Sanshi Temple

　　The Sanshi Temple scenic area covers a planned area of 7.04 square kilometers and is the most densely concentrated cultural attraction in the Tianzhu Mountain region. In addition to the world-famous Buddhist Chan sect ancestral temple, the Sanshi Chan Temple, it also houses the national key cultural relic protection unit—the Gushan Liuchuan Cliff Carvings—and the historical site where Emperor Wu of Han set up an altar to worship the mountain. The riverside scenery here is stunning, featuring a newly built riverside landscape corridor and rafting facilities.

　　The Sanshi Temple, officially named "Sanshi Shangu Qianyuan Chan Temple," was the place where the third patriarch of Chinese Chan Buddhism preached and taught, occupying a highly significant position in the history of Chinese Buddhism. In 1983, it was approved by the State Council as a key open Buddhist temple in the Han Chinese regions.

　　The mystical landscapes of Tianzhu Mountain, along with imperial endorsements throughout the dynasties, have made it a sacred and treasured land. The Daoist scripture says that the Lord of Destiny resides in Tianzhu Mountain, which houses the Lord of Destiny’s cave. Among the 36 blessed realms and 72 blissful lands in China, Tianzhu Mountain is ranked as the 14th blessed realm and the 57th blissful land. As a result, both Buddhism and Daoism have regarded Tianzhu Mountain as a precious site, vying for control over it. On Fengxing Mountain at Sanshi, there are legendary tales of competitions between Buddhists and Daoists for spiritual supremacy.

　　In 505 AD, Baozhi, the imperial advisor to Emperor Wu of the Liang Dynasty, and Baihedao, a wandering Daoist from the south, both petitioned the emperor to grant them Fengxing Mountain to build temples and spread their teachings. Knowing both had great magical powers and not wanting to offend either, the emperor asked them to demonstrate their abilities and mark their chosen sites with objects—the one whose mark remained would be granted the land. Baozhi, known in folklore as Ji Gong, was a famous eccentric monk from Dao Lin Temple in Jiankang (now Nanjing), who said, “I will plant my tin staff into the ground as my mark.” Baihedao, holding a duster that could transform into a white crane, said, “I will mark the spot where my crane alights.” Baihedao threw his duster into the air, where it turned into a white crane that flew toward Fengxing Mountain. Baozhi then tossed his staff skyward, and it transformed into a silver dragon that followed the crane. As the crane reached Fengxing Mountain and prepared to land, it saw the approaching dragon and fled eastward, landing on Bailu Hill. Baozhi’s staff sank deep into Fengxing Mountain. When he withdrew it, a sweet spring gushed forth—this is the Zhuozhi Spring (also called “Zhuozhi Well”) located behind the temple. Baozhi then established the temple on Fengxing Mountain, and Emperor Wu named it “Shangu Temple.” Baihedao built Baihedao Temple on Bailu Hill, which was later granted the name “Zhenyuan Wanshou Palace” by Emperor Huizong of the Song Dynasty. During the Tang and Song Dynasties, Buddhism and Daoism flourished on Tianzhu Mountain, with over a hundred temples and more than 3,600 structures—historically referred to as “three thousand Daoists and eight hundred monks.” Since its founding by Baozhi, the Sanshi Shangu Temple has reached its 1,500th anniversary in 2005.

　　Gushan Liuchuan Cliff Carvings

　　In recent years, to create a premium cultural tourism destination, the Tianzhu Mountain Scenic Area has launched comprehensive projects to protect the Gushan Liuchuan Cliff Carvings and develop supporting service facilities. Through methods such as fissure grouting, dangerous rock support, and anchor reinforcement, numerous carvings have been meticulously preserved. In April 2009, restoration work began on the Gushan Liuchuan Cliff Carvings site. The riverbed, which had been buried during the 1970s “Learn from Dazhai in Agriculture” campaign, was unearthed to restore its historical appearance. Historical and cultural reconstructions were also carried out (such as Huang Tingjian’s Study Platform and Li Gonglin’s Painting of the Blue Ox), along with the installation of pedestrian walkways and flower gardens. Today, the Gushan Liuchuan Cliff Carvings welcome visitors from all over with a renewed vibrancy.

　　Upon entering the valley, you’ll see two of the ancient “Ten Scenic Spots of Qianyang”: “Stone Ox Ancient Cave” and “Gushan Liuchuan.” Located in the valley west of Sanshi Temple, a clear spring flows down the stone cliffs, sparkling and murmuring year-round without drying up. The area is surrounded by wildflowers and grasses, offering a tranquil environment. Since the Tang and Song Dynasties, officials, scholars, and celebrities have visited in an endless stream, leaving behind numerous inscriptions and poems carved into the rocks and cliffs.

　　The “Gushan Liuchuan” spring flows through Stone Ox Cave. Its upper section is called “Chanchan Stream,” the middle section is “Stone Ox Stream,” which passes by Green Ox Rock, and the lower section is the actual “Gushan Liuchuan.” It exits the valley through Xilin Bridge and flows into the Qian River. Along this 500-meter-long river valley and its surrounding cliffs, there are over 300 cliff carvings dating back more than 1,200 years from the Tang Dynasty, with more than 280 still clearly legible today. These carvings include poems, prose, inscriptions, and records, in styles such as running, regular, clerical, seal, and cursive scripts. It serves as a natural archive for studying the history of the past 1,200 years and a museum where visitors can admire the literary and calligraphic brilliance of master artists through the ages.

　　Stone Ox Ancient Cave

　　The so-called “Stone Ox Ancient Cave” gets its name from a massive rock shaped like a reclining ox drinking water, along with a natural stone imprint resembling ox hoof prints. The “ancient cave” refers to the secluded area surrounded by jagged cliffs, creeping vines, pine, and bamboo, with a clear spring flowing out as if from within a cave. Take a look at the large hoof print nearby, with the carved characters “Ox Hoof.” This is the densest and most essential cluster of cliff carvings, including three Tang Dynasty inscriptions. Observe the inscription: “Who would believe a blue ox once entered this cave? Clearly, the twin hoof prints are imprinted on the stone.”

　　The 500-meter-long Gushan Liuchuan was originally just an ordinary mountain stream, yet it gained great fame for three reasons: First, it lies near the strategic ancient Chu southern post road, a vital passage paralleling the southeastern foothills of the Dabie Mountains. Since the Tang and Song Dynasties, this road served as the main route connecting southeastern cities like Shu, Hu, and Chu to the northwestern capitals of Luoyang (Tang Dynasty) and Kaifeng (Song Dynasty). Posts were no more than ten li apart, bustling day and night with officials, tribute missions, merchants, scholars, troops, and official mail. The valley is just across a river from Doumu Post, the nearest station. Second, it is close to the historic city of Meicheng. Founded in the time of King Ling of Chu and known as Wan City during the Han Dynasty, Meicheng was the administrative center of Anhui’s Wan, Shu, and Liu counties during the Tang and Song Dynasties, serving as the political, economic, and cultural hub. The valley is only about ten li from this center, with convenient access by road or boat. Third, the valley is located on Fengxing Mountain and Bailu Hill, areas thriving with Buddhism and Daoism. To its left is Tianzuo Palace, to its right is Zhenyuan Palace, and nearby is the renowned Sanshi Chan Monastery, often called the top Buddhist temple in southern China. High monks, Taoist priests, and followers flocked here, contributing to the valley’s rising fame.

　　Most of the poetic inscriptions along Gushan Liuchuan were created by master calligraphers, characterized by their “quantity, size, prestige, and elegance.” Some characters are as large as a basin, others as small as a cup; some are carved into hundred-foot cliffs, while others are etched into deep caves. In terms of style, the carvings include poetry, verse, odes, inscriptions, and records, covering all major literary forms. Calligraphy styles span regular, cursive, clerical, seal, and running scripts, encompassing schools like Yan, Liu, Ou, Mi, and Zhao. Carving techniques include both intaglio and relief, combining square and round strokes. Chronologically, the carvings span the Tang, Song, Yuan, Ming, Qing, Republican, and modern eras without interruption—a true stream of history through the ages.

　　“Poetic Cliff carvings lie hidden in the valley, where spring water murmurs like jade trickling.” The Gushan Liuchuan Cliff Carvings are praised as an art gallery of calligraphy and hailed as the “Number One Carving in Anhui.” Thanks to careful preservation and excavation by cultural relic experts, many previously submerged masterpieces have been rediscovered and restored. Contemporary artworks are also being engraved in newly planned areas, extending the artistic legacy of the Gushan Liuchuan carvings into the new era. Visitors are always awestruck by this invaluable cultural heritage.

　　Qianshui Riverside Promenade

　　The Qianshui Riverside Promenade project is one of the ten major initiatives by Qianshan County Government in 2008. Planned by Suzhou Sage Film & Culture Company and designed by Beijing Time-Space Urban Design & Research Institute, the construction covers a 5-kilometer stretch of the Qianshui River from Jingjia Bridge to Baishui Bay, with potential future extensions upstream. The scenic design integrates various regional cultural elements of Tianzhu Mountain into the landscape, forming a unified functional layout comprising four zones: “Beach Entertainment Area, Ancestral Worship & Blessing Area, Leisure Shopping Area, and Sports Experience Area.” The Qianshui Riverside Tourism Area complements the main scenic zone—where the main area represents the “mountain,” the new area represents the “water”; the main area is the “sky (lofty),” the new area is the “earth (low)”; the main area is the “pillar (masculine),” the new area is the “beach (graceful).” The “pillar” symbolizes support, spiritual strength, and reliance, while “water” signifies flow, interaction, and pursuit. Thus, the relationship between “pillar” and “water” reflects that of movement and stillness, interior and exterior, substance and void, heart and action. This concept further extends into four dimensions: Buddhist mindfulness, Daoist practice, traditional culture, and leisure consumption. Buddhist mindfulness represents Chan culture, Daoist practice embodies wellness culture, traditional culture reflects heritage, and leisure consumption denotes recreational culture. This has given rise to a new dimension of Tianzhu Mountain tourism—“Tianzhu Mountain, the most masculine mountain, and the most ‘dramatic’ mountain.”

　　Poetic Cliff & Jade-Washing Spring · Wine Island & Sunset Glow

　　On the southern bank of the Qianshui River, west of Wutang, stands a towering cliff, a thousand zhang high, resembling a blooming lotus when viewed from afar—this is Lianzi Cliff, a famous poetic cliff of Tianzhu Mountain. Nestled by the water with clear streams swirling around, waves lapping the cliffs and splashing like jade, it has long been a gathering place for scholars and literati who boated here, feasted, drank, and composed poetry, all of which was inscribed onto the cliffs. Hence the name “Poetic Cliff & Jade-Washing Spring.” It was listed as one of the Ten Scenic Spots of Qianyang in ancient records. Nearby is another cliff, delicate and translucent, as if naturally carved, also overlooking the clear stream—a favorite spot for travelers to recite poetry and reflect on history. There is also a Fishing Cliff nearby, situated above Perch Creek, named for its perch fish. Legend says that during the late Han Dynasty, the Daoist Zuo Ci often fished here, and later generations called his fishing spot the Fishing Cliff. Though the original inscription “Zuo Ci’s Perch Fishing Spot” has been silted over, Ming Dynasty poet Hu Zuozong wrote: “Legend says Han’s Zuo Ci fished here on the green cliff. He conjured perch from the Song River, pulling them out like blooming willow-catfish.”

　　In front of Sanshi Temple, by the shore of Wutang, lies a massive rock in the water, shaped like an island—an extraordinary sight. Legend says the great Tang Dynasty poet Li Bai once visited, sitting on the rock, sipping wine, and admiring the beautiful mountain and water scenery. The rock’s deep red hue reflected in the river, shimmering with rainbow-like colors, intoxicated Li Bai, inspiring him to compose the evocative phrase “Wine Island & Sunset Glow.” Since then, this has become one of the Ten Scenic Spots of Qianyang, attracting generations of literati who came in search of the view, leaving behind many celebrated works. In Ming Dynasty poetry, the Wine Island was compared to famous sites like Orchid Pavilion, Wangchuan, and Xijia Pond, highlighting its beauty. Though the island no longer exists, its charm remains. Visitors come here to explore the past, gaze into the distance, cleanse the mind, and find tranquility.

　　Qianshui River Rafting

　　Also called Qianshui, the Qianshui River is part of the Wanhe River system in Anhui. It originates from the Laibang’ao area between Gongjie Mountain and Huangmao Mountain in the southeastern Dabie Mountains, flowing through Zhixi, Qianshan, and Huaining counties before joining the Yangtze River. It is 116 kilometers long. The river section in front of Sanshi Temple, known as Yezhai, is particularly wide—at 380 meters across and 18 li long—with crystal-clear waters where fish are visible, and colorful pebbles on the riverbed that sparkle under sunlight, creating a mesmerizing scene. The white sand resembles auspicious snow, commonly called the “Eighteen-Li Silver Beach,” representing the finest inland sandy beach resource in East China.

　　Qianshui River rafting is a popular tourist activity that combines traditional opera and beach elements, turning the rafting experience into an immersive and interactive journey. Drifting along on a bamboo raft, moving with the flow while singing authentic Huangmei Opera and admiring the stunning riverside scenery is an incredibly relaxing experience.