where a mountain spring's sweet, crystalline water is said to cure the sick—hence the temple's name.

Four li northward lies the Crane Cloud Temple, featuring the Fairy Maiden Pool and Ascension Rock, where the author and companions sat chanting poetry for hours. Another six li north brings one to the Stone Cloud Temple. Following the stream westward across a single-plank bridge leads to Treasure Blossom Temple, resplendent with interwoven red and purple flowers. While resting there, the author was joyfully surprised when younger brother Zhongchun and uncle Jihe emerged from dripping milk-rock crevices with prepared wine. Their merry drinking party culminated in a blissful night's sleep at a thatched hermitage.

On the jiawu day, the group visited Xida Field, where tile-roofed dwellings seemed to float suspended in azure mist, their plaque inscribed "Middle Stream Hermitage." Though summer had arrived, they still needed stove-warmed bedding. Morning explorations led to a stone cavern overlooking hundred-zhang chasms via perilous paths—the memory of which later stirred lingering fear.

The dingyou day brought them to Yang Stream, passing the Temple of Enduring Love with its Buddhist relic pagoda. Three li upstream stood the Moon Gate, actually the legendary Raksha Demon Cave where Guanyin was said to have imprisoned the malevolent spirits. Eight or nine li west lay the Buddha-Emergence Cave's secluded cliffs, ideal for reclusion. Further six li west, the layered peaks of Cavern Heaven Mountain offered sublime vistas, though its rugged trails deterred settlement, forcing their return to the temple.

Middle Stream remarked to the author: "To know Mount Lu's true face, one must view it beyond the mountain"—advising a boat excursion across Erhai Lake to fully appreciate Cangshan's transformations while reclining. On the jihai day, they embarked from Water Moon Tower at Upper Pass, sailing south past islets to desolate Gold List Temple, then onward past Green Peak Temple's giant footprints. Their final stop was Cockscomb Mountain, a flying-cliff illusion. Ashore, three hundred spiral stone steps revealed sheer precipices mirroring Cangshan's nineteen snow-capped peaks wreathed in mid-mountain clouds—a divine masterpiece of landscape architecture.

This passage describes the author's journey with a companion through Mount Diancang (modern-day Cangshan in Dali, Yunnan), imbued with the Daoist imagery of sacred grotto-heavens and blessed lands:

Marveling at the extraordinary scenery before us, we exclaimed, "Could this be the true face of Mount Diancang? Had you not accompanied me, I might have missed such wonders." We then vowed to build a hermitage here to spend our remaining years. Finding about twenty acres suitable for vegetable gardens, we discovered plinth stones and ancient tiles amidst the grass, revealing this to be a former temple site. While exploring, our servant boy found a stone grotto hidden in the bushes, its entrance naturally formed with eaves-like projections resembling doors and windows. The cave could comfortably accommodate two beds, prompting our joyous cry: "Now we're spared the labor of building!" As we celebrated with wine, the boatman urged our departure, leaving us melancholy at the thought we might never return.

Sailing southward, we saw fisherfolk—ragged women and children—dwelling in cliffside caves who curiously examined our boat's implements, all strange novelties to them. Moved by their poverty, we gave them our outer garments and provisions. When asked about the men, we learned they'd been imprisoned for unpaid taxes—a heartbreaking revelation.

Further south at Iron Rain Cliff, legend tells of rakshasa demons attempting to break their covenant with Guanyin (the Bodhisattva of Compassion), who stopped their escape with a downpour of iron. The cliff's honeycombed pits bear witness to this divine intervention. Eagles and bats nesting in these cavities took startled flight as our boat passed. At Red Script Island—said to be petrified land deeds from Guanyin—the stone inscriptions resembled cryptic bird-worm seal scripts.

As dusk fell, we turned westward toward Erhai Lake's Dragon Shrine. Ashore, reflecting on this carefree wandering during our exile, it all seemed like a dream. The poems exchanged with my friend Zhongxi were later compiled as Miscellaneous Odes of Diancang.

The subsequent section records two numinous sites in Guizhou:

1) Mugeqing Mountain, forty li west of Xuanwei garrison city—a lush forested gateway to the Shuixi region;

2) Dragon-Nurturing Pit between two peaks near the chieftain's office—an abyss of unfathomable depth rumored to house spiritual creatures. Each early spring, locals plant willow branches by the pit and tether purebred mares there, whereupon mysterious mist-wreathed phenomena occur.

This passage records several famous mountains, rivers, and extraordinary events from the Ming dynasty. First is a story about a divine horse: In the fourth year of the Hongwu era (1371), Xia Mingsheng presented a magnificent white steed to the imperial court. This horse was exceptionally divine—standing nine chi tall and over one zhang in length—but initially too wild to tame. The court first made offerings to the Horse Ancestor (the deity of horses), then had trainers gradually break it in by weighting it with 400 jin of sandbags. Later, when the emperor rode it during a moon-worship ceremony at Qingliang Mountain, he felt as though he were treading on clouds. He named it "Flying Over Peaks" and commissioned artists to paint its portrait for preservation. Grand Academician Song Lian composed a eulogy specifically for this occasion.

Next, several notable mountains are introduced: Dayan Mountain, located eighty li east of Wuzhou County, features a massive cave capable of holding over a hundred people; Guoxi Dieyan, 120 li west of the prefectural city, has stone gates amid its cliffs with springs gushing forth, where locals pray for rain during droughts; Tongguan Tieshai Mountain, southwest of the Tanxi chieftain's office, is strategically formidable, its flat summit spacious enough for a thousand people; Tonggu Rock, twenty li northeast of Liping Prefecture, contains caverns as tall as houses with streams flowing inside; and Luotuan Cave, fifteen li northeast of the prefectural city, has a wide entrance and stone steps resembling beds.

The landscapes near Pu'an Prefecture are equally remarkable: Babu Mountain, thirty li east of the city, consists of sheer stone peaks; Luomota Mountain, 180 li to the north, is surrounded by precipitous cliffs with only a single narrow path leading up; the Sanyi Stream east of the prefectural city is formed by the convergence of three water sources—Shazhuang, Yunnan Slope, and Muqian Mountain. There is also a water cave, narrow at the entrance but spacious inside, with skylights in its ceiling and stalactites of varied shapes.

Lastly, the text mentions Guansuo Ridge east of the Dingying chieftain's office—an extremely high mountain spanning over a hundred li, named after a temple dedicated to the Three Kingdoms general Guan Suo. Details about the Cai Miao Mountain are not recorded.

Mount Cai Miao stands ten li northeast of Xintian Garrison. At its summit, a spring cascades down the cliffs like a white jade rainbow, earning it the name "Flying Spring."

The Duyun Cave lies ten li east of the Duyun Chieftain Office. Its northern entrance is fifteen feet high and wide, while the southern exit measures about four to five feet in both dimensions. Inside, jagged rocks resembling elephant trunks are overgrown with wild grass.

The White Water River flows thirty li south of Anzhuang Garrison. A waterfall plunges dozens of zhang (a traditional unit of length) from the cliffs, roaring like thunder, with perpetual mist shrouding its base.

Mount Qixia rises east of the prefectural city, its mid-slope cradling the serene and picturesque "Immortal's Arrival" cave.

Southward-Gazing Mountain looms north of the city, its dense forests perpetually veiled in mist so thick that daylight dims, deterring most visitors.

Mount Wansheng, south of Sinan Prefecture, stands sheer on all sides. During the Red Turban Rebellion, locals sought refuge here from the chaos.

Stone Screen Mountain hosts the seat of Zhenyuan Prefecture, crowned by a hundred-zhang monolith standing straight as an emerald partition.

Iron Creek west of the city yields a unique variety of crabs.

Sweet Stem Spring emerges from Pingtou Office's cliffs, its waters distinctly divided between clear and turbid—a miniature confluence mirroring the legendary Jing and Wei Rivers.

Mount Moatian towers east of Liping Prefecture.

The Natural Bridge is a massive boulder spanning Tanxi Creek, twenty zhang long and two zhang wide.

Golden Bamboo Pacification Office is encircled by thousand-zhang cliffs like fortress walls, with streams carving passages below—nature's astonishing craftsmanship.

Nine-Bend River meanders southeast of the garrison, its shaded banks hosting annual Shangsi Festival (3rd day of the 3rd lunar month) purification baths.

Banner Mountain's precipitous ridges dominate the garrison's southeastern skyline.

Valley Gorge Mountain at Taipingfa Office marks the boundary between two jurisdictions, accessible only by a single treacherous path.

Sparse Timber Mountain east of the garrison features sheer cliffs and narrow stone steps permitting single-file horse passage—a perennial strategic stronghold.

Thundering Waters east of the garrison sees a hundred-zhang waterfall crash into emerald pools with deafening force.

Coiling River Mountain straddles Annan Garrison's eastern border with Anzhuang, its winding stone trails posing relentless ascent and descent challenges.

Ten li south of Puding Garrison in Guizhou (ancient site of the Luodian Kingdom) lies the Shuiyun Cave. Encircled by towering mountains, the entrance appears inaccessible from afar, but upon approach reveals giant boulders arranged like a folding screen. The cavern floor stretches flat and spacious enough to accommodate a thousand people. An adjacent pool feeds a perpetually gurgling spring whose stream flows thirty li down the mountain before merging with the Puchuan River.

Venturing a hundred paces inward, the light dims abruptly to ghostly darkness, requiring torchlight to proceed. Yet within another half-mile, the space opens dramatically. A circular skylight in the western wall refracts sunlight into shifting hues—red, yellow, white, and black—that locals call the "Four Seasons View": red for spring, yellow for summer, white for autumn, and black for winter. This optical phenomenon actually results from varying light angles—direct beams appear red, reflected light shows yellow, dim areas turn white, while fully shadowed zones become black.

The cavern vaults over ten zhang high, half as wide. In the southwest apex stands a natural Guanyin formation resembling the bodhisattva holding her purification vase. The southeast features parrot-shaped white stones with elongated necks, while stone lotuses bloom in the northeast. The northwest corner boasts a dragon-scale-patterned stalagmite dubbed the "Stone Dragon," formed by millennia of dripping water. Below it, terraced pools resembling rice paddies earned the name "Dragon Fields" for their position beneath the stone formation.

Two other wonders grace the region: the White Cliff southwest of the garrison town, where cascading vines and waterfalls create perpetual chill even in midsummer, evoking an otherworldly fairyland; and east of Kaili Pacification Office, the verdant Bamboo Screen Mountain where emerald groves form natural partitions of serene beauty.