Stone Bridge

Stone Bridge

Stone Bridge

A stroke of nature’s divine craftsmanship painted across the Miao Mountains of the Yunnan-Guizhou Plateau gave rise to the picturesque Nan’gao River. A bold splash upon its waters formed the ink-and-wash beauty of Stone Bridge’s landscape. Generation after generation of the Miao ancestors who lived here created a rich folk culture and forged a distinctive local character and customs. They bestowed legendary tales upon the mountains, waters, and caves, making the scenery of Stone Bridge both beautiful and magical.

Whether it’s the masterpiece of nature’s divine artistry or the creation of a legendary dragon king’s contest, a natural stone arch bridge hangs magnificently between cliffs. If it’s nature’s work, it showcases the wondrous power of nature; if it’s the product of the legendary dragon kings’ rivalry, it carries the rich essence of folk virtues. A work of art draws admirers; virtues naturally attract seekers. Perhaps this is why literati and poets flocked here in the past.

A mountain without trees lacks clarity, a cliff without caves lacks wonder, a valley without water lacks beauty, and stone without texture lacks charm. Here, mountains, cliffs, valleys, caves, trees, water, stone, and culture blend into one. The most breathtaking sight remains that natural stone arch bridge. Scientifically speaking, I don’t know how such a natural bridge formed—it might be the result of water wearing down rock over time. The arch spans the Nan’gao River, with a span of 12 meters, a height of 9 meters, and a width of 12 meters. Unless you see it with your own eyes and touch it with your own hands, you’d surely think it was man-made. Get close to the base of the bridge and examine it carefully—those strokes of divine craftsmanship, if not the chisel work of artistic masters, what else could they be?　

Indeed, this should be regarded as a masterpiece, a natural creation that rewards virtue and punishes evil. Legend has it that the river didn’t originally flow through the stone bridge but instead curved around a massive cliff nearby. In those days, there weren’t so many fertile fields around the bridge. Long ago, two dragon brothers, Weng’ao and Weng’fang, who lived at the source of the Nan’gao River, went to heaven to seek positions as celestial deities. Since there was only one opening, the Heavenly God found it difficult to decide, so he set a challenge: Weng’ao and Weng’fang were to race along the Nan’gao River toward the Qingshui River. The one who reached the Qingshui River first would become its dragon king. Weng’ao, hot-tempered and eager to win, leaped into the river and rushed forward recklessly along the Nan’gao. His tail swept across the land, triggering a mountain flood that devastated the area and brought disaster to the people. The Thunder God, enraged, struck him dead with a thunderbolt. Weng’fang, kind-hearted and careful not to destroy the terraced fields on both banks, moved cautiously. When he reached open areas, he gently swayed his tail, carving out new fields along the riverbanks. When he arrived at the site of Stone Bridge, he saw a huge boulder blocking the river, forcing it to detour. He thought, if the river could flow straight through the rock, more terraced fields could be cultivated on the original riverbed. So, he fearlessly rammed into the boulder, punching a hole through it—and thus, this beautiful natural stone bridge was formed. From then on, the river flowed through the stone, and Weng’fang contributed to the local people by altering the river’s course and creating farmland. The formation of the natural bridge also made it easier for people on both sides to cross and interact. Weng’fang brought benefits wherever he went, earning praise from the locals. Though he moved slowly, he ultimately became the dragon king of the Qingshui River. Of course, this is just a legend, but it reflects people’s strong desire to reward good and punish evil.

The captivating natural scenery and moving folk legends blend together, leaving visitors in awe and admiration.

To the right of Stone Bridge stands a towering cliff. Standing beneath it and looking up, it feels as though the sky has been sliced in half. The cliff isn’t straight but gradually slopes inward from top to bottom. As a result, a large rock hollow forms beneath it, offering shelter from sun and rain. This place is both a provincial-level cultural heritage site—the ruins of the Stone Bridge White Paper Workshop—and a favorite spot for literati to write and paint.

Stone Bridge’s white paper is famous. Building on the production of white paper, the refined Xuan paper (used for traditional Chinese painting) crafted here has gained a market presence internationally. Where does its fame come from? From its exquisite craftsmanship, from its long history, and from the pure, flowing spring water in Stone Bridge’s natural landscape. Therefore, the paper of Stone Bridge cannot be separated from the water of Stone Bridge. It is said that the craft of making Stone Bridge white paper began in the Tang Dynasty, dating back over 1,000 years. Local Miao people, drawing on Han Chinese papermaking techniques and adapting them to local conditions, used abundant local tree bark, fir roots, and clear, high-quality spring water as raw materials. Its production process is largely similar to the papermaking method recorded in the Ming Dynasty’s *Tiangong Kaiwu* (The Exploitation of the Works of Nature) by Song Yingxing. Judging from this account, the origins of Stone Bridge’s civilization are also worth exploring.

Stone Bridge white paper is white in color, highly absorbent, resistant to brittleness, and excellent for rendering effects. Its Xuan paper has found its way into the hands of master artists and onto the walls of elegant halls. The name of Stone Bridge travels along with that flowing spring water, down the Nan’gao River, through the Qingshui River, into Dongting Lake, and onward to the Yangtze and beyond.

The paper of Stone Bridge is of exceptional quality, yet the scenery of Stone Bridge is even more enchanting. A blank sheet of paper cannot fully express one’s inner world, so literati and artists turn their gaze to that towering cliff.