Xiliang Mountain

Xiliang Mountain

Xiliang Mountain consists of Datuo Mountain and Xiaotuo Mountain. The mountains and waters are interconnected, creating beautiful scenery. Along the cliffs by the river, layers of peculiar rocks are stacked, attracting poets throughout history such as Li Bai, Li Chi, Wang Anshi, He Zhu, Guo Xiangzheng, Yang Wanli, Wang Guangyang, Xie Jin, Du Hao, and Wang Shizheng, who visited and composed poems here. This mountain is also known as the “Eight Scenic Spots of Tianmen”: the moonlight reflecting on the water at dusk in “Tianmen Night Moon,” where it seems like the glow of the moon shines on the water; the golden fish shimmering in the morning mist during “Bowang Morning Glow”; the sound of tides echoing from below the rocks in “Chenqiao Ferry Call,” where voices call out to ferry passengers; the hanging Buddha statues among jagged rocks overlooking the river’s flow in “Wan’an Viewing Waves”; the snow flying in the clear sky of Longgong Palace, offering views of the river in white in “Dragon Palace Snow Drift”; the distant and near sounds of the cloud pavilion bell in “Cloud Pavilion Sparse Bell”; the fine drizzle and misty waves in “Dizhou Curtain Rain”; and the willow-lined embankment under Xiliang Mountain with melodious orioles singing on the branches in “Willow Bank Spring Orioles.”

On the cliffs by the river of Datuo Mountain, in the third year of the Yonghe era of the Eastern Jin Dynasty (347), calligrapher Wang Xizhi carved the four characters “Zhen Yi Zhu Zu” (Shake Off the Dust and Wash the Feet) into the rock. “Xizhi’s signature remains clearly visible to this day.” During the Tianqi era of the Ming Dynasty, Chizhaojing, the governor of Hezhou, carved the two characters “Tianmen” (Heavenly Gate) into the cliff, with powerful brushstrokes. In the 36th year of the Wanli era of the Ming Dynasty (1608) and during the Daoguang era of the Qing Dynasty, seven stone inscriptions reading “Floodwaters Reach Here” were created, which have now become valuable historical materials for hydrological research. In front of the mountain are structures such as Nuwu Pavilion, Dragon King Palace, and Jade Emperor Pavilion; behind the mountain are Puguang Nunnery, Stone Nunnery, and Bushui Pavilion; and at the end of the mountain is the Blue Dawn Palace, all of which have been destroyed in repeated wars and no longer exist. The Tang poet Li Bai wrote in his “Inscription on Tianmen Mountain”: “Liangshan Bowang, bordering the Chu shore. Flanking the mighty current, it truly is the Wu crossing. The two mountains stand staggered, like a whale spreading its scales. Only the sea has its leviathans, only the river has its spirits. The beast of Niuzhu, with eyes as big as cartwheels. Its light shines on the islands, its aura towers over the stars. It whirls up sand and waves, drowning horses and killing people. When the nation prospers, it shows auspicious signs; when times are chaotic, it returns to treasure. Open, it lets the nine rivers accept tribute; closed, it sends dust flying from the five sacred peaks. A place of heavenly peril, it favors none but virtue.” Due to its strategically vital location, it has been a contested military site throughout history. The “Battle of Chang’an between Wu and Chu” during the Spring and Autumn period took place here. During the Six Dynasties period, with the capital established in Jinling, troops were stationed at Xiliang Mountain for defense, referred to as Liangshan Shu. In the Wude era of the Tang Dynasty, Du Fuwei’s deputy, Fu Gongshi, used iron chains to block the river passage from Liangshan to Bowang and built Queyue City, extending over ten li. In the third year of the Xianfeng era of the Qing Dynasty (1853), the Taiping Army occupied Xiliang Mountain. Later, in the late Qing Dynasty, a guerrilla command was established here, with Liangshan Camp stationed and artillery batteries built for defense.