Overview

Guangbi Tower (光碧楼) is situated on the central axis of the Mu Palace (木府), which served as the residence of the Mu chieftains (木氏土司) during the Ming Dynasty (明代). Originally a library for the Mu family, historians have described Guangbi Tower and its associated buildings as “the finest in western Yunnan” (称甲滇西).

Black Dragon Pool Ancient Architecture Complex (黑龙潭古建筑群)

Located at the northern end of Lijiang Old Town (丽江古城), beneath the Xiangshan Mountain (象山), the Black Dragon Pool Ancient Architecture Complex (黑龙潭古建筑群) is a grand collection of ancient buildings from the Ming and Qing dynasties (明、清), notable for their extensive scale, historical significance, meticulous craftsmanship, and breathtaking scenery. In 2007, it was designated a National Key Cultural Relic Protection Unit (全国重点文物保护单位) by the State Council.

Key Information

• Location: Mu Palace (木府), Black Dragon Pool (黑龙潭)
• Attraction Level: National Key Cultural Relic Protection Unit (全国重点文物保护单位)
• Famous Attraction: Black Dragon Pool Ancient Architecture Complex (黑龙潭古建筑群)

Contents

1. Guangbi Tower in Mu Palace
2. Guangbi Tower at Black Dragon Pool

Guangbi Tower in Mu Palace

Guangbi Tower was originally the library of the Mu Palace, featuring intricately carved beams and painted rafters, showcasing its stunning beauty. The Mu Palace is a historical palace complex within Lijiang Old Town, serving as the residence for the Lijiang chieftains during the Ming Dynasty. It is a cultural and political center of the region with over 340 years of history, often referred to as “the Forbidden City of the South” (南有木府).

On the central axis of the Mu Palace, key buildings are arranged sequentially: the Conference Hall (议事厅), Wanjun Building (万卷楼), Guardian Hall (护法殿), Guangbi Tower (光碧楼), Yuyin Tower (玉音楼), and Sanqing Hall (三清殿). On either side of the central axis, over 160 rooms including annexes, lofts, corridors, and guesthouses are constructed.

Guangbi Tower at Black Dragon Pool

Originally located within the Lijiang Prefecture Office (丽江知府衙署), this building dates back to the Ming Dynasty. The tower has a width of five bays (14.5 meters) and a depth of four bays (7.8 meters), with a ridge height of 7.97 meters. It features a double-eaved hipped roof structure and was relocated to its current site later.

How to Get There

1. From Lijiang Railway Station (丽江火车站): Take bus 18 to the stop for Mu Palace (木府), then walk to the Guangbi Tower.
2. City Bus: Take bus routes 2 or 3, and alight at the ancient town entrance to access the attractions.

Travel Tips

1. Respect Local Customs: Be mindful of local customs and traditions to ensure a respectful visit to the sites.
2. Prepare for Weather: Lijiang has a diverse climate; it’s advisable to check the weather and dress appropriately.
3. Stay Hydrated: The altitude may cause dehydration; carry water with you during your exploration.
4. Camera Ready: Bring your camera to capture the beautiful architecture and stunning landscapes.
5. Safety Precautions: Travel in groups if possible, especially in less crowded areas or during the evening.

Overview

The Lijiang Wax Museum of World Celebrities (丽江世界名人蜡像馆) is located at Yuhe Square (玉河广场) in Lijiang Ancient Town (丽江古城) and is the first wax museum in Yunnan Province (云南省). This unique museum houses over 50 lifelike wax figures of renowned personalities from various fields, including sports, politics, entertainment, and more. Visitors have the opportunity to pose for close-up photos with their favorite stars and discover a mix of global icons and local figures. The exhibition includes international celebrities like David Beckham (贝克汉姆), Michael Jackson (迈克·杰克逊), Barack Obama (奥巴马), and Vladimir Putin (普京), as well as beloved Chinese stars such as Jackie Chan (成龙), Andy Lau (刘德华), and Jay Chou (周杰伦). Notably, local characters “Mu Lao Ye” (木老爷) and “A Le Qiu” (阿勒丘) add an engaging local flavor to the experience. Here, visitors can challenge the imposing “Dwayne Johnson” (巨石强森) to an arm-wrestling match, compare heights with “Iron Man Robert Downey Jr.” (钢铁侠小罗伯特·唐尼), attempt to snatch the basketball from basketball star “LeBron James” (詹姆斯), or engage in a mock debate with “Obama” (奥巴马).

Visiting the Museum

Introduction

The Lijiang Wax Museum of World Celebrities is a pioneering attraction in Lijiang, providing an opportunity for visitors to experience lifelike replicas of prominent figures without having to travel to Hong Kong. The museum presents nearly 50 stunning wax figures, allowing tourists to engage closely with renowned personalities across various domains, including politics, history, film, sports, and myth. Each display is meticulously designed, with every figure crafted to resemble the real individual as closely as possible. Visitors can see the accurate proportions, features, skeletal structures, muscles, skin, hair, veins, and wrinkles of each figure, making them almost indistinguishable from their real-life counterparts.

Exhibition Areas

The museum is divided into multiple sections:

• Political Leaders: Wax figures of Deng Xiaoping (邓小平), Jiang Zemin (江泽民), Barack Obama (奥巴马), and Vladimir Putin (普京).
• Local Characters: Displays featuring local figures such as Mu Zeng (木增) and A Le Qiu (阿勒邱).
• Entertainment Stars: Wax figures of Andy Lau (刘德华), Jay Chou (周杰伦), Zhao Benshan (赵本山), Bi Fujian (毕福剑), Lin Chi-ling (林志玲), Fan Bingbing (范冰冰), Liu Huan (刘欢), and Song Zuying (宋祖英).
• International Celebrities: Includes Michael Jackson (迈克·杰克逊), Psy (鸟叔), Lee Min-ho (李敏镐), Nicolas Cage (尼古拉斯·凯奇), Will Smith (威尔·史密斯), Dwayne Johnson (巨石强森), and Vin Diesel (范·迪塞尔).
• Sports Icons: Featuring Lionel Messi (梅西), David Beckham (贝克汉姆), and LeBron James (詹姆斯).
• Mythical Figures: Includes characters like Harry Potter (哈利波特) and Iron Man (钢铁侠).
• Unique Displays: Featuring the “World’s Largest Mouth,” “Tallest Person,” “Longest Tongue,” and “Person with the Longest Neck.”

The museum aims to create an enchanting visual experience that blends reality and fantasy, enriching your travel journey with delightful surprises.

How to Get There

1. By Public Transport: Take bus 18 from Lijiang Railway Station (丽江火车站) and get off at Zhongyi Market Station (忠义市场站). From there, it’s an 880-meter walk to Lijiang Ancient Town (丽江古城).
2. City Buses: Alternatively, take buses 2 or 3 and get off at the entrance of the ancient town.

Ticket Information

• Admission Fee: 80 Yuan (元)

Opening Hours

• Daily: 08:30 AM – 05:30 PM

Address

• Location: No. 1 Yuhe Square, Lijiang Ancient City, Yunnan Province (云南省丽江市古城玉河广场1号), opposite the Ancient Water Wheel (古城大水车).

Travel Tips

1. Respect Local Customs: Be mindful of and respect the customs and traditions of local ethnic groups to avoid misunderstandings or disputes.
2. Bring Medications: It’s advisable to carry common medications such as cold remedies, gastrointestinal medications, mosquito repellent, heatstroke medications, and motion sickness pills.
3. Travel in Groups: It’s safer to travel in groups, especially in the evenings. Solo female travelers or children should consider carrying personal safety tools.
4. Camera Essentials: Bring a camera and consider other essentials like sunscreen based on the specific conditions of your destination.
5. Weather Considerations: Lijiang has a plateau climate with significant temperature variations between day and night. Check the weather forecast before your visit.
6. Sun Protection: The region has strong sunlight and high UV levels. If spending extended periods outdoors, wear a sunhat and apply sunscreen to protect your skin.
7. Avoid Touching Exhibits: Please do not touch or damage any exhibits without permission.

Location and Overview

The Former Residence of Chamawang and Memorial Hall (茶马王故居纪念馆) is situated in the northwest part of Shuhe Old Town (束河古镇), adjacent to Jiuding Longtan (九鼎龙潭). To reach it, visitors should stroll along Renli Road (仁里路) to the northwest corner of the ancient town and navigate through a small alley named Tiao Shui Xiang (挑水巷). This historic residence belonged to the Wang family, who were well-known for their influential role in the horse caravan trade. The house boasts a rich history spanning over 200 years, and visitors can explore the traditional Naxi (纳西) architecture while uncovering stories from the era of horse caravans.

Architectural Features

The residence features a charming Naxi courtyard, with couplets inscribed in Dongba script (东巴文字) flanking the main entrance. The courtyard is beautifully landscaped with various flowering plants, creating a tranquil and picturesque environment.

Main House Interior

Upon entering the main building, visitors will find the meticulously preserved bedroom of the caravan leader. This room showcases an antique bed and furniture that harmoniously blends Naxi and Tibetan styles, offering a glimpse into the past. The walls are adorned with historical images and photographs of the caravan days, providing further insight into the lifestyle and challenges faced by the horse traders. A shrine is also present, dedicated to honoring the ancestors of the caravan leaders.

Reception Area and Visitor Experience

The side room on the first floor serves as a welcoming reception area for tourists, where descendants of the caravan leaders invite visitors to enjoy traditional tea and share stories about their family’s heritage. It’s essential to note that photography is not permitted inside the entire residence, and visitors are kindly requested to respect this rule.

As you make your way toward Jiuding Longtan, keep an eye out for the entrance to the residence, as it can easily be overlooked. Once inside, the hosts provide a warm welcome, eager to introduce visitors to their ancestral home and share the history of the Tea Horse Road (茶马古道). The residence is no longer inhabited by the family and is open to the public for free.

The second floor displays various tools used along the Tea Horse Road, allowing visitors to appreciate the significance of these artifacts. The ambiance of the house subtly reflects Tibetan influences, adding to its artistic charm. Downstairs, there is a tea room where visitors can savor two types of raw Pu’er tea (生普), and before departing, they can purchase traditional cakes from the hosts.

Historical Background

The Former Residence of Chamawang once belonged to one of the homes of the legendary “Tea Horse King” (茶马王). According to local lore, at the height of the Wang family’s prominence, they owned over twenty courtyards in Shuhe. However, following land reforms, these properties were divided.

The current Chamawang Memorial Hall is a two-story wooden structure that has preserved the original characteristics of the residence. Inside, visitors can find a collection of old items used by the caravans, numerous historical photographs, and intricately detailed maps of the caravan routes displayed on the walls. Through these artifacts, the memories of the caravan leaders of the past seem to come alive once more.

The Wang family has a long-standing and powerful history in the context of the Tea Horse Road, beginning their tea trade during the Ming Dynasty (明朝). At their peak, the Wang family’s caravans consisted of over 3,500 horses and more than 4,000 personnel, reaching distant destinations like Nepal (尼泊尔) and India (印度). At that time, any caravan carrying the Wang family emblem could travel freely along the Tea Horse Road. Presently, the Chamawang family sustains their livelihood through tourism, tea production, and herbal medicine.

In addition to being a museum, the memorial hall previously offered home-cooked meals and tea services, with hosts well-versed in the history and qualities of Pu’er tea. The signs in the alley clearly indicate that entry is free of charge.

Cultural Experience

As a once-powerful family in the Shuhe region, visiting the Chamawang family residence provides a unique opportunity to hear the descendants of the caravan leaders recount legendary experiences and share tales from the Tea Horse Road.

Interior Exhibits

Inside the residence, visitors will find numerous carefully arranged wooden tea utensils and horse gear that showcase the struggles and resilience of the caravan traders. The collection includes many old photographs and authentic tea artifacts. Visitors can listen to engaging stories while enjoying tea with the hosts, all at no cost. However, as previously mentioned, photography is strictly prohibited within the residence.

Reflections on the Tea Horse Road

The historic Tea Horse Road, having endured the ravages of time, carries a profound depth of history. The tracks etched into the mountains tell countless stories, each footprint bearing witness to the journey. The interplay of light and shadow, the sound of hoofbeats, awakens the morning mist and fades gently into the sunset. The wheels of time etch the journey of life, while the Tea Horse Road weaves an ancient tapestry of legends.

Opening Hours

Year-round: 7:30 AM – 5:30 PM

How to Get There

To visit the Former Residence of Chamawang and Memorial Hall:

• By Public Transport: Utilize local buses or taxis to reach Shuhe Old Town. The residence is easily accessible on foot from the town’s main entrance.
• Walking Directions: Once you arrive in Shuhe, follow Renli Road to the northwest corner and look for Tiao Shui Xiang, which leads to the residence.

Travel Tips

• Photography: Remember that photography is strictly prohibited within the residence.
• Best Time to Visit: Early mornings or late afternoons provide a more serene experience. The ideal months for visiting Shuhe are April to June and September to November, when the weather is pleasant.
• Local Cuisine: After your visit, consider trying local Naxi dishes at nearby restaurants, such as Naxi-style fried rice (纳西炒饭) and barbecued fish (烤鱼).
• Nearby Attractions: Explore other sights in Shuhe, including the Old Town and nearby scenic spots like Lijiang Ancient City (丽江古城) and the scenic Blue Moon Valley (蓝月谷).
• Cultural Etiquette: Be respectful while visiting the memorial and home, particularly in areas dedicated to honoring ancestors, and ask for permission before taking photographs of individuals.

Location and Overview

The Former Residence of Fang Guoyu (方国瑜故居) is situated at No. 32, Wenzhi Lane, Wuyi Street, Lijiang Old Town (丽江古城). This historically significant residence occupies an area of 1.98 acres and consists of over 70 rooms. It is located in the northeastern section of the UNESCO World Heritage Site, Lijiang Old Town. To access the residence, visitors can walk 500 meters north along the stone road on the west side of Fang Guoyu’s alma mater, Lijiang No. 1 Middle School (丽江市一中).

About Fang Guoyu

Fang Guoyu (方国瑜, 1903–1983) was born into a scholarly family in Dayan Town, Lijiang Naxi Autonomous County (原丽江纳西族自治县大研镇). He was a prominent contemporary historian and professor, recognized for his contributions to Chinese ethnic history, the history of southwestern China, and Dongba culture.

Key Contributions

Fang Guoyu authored numerous influential works, which include:

• 《云南史料目录概说》 (A Guide to the Historical Materials of Yunnan): This work catalogs significant historical documents related to Yunnan Province.
• 《中国西南历史地理考释》 (Exploration of Historical Geography in Southwest China): A comprehensive examination of the historical geography of southwestern China.
• 《彝族史稿》 (Draft History of the Yi Ethnic Group): This work sheds light on the history of the Yi people, one of the prominent ethnic groups in southwestern China.
• 《汉晋民族史》 (History of the Han and Jin Dynasties): An exploration of the history and culture during the Han and Jin dynasties.
• 《滇西论丛》 (Essays on Western Yunnan): A collection of essays discussing various aspects of Western Yunnan.
• 《抗日战争滇西战事篇》 (The Anti-Japanese War in Western Yunnan): This is considered one of the most detailed accounts of the anti-Japanese resistance in the Yunnan region during World War II.
• 《方国瑜文集》 (Collected Works of Fang Guoyu): A compilation of his major writings.

Fang Guoyu’s family was renowned for their dedication to education, unity, and hard work. Tragically, he lost his father at the tender age of ten, and his uncle took on the responsibility of educating and supporting him through his formative years.

Historical Significance and Restoration

In adherence to the principles of respecting tradition and history, the Lijiang Old Town Protection Management Bureau established a dedicated team to restore the former residence, investing over 1 million yuan (approximately $150,000 USD). The team traveled to Kunming and Beijing to connect with Fang Guoyu’s friends, students, relatives, and alumni, collecting a wealth of invaluable personal materials.

Exhibition Sections

The residence comprises eight distinct sections, including:

1. 求学之路 (Path of Study): Illustrating Fang Guoyu’s educational journey.
2. 困而好学斋 (Diligent Study Hall): A representation of his commitment to learning despite challenges.
3. 方氏家族 (Fang Family): Highlighting the family’s history and values.
4. 故居建筑 (Architectural Features of the Residence): Showcasing the architectural style and significance of the house.
5. 学术成果 (Academic Achievements): Detailing his contributions to academia.
6. 社会活动 (Social Activities): Describing his involvement in various social initiatives.
7. 吊唁缅怀 (Memorial Tributes): Honoring his legacy and contributions.
8. 方氏家塾 (Fang Family School): A look into the educational traditions of the Fang family.

Fang Guoyu was recognized as a pioneering figure in the study of local history in Yunnan, southwestern ethnic history, and the historical geography of the southwestern border region. Renowned historian Professor Xu Zhongshu (徐中舒) regarded him as “a titan of southern scholarship and a giant in the history of Yunnan.”

Political and Academic Contributions

Fang Guoyu served as a representative in various political bodies, including:

• The first to fifth sessions of the National People’s Congress (全国人大)
• Vice President of the Chinese Ethnic Research Association
• President of the Yunnan Historical Society

He was actively involved in significant activities such as boundary negotiations, boundary delineation, and editing historical maps of China, contributing extensively to the academic and political landscape of the time.

War Efforts

During the Second Sino-Japanese War, he collected anti-war materials in Baoshan and conducted investigations at various battlefields. His work 《抗日战争滇西战事篇》 (The Anti-Japanese War in Western Yunnan) is considered one of the most comprehensive sources on the subject, providing valuable insights into the region’s contributions to the war effort.

Architectural Features

The residence itself is an ancient house nearly 200 years old, characterized by traditional Chinese architectural elements. The first main gate features a sign with white background and green letters, while the second gate displays a plaque from the Qing Dynasty, indicating its historical significance.

The layout of the entire courtyard consists of two connected traditional quadrangle courtyards, each featuring a design of three sections and a screen wall. The exhibition rooms include themes such as “Path of Study,” “Family Care,” “Research Achievements,” and “Teaching Outcomes,” showcasing photos and over 120 manuscripts and published works from different periods of Fang Guoyu’s life.

The architectural style reflects a blend of Huizhou (徽) architecture, known for its meticulous and rigorous design, and the grandeur of Naxi (纳西) culture, representing a unique artistic fusion of Han and Naxi cultures.

Address

No. 32, Wuyi Street, Lijiang Old Town, Lijiang City, Yunnan Province, China (云南省丽江市古城区五一街32号)

Opening Hours

Year-round: Monday to Sunday, 09:00 AM – 05:00 PM

How to Get There

• By Public Transport: Visitors can take local buses or taxis to Lijiang Old Town. The residence is within walking distance from the central areas of the town.
• Walking Directions: From the entrance of Lijiang Old Town, head towards Wuyi Street and continue north for about 500 meters along the stone road to reach the residence.

Travel Tips

• Best Time to Visit: Early morning or late afternoon to avoid crowds and enjoy a quieter atmosphere. The best months to visit Lijiang are from April to June and September to November when the weather is mild.
• What to Bring: A camera for capturing the beautiful architecture and exhibitions, as well as a notebook if you wish to jot down interesting facts during your visit.
• Local Cuisine: After your visit, explore nearby eateries for local Naxi cuisine, such as Naxi-style fried rice (纳西炒饭) or pork ribs (猪肋排).
• Nearby Attractions: Consider visiting the Lijiang Ancient City (丽江古城), Black Dragon Pool (黑龙潭), and Jade Dragon Snow Mountain (玉龙雪山) to enhance your experience of the region’s rich culture and natural beauty.
• Cultural Etiquette: Be respectful while taking photos, especially in areas dedicated to memorials. Always ask for permission before photographing individuals, particularly elders.

Fang Guoyu—A Historian of Yunnan History

Fang Guoyu, native of Lijiang, born in 1903, Naxi Nationality, CPC member, became tutor of doctoral students in Chinese ethnology in 1981. Fang graduated from Peking University as a post graduate in 1933 majoring traditional Chinese culture. He used to be an editor of Peking Normal University, teacher of Luo Yang Normal School, professor of the Department of Traditional Chinese Culture of a Peking’s private university, professor and dean of the Department of Literature and History of Yunnan University, Dean of Institute of Liberal Arts and Laws. He once served as an editor, examiner and adviser of Institute of Yunnan Chorography.

After the founding of the New China in 1949, Fang successively served as a deputy director of Jiu San Society of Yunnan Province, member of Ethnic Affairs Commission of the People’s Government of Yunnan Province, member of Ethnic Affairs Committee under the National People’s Congress, deputy of the 3rd , 4th and 5th the National People’s Congress, adviser to the Compiling Board of Chinese History and Chorography, adviser to Ethnology Research Society of Southwest China, and counsel of China Education Association.

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Ever since the 1950s, he tutored 3 post graduates, 1 doctoral student and two international students. He wrote many books, to name a few, Brief Introduction to Catalogues of Historical Records of Yunnan, Table of Pictographs of Naxi, Historical Manuscript of Yi nationality, Exploration on the History and Geography of Southwest China. He led the editing and charting task for The Atlas of the Chinese History (Southwest China Section). Fang is an explorer and foundation layer for the research of local history of southwest China and ethnic minority history. He was reputed as “an outstanding figure of Yunnan”, “a giant pillar of Yunnan history” and “a master of Yunnan academic research.

About Fang Guoyu’s Former Residence in Lijiang Ancient Town

CL.A.U.D.I.A. is a project dedicated to the study of Naxi people culture and Dongba tradition: CL.A.U.D.I.A. (hence CLAUDIA) acronym for Computational and Updatable Dongbas Iconographic Archive.

CLAUDIA project is focused on making an innovative dictionary of Dongba pictographs, founded on a system of classification and index plates of signs, the latter made by empirical methodology named ICONOGRAPHIC PRIMES, which the author derived from A. Wierzbicka N.S.M. – Natural Semantic Metalanguage theories.

CLAUDIA project is grounded on previous Dongba dictionaries and works, and is an interdisciplinary system implemented with an eye to the study literature of other pictographic/hieroglyphic writing systems (Egyptology and Mayan), thought and aimed for dissemination and diffusion of knowledge of Naxi-Dongba pictographic tradition, also to make the latter easier understand and enjoyed by novices.

Author’s thought CLAUDIA to be realized both as printed edition and as online resources, a digital humanities application as an innovative and web available dictionary of Dongba pictographs.

Sources and resources available

Available sources and resources for the study of Dongba pictographic manuscript tradition, from CLAUDIA’s point of view, should be resumed into:

• Dongba pictographs’ dictionary
• Study works about Naxi culture, Naxi people and Lijiang history, Dongba tradition
• Dongba pictographic tradition documents themselves

CLAUDIA’s attention is particularly focused on dictionaries, and among them expecially looks at:

• Rock Joseph Francis Charles, 1963 A 1Na-2Khi-English encyclopedic dictionary, Serie Orientale Roma, XXVIII
• Rock Joseph Francis Charles, 1972 A 1Na-2Khi-English encyclopedic dictionary. Gods, Priests, Ceremonies, Stars, Geographical Names, Serie Orientale Roma, XXVIII
• ·½¹úè¤, ºÍÖ¾Îä – Fang Guoyu; He Zhiwu, 1995 ÄÉÎ÷ÏóÐÎÎÄ×ÖÆ× – Naxi xiang xing wen zi pu ÔÆÄÏÈËÃñ³ö°æÉç, Kunming Shi : Yunnan ren min chu ban she: Yunnan sheng xin hua shu dian fa xing
• ÀîÁزÓ; Li Líncàn, 2001 ÄÉÎ÷ÏóÐÎÎÄ×Ö×Öµä – naxizu xiangxing biao yin wenzi zidian, Yúnnán Mínzú Chubanshè
• ºÍÆ·Õý – Hè pin zhèng, 2004 –|°Í³£ÓÃ×Öµä(hÓ¢ŒÕÕ) – Naxi Dongba Pictographic Dictionary
• Janekovic Dragan, 2005 Na-si: srpski recnik, Beograd: Narodna biblioteka Srbije

Each one of that works presents pictographs with relative transcriptions in Naxi language, but authors used different solutions and rules in pictographs’ latinization, accents orthography and phonetic transcription.

Being available at today “ÖйúÉÙÊýÃñ×åÓïÑÔ¼òÖ¾´ÔÊé – Zhongguo Shaoshu Minzu Yuyan Jianzhi Conshu” 689 – 784 CLAUDIA means to consider it as the more recent and official Academic study of Naxi language grammar, thus to adopt that work’s solutions of transcription of Naxi language for romanization of Dongba pictographs. In the same time, CLAUDIA means, once that is available such standard, to build equivalence plates for crossing references with works mentioned above.

Another characteristic of dictionaries available at today is the lacks of attestations and contexts references for pictographs. This except for Rock’s work, who used to refer to manuscripts he possessed as private collection or sell to Institution like the Harward-Yenching, but Rock attestations’ and references’ system is just limited in quoting the manuscript page where pictographs appeared within, without appropriate samples of context, as portions of text where the pictographs was taken.

With an eye to some other similar writing system works, as A. Erman and H. Grapow, ‘Worterbuch der agyptischen Sprache’ – landmark study for Egyptology – seems plausible to think about the possibility of making an innovative dictionary of Dongba pictographs with a complete and satisfactory system of references and contexts’ quotation, especially for poly-semic and poly-phonic pictographs, respectively one pictograph with more then one meaning and one pictograph with more then one reading, who could be disambiguated just by context.

In his experimental online draft-works published on www.xiulong.it the author developed a presented to Kunming’s 2009 “new horizons in Naxi study” congress a system for dictionary entries adopting and calibrating the structure of Grapow Worterbuch: in the top middle the image of the pictograph selected, on the left side the most common orthography for the pictograph selected with latinization, IPA, translation and commentary.

On the right side quotation of dictionary references with relative orthography, under it available contexts and references in Dongba manuscript corpus where pictograph selected appears within.

Screen-shot directly taken from CL.A.U.D.I.A. draft-works presented on Kunming 2009 congress

Today the layout of CLAUDIA dictionary entries is changing for a better, more user-friendly and interactive interface.

ANOTHER CLOSER LOOK TO CL.A.U.D.I.A.

As previously introduced CLAUDIA is a project focused on making of a dictionary of Dongba pictographs, founded on an iconographic classification of pictographs, a system of iconographic index plates, and a complete dictionary with of attestations, quotations and references; CLAUDIA project features should also be resumed as follow:

• GROUNDING
  • with regard to previous dictionaries works (references, translations, quotations, etc…)
  • regarding to Dongba literature study works (commentary and notes)
  • regarding to Naxi language study literature, (standard orthography and pinyin, IPA transcription)
• INTERDISCIPLINARITY
  • regarding to other pictograph/hieroglyph writing system study literature, as Egyptology and Mayan
  • regarding to Anna Wierzbicka reductive paraphrase methodology in N.S.M. – Natural Semantic Metalanguage theory, for a re-calibrated and innovative classification of Dongba pictographs
  • regarding to TEI standard, and digital humanities resources, for web publishing of iconographic index plates and Dongba dictionary
• DISSEMINATION
  • aiming at diffusion and spreading knowledge of the pictographic tradition
  • making pictographs easier to be understand and enjoyed by novices
  • taking Dongba pictographs beside the other historical pictograph/hieroglyph writing system

CLAUDIA work consist in a systematic study of pictographs’ iconography and structural features: pictographs have to be classified following iconographic criteria, and during the classification will be also made the creation process of iconographic index plates.

Study of Dongba manuscripts also evinced 2 mains structural features for pictographs:

• BASIC PICTOGRAPHS
• COMPOSED PICTOGRAPHS

Author also distinguish COMPOSED PICTOGRAPHS into

• COMPLEX UNITS of COMPOSED PICTOGRAPHS
• FUSION-DERIVED UNITS of COMPOSED PICTOGRAPHS (cfr.3.b)

CLAUDIA GROUNDING

Previous dictionary works will be systematically quoted into CLAUDIA’s references also reporting relative orthography.

In ex. pictograph  : it is recorded in Dragan Janekovic as the 557th pictograph, transliterated with /la33/ orthography; in Fang Guoyu and He Zhiwu at pg. 409, the 2nd (a=1st, b=2nd, etc…) pictograph transliterated as /l?33/; in Hè Pin Zhèng it’s on pg. 43, the 6th pictograph with /l?33/ orthography and finally in Li Lincan it’s the 761st pictograph, transliterated /la33/.

In CLAUDIA online version each pictograph of iconographic plates is an hyper-link: by clicking on it user opens – in a new dedicated page – a complete pictograph schedule with translation, commentary, notes and attestation of selected sign.

In that complete page, below selected pictograph, are listed all its variants attested.

This is the author’s idea for CLAUDIA as a Dongba Pictograph Dictionary, thought and implemented as wide-web enjoyable resources. References of dictionaries will be quoted by abbreviations as below: (this isn’t a definitive choose of dictionaries and works to be quoted as references. CLAUDIA system is completely updatable)

• , Yúnnán Mínzú Chubanshè
• Janekovic Dragan, 2005 Na-si: srpski recnik, Beograd: Narodna biblioteka Srbije

• FG. : ·½¹úè¤, ºÍÖ¾Îä – Fang Guoyu; He Zhiwu, 1995 ÄÉÎ÷ÏóÐÎÎÄ×ÖÆ× – Naxi xiang xing wen zi pu
• HPZ. : ºÍÆ·Õý – Hè pin zhèng, 2004 “–|°Í³£ÓÃ×Öµä(hÓ¢ŒÕÕ) – Naxi Dongba Pictographic Dictionary”
• DJ. : Dragan Janekovic, 2005 “Na-si: srpski recnik” – Beograd: Narodna biblioteka Srbije
• JR.I. : Joseph F. C. Rock, 1963: “A 1Na-2Khi-English encyclopedic dictionary”, I volum3
• LLC. : ÀîÁØ²Ó Li Líncàn, 2001 ” ÄÉÎ÷ÏóÐÎÎÄ×Ö×Öµä – naxizu xiangxing biao yin wenzi zidian [A dictionary of Naxi pictographs]”

CLAUDIA INTERDISCIPLINARITY

Author means to look for available resources and methodologies, not necessary focused on Dongba pictographs, suited to improve the quality of work, thus by “interdisciplinarity” here is meant to adopt and re-calibrate all methodologies and works useful for dictionary making and pictographs’ study.

Firstly, it seemed plausible to look for other pictographic and hieroglyphic study literature, specially at Egyptology (author’s got MA in Egyptology in Pisa University in 2004) and Mayan, looking for methodologies and patterns which could be re-calibrated and adopted in Dongba dictionary writing.

The works the author looked at during CLAUDIA implementation are:

• A. Erman and H. Grapow, ‘Worterbuch der agyptischen Sprache’, fundamental for introducing in CLAUDIA
  • complete dictionary structure planning
  • introduction of attestations, references and contexts. Those systematically quoted for each pictograph entry in complete dictionary pages
  • chronological evolution and orthography variations, as contextualized study of pictographs (cfr. Appendix )
• A. Gardiner, ‘Egyptian Grammar’, fundamental for introducing in CLAUDIA concepts of
  • innovative iconographic classification of Dongba pictographs needed
  • iconographic index plates of pictographs for fast retrieving, without any user’s competence needed in reading pictographs
• COE D. Michael, 2001 “reading the Maya Glyphs”, fundamental for introducing in CLAUDIA concepts of
  • basic pictographs and complex pictographs
  • among complex pictographs distinction of composed-units and fusion-units
  • syllabary, to be implemented for Geba syllable-graphic signs and to be experimented for most common basic pictographs
• Wierzbicka A., 1972, 1980b, 1992, 1996, 1997, 2001; Gottard C., 1997, 2008, fundamental for introducing and developing in CLAUDIA
  • concept of ICONOGRAPHIC PRIMES which is the fundamental main theory both for classification of pictographs and for making iconographic index plates
  • reductive paraphrase method for pictographs classification and identification of ICONOGRAPHIC PRIMES
• TEI guidelines, fundamental for introducing in CLAUDIA
  • web resources implementation following the standards required by TEI recommendations for digital texts encoding and web publishing

CLAUDIA DISSEMINATION

CLAUDIA aims to be an instrument for dissemination of Dongba tradition, for spreading and diffusing knowledge of Naxi culture, manuscript tradition and Naxi pictograph art.

Looking at the methodologies and solutions of the other writing systems’ studies landmark works author also aims to improve highest qualities of Dongba dictionary itself, taking Dongba pictographic writing system and Dongba manuscript tradition as nearest as possible to Egyptian and Mayan Hieroglyphic writing systems; CLAUDIA, as a tool for dissemination is based on:

• an innovative iconographic classification of pictographs
• an iconographic index plates of pictographs
• and direct links between plates elements and dictionary entries

all sum into an useful instrument for fast consultation of dictionary without any a-priori required knowledge of reading and/or meaning of pictographs, making them easier to be understand and enjoyed also by novices.

ICONOGRAPHIC CLASSIFICATION AND INDEX PLATES

In its landmark work for Egyptology sir Alan Gardiner inserted as appendix to his Egyptian Grammar a concise dictionary of Hieroglyphs previously introduced by some index plates of the Hieroglyphs themselves.

Gardiner Hieroglyphs index plates

A page from Gardiner’s Hieroglyphs dictionary. Entries of dictionary are directly linked to index plates, thus an user could faster and easier identifies hieroglyphs without knowing its reading/s and/or meaning/s; dictionary is thus enjoyable also by novices.As Grapow did, on the top middle of the Gardiner short dictionary, the basic hieroglyphs were written, then followed all derived forms and variants which Gardiner attested in his work..

Being Dongba pictographic writing system into Dongba manuscript tradition full of poly-semic and poly-phonic phenomena, Gardiner solution of a system of index plates and related dictionary seems to be as the most useful and the easiest methodology to be re-calibrated and adopted into dictionary of Dongba pictographs, making pictographs retrievable without involving any readings and meanings required knowledge.

In ex., pictograph   attested in Folio II recto of NZA079 manuscript, library of Congress of Washington online collection: poly-phonic and poly-semic pictographs, with latinizations, [IPA] transcription and relative translations:

1. [la33]: Tiger. Old, ancient
2. la3 [la31]: To strike. To divine, foretell
3. la1 [la55]: Every, all, everybody

Is plausible to hypothesize that novices couldn’t know none of the readings of the pictographs, neither the meanings, except the obvious one: tiger. It also seems obvious to hypothesize about everybody’s capacity of immediate identification of pictograph with the iconography of an animal, and this just in a shot-looking. A deeper look to pictograph may could suggest to any generic user that the animal portrayed is a feline, and the portrait isn’t one of a complete feline, but just a part of this animal, more exactly the head of a feline.

The author considered such observations fundamental into his project for an innovative Dongba pictograph dictionary: the latter could be structured into indexed classes as Gardiner did, and such classes have to be deduced from a classification work of Dongba pictographs.

Substantially Dongba dictionary work then would be structured as a system of index plates directly linked to dictionary entries. Each pictograph had to be included just once with a single index number into one plate, and each plate had to be labeled by one capital letter.

Users could then identify pictographs like in Gardiner dictionary by looking for them into plates, and once found, then following relative index number linking directly to full-dictionary voice; moreover such system and structure of dictionary?plates was just suited both for a printed edition and online implementation.

As Gardiner developed for Egyptian Hieroglyphs, the way that author chosen for classification of Dongba pictographs and implementation of index plates is grounded on ICONOGRAPHIC CRITERIA, a methodology of classification that the author has to do without any noises and interferences from any other pictographs’ features, as semantic, phonetic, etc…

In other words, the innovative way of Dongba pictographs classification the author meant, he made by an empirical identification of iconographic and peculiar patterns recurring into Dongba pictographs whole corpus.

From the study of Dongba manuscripts and Dongba tradition literature the author hypothesized that is possible to identify a nucleus of BASIC PICTOGRAPHS (with many variants), and such BASIC PICTOGRAPHS the Dongbas used to assembled together to make COMPLEX PICTOGRAPHS. Moreover, author hypothesized that, as in Mayan hieroglyph writing system, COMPLEX PICTOGRAPHS could be obtained with 2 different techniques:

1. putting beside some graphic units making a COMPOSED UNITS of COMPLEX PICTOGRAPHS, ex.:  cow +  ax =   to look for a partner, phonetic use of pictographs. In abstract formula this instance could be resumed as: A + E = [AE]
2. melting together graphic units making a FUSION UNITS of COMPLEX PICTOGRAPHS, ex.:  young man, shepherd +  rocks +  foot =   the Lu demon of suicide descending. In abstract formula this instance could be resumed as: A * E ? [Æ]

In this paper FUSION PICTOGRAPHS are meant as a result in a willing technique process of the act of writing which consist in melting together two or more graphic units, (elementary, complex and/or or both) by fusion and loosing of the signs’ original boundaries and contours, making a new and unique complex graphic-significant unit in which single graphics limits and order of composition of pictographs are modified, partially omitted or totally lost.

From a linguistic point of view fusion pictographs could be seen as a GENERATIVE aspect of Dongba pictographic writing system, producing hypothetical infinite new combinations from a limited number of significants; in the meantime, author’s interpretation of features of FUSION PICTOGRAPHS’ TECHNIQUE (lost of boundaries, lost contours of block of significants, signs that strongly influence one each other) are interpreted as one of the evidences that suggest to consider Dongba pictographic writing system into manuscript’s tradition as an hypo-articulated communication system, concept derived from Phonetic and Prosody theories (Albano & Maturi, 1995: 18 – 20)

Sign  is a perfect sample of FUSION PICTOGRAPH. It means “[the] lu demon of suicide descending“, (Rock J., 1939: 22) and it is the result of the fusion of more graphic units: the central anthropomorphic on e a shepherd, or a young man, above and melted to his head the pictograph   lu rocks used both as phonetic complements for demons class’ name specification, and as symbolic key to allude to ritual suicide committed by putting some heavy rocks inside the pockets of the garment, and letting oneself drown in water. (Rock, 1937)

At the end of stretched out leg the pictograph   foot melted to the central graphic unit as determinative of movement.

Dictionary has obviously to include such kind of fusion pictographs as every attested COMPLEX PICTOGRAPHS, but the dictionary’s structure projected by author, inspired from Erman – Grapow and Gardiner works for Egyptian provides to make them accessible as DERIVED FORMS of a BASIC PICTOGRAPHS.

By BASIC PICTOGRAPHS the author here means the fundamental graphic units that subsume complex units, alias complex pictographs.

In  case, fundamental graphic unit should be identified with the BASIC PICTOGRAPH   .

In other words, COMPLEX PICTOGRAPHS WON’T BE INCLUDED INTO INDEX PLATES but they WILL BE into complete dictionary pages listed as variants and derived forms of the BASIC PICTOGRAPH which constitutes their dominant and main graphic unit (the latter obviously included into index plate).

In CLAUDIA online draft-work, by selecting a basic pictograph X from an index plate implemented (at today just animal prime is done, with relative and nested sub-groups: complete animal and parts of animals) user will access to the complete dictionary entry page for selected pictograph, and in this page he/she will found the list of all derived pictographs having X as basic graphic unit; please cfr. sample below and try the online demo.

Dongba pictographs’ iconographic plates and dictionary project is closely related and dependent by an innovative and functional classification of basic pictographs.

During CLAUDIA experimentation, works of classification and plates making proceeded parallels, because from iconographic classification of pictographs the author identified some recurring iconographic patterns or meta-themes into Dongba pictographs corpus, so from this patterns he build the system of classes to gather basic pictographs within.

Author names such recurring iconographic patterns are ICONOGRAPHIC PRIMES, terminology he was inspired by Anna Wierzbicka’s concept of SEMANTIC PRIMES in her N.S.M. – NATURAL SEMANTIC METALANGUAGE theory.

Being identification of ICONOGRAPHIC PRIMES a process of individuation of PRIMITIVE ICONOGRAPHIC META-THEMES RECURRING into Dongba pictographs corpus, then ICONOGRAPHIC PRIMES consist in a sort of hidden ICONOGRAPHIC CORE of pictographic writing system, a concept similar to SEMANTIC CORE of N.S.M. Theory.

Each ICONOGRAPHIC PRIME has to be:

1. GENERAL: iconographic prime implies some iconographic patterns or features present in many pictographs and, once identified, each PRIME has to be used to group many basic pictographs into a general class. An ICONOGRAPHIC PRIME could contains some nested SUB-PRIMES, as in CLAUDIA demo COMPLETE ANIMALS and PARTS OF ANIMALS are nested SUB-PRIMES of the wider ANIMAL PRIME.
2. DISTINCTIVE: although a), each ICONOGRAPHIC PRIME must resumes peculiar and absolutely non ambiguous features
3. PURE: each prime has not to be contaminated by any other features, as semantic, phonetic, etc…

As the concept of ICONOGRAPHIC PRIMES the author was inspired and derived by Wierzbicka N.S.M. theory, as the methodology for ICONOGRAPHIC PRIMES identification is inspired yet from Wierzbicka’s work, more exactly from REDUCTIVE PARAPHRASE METHODOLOGY, obviously with re-calibration needed to make it suited to Dongba pictographs.

The way of working for ICONOGRAPHIC PRIMES identification (which coincides also to pictographs classification work) in few words could be resumed with a recursive self-posing question; with an “ICONOGRAPHIC PRIME POINT OF VIEW” the author self-posed in front of pictographs and asked himself: what is this?

In ex., pictographs ,  and   classification methodology worked as exemplified below

• ex. 1.   what is this ?
  1. a COMPLETE portrait of a TIGER
  2. a FELINE
  3. an ANIMAL
  4. a LIVING BEING
• ex. 2.  what is this? This is no more a COMPLETE portrait of a tiger at well, but
  1. the portrait of the HEAD of a TIGER.
  2. Thus a PART OF a TIGER,
  3. and again a FELINE,
  4. an ANIMAL,
  5. a LIVING BEING.

From samples 1 and 2 was possible to identify a wider general prime, nested within the general (but less wide) primewith two sub-primes:and.then contains another sub-primewhich contains the other very specific, whileprime contains .

• ex. 3.   what is this? This pictograph means the tiger’s striped fur, and it is reported in dictionaries listed in 1. as following:
  • JR.I.17a /3bber/
  • DJ.497 /3par/, /2lau 3par/
  • FG.339 /par55/, /la33 par55/
  • LLC.861 /kæ31/, /pur55/, /pur55 kæ31/, /pur55 w?31/

Except for Rock, who organized 1st volume of his dictionary disposing pictographs by their reading in alphabetic order, the other authors classified and gathered this pictograph into “animal” class.

Once he was in front of ex.3., the author asked himself if this pictograph, and moreover this kind of pictographs, really could be seen as belonging to “animal” class, without any semantic knowledge. He hypothesized that, especially for novices, it isn’t immediately identifiable a sign belonging to any animals’ groups, especially without having knowledge of its semantic value.

Following the previously exemplified primes’ methodology ex.3.   appeared just to be made by some STROKES, more exactly by 3 STROKES, OBLIQUES and DESCENDING FROM LEFT TO RIGHT, and absolutely NOT LIVING BEING.

Similar situation could be found in such kind of pictographs, like  : it was classified in Li Lincan dictionary at page 868 among animals’ signs, translated “hair or fur of animal” with orthography /fv33/. According to ICONOGRAPHIC PRIMES methodology for ex.4. the author evinced the following primes:

• STROKES
• 4 STROKES
• OBLIQUE
• DESCENDING
• FROM RIGHT TO LEFT
• NOT A LIVING BEING

According to author’s point of view, gathering ex.3. and ex.4.  into animals’ group is a perfect sample of contamination of semantic features, and he hypothesized that this contamination could cause ambiguities and difficulties in retrieving signs into dictionaries.

Author classified in CLAUDIA  and   both as BASIC PICTOGRAPHS belonging to STROKES PRIME, so he gathered them into STROKES INDEX PLATE. Such plate has to be organized with many nested sub-primes as:strokes,,,,, etc…

In this way, signs retrieval should be easier, faster and independent form Dongba pictographs’ meaning and pronunciation, probably successfully also by novices.

ANIMAL PRIME: COMPLETE and PART OF ANIMAL SUB-PRIMES

In the Kunming 2009 congress the author presented an experimental draft-work for CLAUDIA: the PRIME ANIMAL and relative nested two sub-primes COMPLETE and PARTS OF animals he implemented.

Index identification number of basic pictographs gathered into ANIMAL – COMPLETE plate is on top left of each element of plate.

Under image of each pictograph: its latinization, [IPA transcription], /main dictionaries references with related orthography annotations/ and finally basic translations. (n.b.: Such information aren’t fundamental in plates implemented, but since the project is experimental, the author needed them to be to output for further easier operations and manipulations.)

In CLAUDIA, as online edition of Dongba iconographic plates and dictionary, each base pictograph of index plate is an hyper-link, pointing directly to relative dictionary page. The latter reports:

• complete entry for selected pictograph
• complex pictographs, (composed and fusion units) having the selected basic pictograph as the main graphic unit they derived from

In author’s experimental draft-work the system of dictionary entries is adopted and re-calibrated to Dongba pictographic writing system form Erman – Grapow’s Egyptische Wertbok.

On the top middle the image of the basic signs selected, then follow the most common orthography for the selection, its latinization, IPA, translation and commentary; quotation of dictionary references with relative orthography are reported as well.

Under, if available, contexts and references of Dongba manuscripts where pictograph appears within.

Naxi Dongba

CL.A.U.D.I.A.: Computational and Updatable Dongbas Iconographic Archive

Cultural History

Folklore

Weather and Best Time to Visit

Tourist Attractions

• Mudi Jing Flower Sea: The blooming primroses in June form a spectacular purple sea of flowers.
• Pumi Village: Experience the traditional lifestyle of the Pumi people and visit the ancient log cabins.
• Nearby Attractions: Lugu Lake, Yongning Plain, and Ge Mu Goddess Mountain, which are all worth visiting, are not far from Mudi Jing Village.

Suggested Duration of Stay

• Mudi Jing Village: It is recommended to stay for 1-2 days to deeply experience the Pumi culture and natural scenery.
• Lugu Lake: It is recommended to stay for 2-3 days to enjoy the lake views and experience the Mosuo culture.

Transportation

• By Car: Starting from Lijiang, travel along National Highway G214 to Yongning Town, Ninglang County. The total distance is about 150 kilometers, with a driving time of approximately 3 hours.
• Public Transport: First, take a long-distance bus to Ninglang County, and then transfer to a local rural bus or hire a car to Mudi Jing Village.

Cuisine

• Pumi Specialties: Pork fat, pig’s trotters, and Surma wine, etc.
• Local Agricultural Products: Cauliflower kale, wax gourd, and black rice fruit, etc.

Shopping

• Ethnic Handicrafts: Pumi silver jewelry, embroidery, etc.
• Local Specialties: Ninglang plateau red rice, buckwheat cakes, etc.

Accommodation

• Homestays: There are many Pumi-style homestays in the village where you can experience local folk culture.
• Hotels: There are also some hotels available in nearby Yongning Town.

Tourist Tips

• Respect Local Customs: When visiting the Pumi village, pay attention to respecting local culture and customs, and do not enter areas prohibited for photography or visits.
• Environmental Protection: Do not litter in the flower sea and natural scenic areas to protect the environment.

Itinerary

• Mudi Jing Village: Upon arrival, visit the Pumi village, experience local life, and enjoy the flower sea.
• Yongning Town: Head to Yongning Town to visit historical and cultural relics such as Zamei Lamasery and the chieftain’s mansion.
• Lugu Lake: Travel to Lugu Lake to enjoy the lake views and experience the Mosuo culture.

 

I asked a taxi driver about Baisha Old Town(白沙古镇) during my stay in Lijiang(丽江), Yunnan(云南).That driver refused to take me there by telling me that that undeveloped and shabby town wasn’t worth a visit and that an entrance ticket was required there. Later on I found out bus No.3 was bound for that town, so I decided to take the bus there. I got off at Baisha Town Government. And it only took 10 minutes to walk to the old town which is quite near to Yulong Snow Mountain(玉龙雪山). One can spend 1 yuan to take bus No.6 departing from Qixingjie(七星街) at Guchengkou(古城口).

Heading for Yulong Snow Mountain(玉龙雪山), the bus drove on a road that was narrow and uneven. And it took more than 40 minutes to get the destination. No wonder why I was refused by that taxi driver. Standing on the road outside Baisha Old Town(白沙古镇), I could see Yulong Snow Mountain(玉龙雪山) clearly, but its peak was shrouded in clouds and mist.

This is the picture of Baisha Old Town(白沙古镇). The terminal of bus No. 6 is a village at the foot of a snow mountain, but I didn’t go there.

The Baisha Town Government is simple.

That taxi driver just cheated me. I saw no ticket office all the way.

Strolling in the town, I felt this town was not a developed tourist town.

There were signs read “No Photos” in and outside many houses and shops. Suddenly I saw “Photoing Is Welcome” on a blackboard of a shop named “Shiliqiao Farmhouse”(十里桥农家), so I walked into that shop and found that it is the former residence of Sha Li(沙蠡), the famous writer in Lijiang(丽江). But I didn’t know who was Sha Li(沙蠡) and I had never read his book.

Introduction of Sha Li(沙蠡) was on the other blackboard: Sha Li (1953-2008), formerly called He Shanggeng(和尚庚) who is a native of Baisha Old Town(白沙古镇) and the older brother of the house owner, He Shangzhong(和尚忠). Sha Li(沙蠡) was a member of Chinese Writers’ Association and the chairman of Lijiang Federation of Literary and Art Circles. As a chief editor of magazines Yulong Mountain and Lijiang, he is the author of 56 books and published more than 60 million words on People’s Literature, Chinese Writers, Novel Monthly and Shikan. His book Great Earthquake won the sixth national literary “Horse Award”.

Visitors can read Sha Li’s works in a side room named Sha Li Study(沙蠡书屋).

The photograph of Sha Li(沙蠡) and the actress Ning Jing(宁静) (Ning Jing’s mother is Naxi People).

My Older Brother Sha Li(沙蠡)

My older brother and I were born in Baisha Old Town(白沙古镇) and we grew up in this old house. My father told me that, on wall in front of our house, there were four words “勤俭家风”which means the members of our family should be frugal and diligent.

When we were children, my older brother and I went to the primary school in Wenchanggong(文昌宫) (now known as Baisha Mural). My brother was very diligent and he had the passion for literature.He read whenever he was free.Once, after reading a soviet novel, he was so exciting that he contributed to Yunnan Daily. Thanks to my brother, I also developed the interest in reading.

My brother was a articulate person. He always told us the stories of Romance of the Three Kingdoms(三国演义) and Heroes of the Marshes(水浒传). And he also told neighbors stories, so he even got a nickname for his eloquence. Besides, my brother and I both like playing football, watching movies and listening to old songs.

This piece of magical and beautiful land in Baisha made my brother unique. And it was my brother’s love to his hometown that enabled him to create innumerable exciting stories…

I miss my brother！

My brother is the pride of Naxi People.

He Shangzhong

March 21st, 2011

The house owner — He Shangzhong (和尚忠)

The house owner is a retired soldier.

The plum-leaf crabapple juice made by He Shangzhong(和尚忠) sells for 10 yuan per glass. Visitors could drink the juice while listen to his stories. Because of his hospitality, many visitors are willing to buy his juice. I said: “Thanks to your hospitality, you may be the one who makes the most money among the shop owners in this town.” He agreed.

The producing process of plum-leaf crabapple juice.

Photographs of the owner and his guests show their happy memories.

His courtyard is the show place of Naxi farmhouse.

Dongba pictograph “mill”(磨)

犁Plough

打谷Threshing

待客Receiving visitors

各种种子Various seeds

正房Main room

After visiting that house, I continued to explore the street.

Children after school looks happy.

The famous Baisha Mural(白沙壁画) is over here with few visitors.

Dongba pictographs on the wall

The frame used to dry things in a Naxi folk house.

A monument

 

A brook rises in a snow mountain.

Streets are quiet; the business is slack.

Some houses are luxurious which may be rebuilt by outsiders.

These are the real folk house.

Rough stones from Lijiang(丽江) can be used to pave roads and to build houses.
Chinese Version: http://blog.sina.com.cn/s/blog_88e254ff01014tdd.html

Overview

The Former Residence of Shali (沙蠡的故居) is located in Baisha Old Town (白沙古镇), Lijiang (丽江), Yunnan Province (云南省). This historic site is currently managed by Shali’s (沙蠡) brother, Monastery Zhong (和尚忠). The courtyard features various works by Shali, and the walls are adorned with photographs of Monastery Zhong and visitors. Here, visitors can purchase a unique drink created by the owner, hawthorn juice (海棠果汁), for 10 yuan per cup. The quaint courtyard exudes a rustic charm typical of Naxi (纳西族) farming houses.

Monastery Zhong, an elderly gentleman, shares delightful anecdotes about his childhood with Shali. Enjoying a cup of hawthorn juice made by him, visitors find the sweet and refreshing drink leaves a lasting impression. Monastery Zhong takes pride in the residence’s history, revealing that the building is around 200 years old, making it the oldest structure in the town. While he acknowledges that there were older buildings, some over 300 years old, they have since been demolished. He expresses a sense of pride in this old house, stating that while new buildings may be comfortable and beautiful, the true treasure lies in history, reflecting his foresight.

The courtyard is decorated with various ethnic ornaments, creating a film-like ambiance.

About Shali

This residence is dedicated to the memory of Shali (沙蠡), a notable Naxi writer born as Monastery Geng (和尚庚) in 1953 and passing away in 2008. He was a member of the Chinese Writers Association (中国作协) and served as the Chairman of the Lijiang (丽江) Federation of Literary and Art Circles. Shali published numerous works throughout his career. He held several significant roles, including secretary of the Youth League Committee, deputy editor-in-chief of a university journal, and executive director of the Yunnan Provincial Federation of Literary and Art Circles. He was also a member of the Lijiang Municipal Committee of the Chinese People’s Political Consultative Conference (政协).

Shali began publishing his work in 1979, became a member of the Chinese Writers Association in 1995, and joined the Chinese Federation of Literary and Art Circles in 2003. His literary contributions include 41 works encompassing long, medium, and short novels, essays, poetry, criticism, and documentary literature, totaling approximately 30 million words. His notable awards include:

• The National Junma Award for “The Great Earthquake” (《大地震》).
• The second prize of the Provincial Government’s Literary Fund for “A Yi Dan” (《阿一旦》).
• The first Military Literature Collection Award in Yunnan Province for “The Sound of the Yulong Gun” (《玉龙枪声》).
• The National Ethnic Literature 50th Anniversary Essay Award for “Three Essays” (《散文三章》).
• The third prize in the National Huaxia New Poetry Competition for “The History of the Naxi People” (《纳西人的历史》).

Visiting Information

• Duration: Visitors typically spend 1-3 hours exploring the residence and engaging with Monastery Zhong.

Transportation

• Public Transport: Take Bus Line 6 from the Guchengkou Station (古城口站) to Baisha Road Intersection Station (白沙路口站), which is just a short walk from the residence.

Admission Fees

• Please inquire at the site for specific details on ticket prices.

Opening Hours

• Monday to Sunday: 08:00 AM – 05:00 PM

Location

• The residence is located at Baisha Old Town (白沙古镇), Lijiang (丽江), Yunnan Province (云南省).

How to Get There

To reach the Former Residence of Shali, visitors can take a taxi from Lijiang city center to Baisha Old Town. The journey takes about 30 minutes and offers scenic views of the surrounding areas.

Travel Tips

• Best Time to Visit: Spring and autumn are ideal for enjoying pleasant weather and avoiding crowds.
• What to Bring: A camera to capture the beautiful surroundings, some cash for drinks, and a notebook if you wish to jot down any thoughts inspired by the stories shared by Monastery Zhong.
• Cultural Etiquette: Engage with the local culture by listening to the stories and experiences shared by the residents, as this enhances the visit’s richness.

Overview

The Lijiang Observatory (中科院云南天文台丽江观测站/丽江铁甲山高美古天文台) is situated on the summit of Tiejia Mountain (铁甲山) in Yulong County (玉龙县), Lijiang (丽江), Yunnan Province (云南省), at an elevation of 3,200 meters. It covers an area of 261 acres.

Structure

The observatory includes two campuses: the Yulong County Urban Campus (玉龙县城园区) and the Gaomeigu Campus (高美古园区). The Yulong County Urban Campus, known as Nanguo Xingdu (南国星都), is located at the intersection of Xiahe Road (夏禾路) and Shangji Road (上吉路), about 1 kilometer from Lijiang Railway Station (丽江火车站). It features an Astronomical Research Center, 3H apartments, and an astronomical plaza.

The Gaomeigu Campus is positioned atop Tiejia Mountain at an elevation of 3,200 meters. This site is characterized by minimal air pollution and dust, offering a clean and transparent atmosphere with almost no light pollution, resulting in a deep blue sky and weak background sky light. Due to its high altitude and thin atmosphere, extinction is minimal, and the atmospheric tranquility is notably good. The low latitude allows telescopes at this site to observe large areas of the southern hemisphere, compensating for the limitations of other observatories in China. The observatory’s location near the same longitude as few other observatories globally makes it indispensable in the international astronomical observation network.

Historical Events

On March 2, 2005, the central equipment for the Gaomeigu Observatory arrived in Yunnan for installation, including the largest astronomical telescope in China, a 2.4-meter telescope. This telescope, valued at over 30 million yuan, was manufactured by the British company TTL and features top-notch optical quality, clear imaging, and high precision in tracking and pointing, allowing it to capture celestial objects up to ten times larger than those seen through one-meter telescopes at other observatories in China.

Industry Reputation

The selection of Gaomeigu as the observatory site sparked widespread interest among astronomers both domestically and internationally. Many astronomers have visited Gaomeigu, drawn by the pristine blue skies and the stunning display of stars and the Milky Way at night. The site’s excellent seeing conditions have led many to express their excitement; they have dedicated their lives to astronomy without ever witnessing such ideal night skies and observational conditions. Known for its “clear skies and brilliant stars,” Gaomeigu has gradually become a sacred place for astronomers worldwide.

Equipment and Facilities

The observatory hosts four optical telescopes, including:

• A 2.4-meter telescope, the largest general-purpose optical telescope in East Asia, known for its optical image quality, imaging resolution, and pointing and tracking systems.
• A 1.8-meter telescope, serving as a test platform for adaptive optics technology, equipped with China’s most advanced adaptive optics system.
• The BOOTES-4 telescope, a 60 cm fully automatic telescope part of the global observational system.
• The TAT telescope from Tsinghua University (清华大学), dedicated to global asteroseismic monitoring.

Additionally, the observatory includes a GPS reference station, a coating room with a 3.2-meter vacuum coater, a comprehensive building, an expert building, and an office building located on Xiahe Road in the new Yulong County urban area.

How to Get There

To reach Lijiang Observatory, visitors can travel from Lijiang City (丽江) to Yulong County by taxi or shuttle bus. The observatory is about a 30-minute drive from Lijiang’s city center. The route provides beautiful views of the surrounding mountains.

Travel Tips

• Best Time to Visit: The observatory is best visited during the dry season, from late autumn to early spring, to enjoy clear skies.
• What to Bring: A good camera for astrophotography, warm clothing due to high altitude temperatures, and binoculars for a closer look at celestial objects.
• Admission: Check for any visitor regulations or guided tour availability before your visit.

Overview

Sister Lake (姊妹湖) is located next to Yufeng Temple (玉峰寺) at the foot of Yulong Snow Mountain (玉龙雪山). Established in 1998, it was transformed into Sister Lake Resort, focusing on dining, leisure, and entertainment. The lake’s tranquil and picturesque surroundings have made it a favored retreat for nature lovers, particularly on weekends and holidays.

Scenic Beauty

Nestled beside the renowned Yufeng Temple, famous for its thousands of tea trees, Sister Lake has long captivated visitors. Its serene environment and stunning scenery attract people looking to escape city life. This has led to the popular saying in Lijiang, “Where to go for holiday leisure? Sister Lake outside Yufeng Temple.”

Development and Attractions

With the booming tourism industry in Lijiang and a growing emphasis on environmental conservation, Sister Lake Resort has embraced the theme of “Harmony between Man and Nature.” It preserves the Dongba ancient texts, a UNESCO World Heritage memory, and has become a preferred tourist destination. The resort is approximately 12 kilometers from the ancient town of Lijiang, covering 41.3 acres of lush landscapes with rich natural resources.

Facilities and Features

Sister Lake Resort offers a variety of services, including tourism, dining, leisure, entertainment, accommodation, and shopping. It has successfully established its brand of barbecue, gaining wide acclaim from visitors.

Mythology and Activities

At an elevation of 2,620 meters, the resort is conveniently located near Yufeng Temple and boasts about 2,000 square meters of built-up area. Local myths, such as the Naxi people’s creation stories, add a layer of mystery to the area. Each season brings unique experiences, from springtime rhododendrons to autumn’s pine seed collecting.

Day Trip Itinerary: Sister Lake and Lijiang Old Town

Experience a delightful day exploring two must-see attractions: Sister Lake Scenic Area and Lijiang Old Town.

Morning: Sister Lake Scenic Area ?

• Travel Time: About 30 minutes from Lijiang Old Town (古城区).
• Recommendation: Spend approximately 4 hours enjoying the natural beauty.
• Highlights: Often referred to as Lijiang’s “Little Jiuzhaigou,” the lake features crystal-clear waters surrounded by forests and waterfalls, perfect for photography and relaxation.

Afternoon: Lijiang Old Town ?

• Travel Time: Approximately 30 minutes from Sister Lake back to the Old Town.
• Recommendation: Spend around 4 hours wandering the historic streets and admiring unique architecture.
• Admission: Free entry, great for photography and cultural experiences.

Dining and Accommodation

• Lunch Recommendation: Lihua Restaurant (丽鹤饭店) offers a variety of dishes, especially recommended are the water flowers and aged tofu, with friendly service.
• Accommodation Recommendation: IU Hotel (IU酒店), close to the Old Town, known for its attentive service and clean rooms.

Local Souvenirs

Don’t miss taking home local specialties like maca from Yulong Snow Mountain (玉龙雪山玛卡), wild black tiger mushrooms (野生黑虎掌菌), and Lijiang copper locks (丽江铜锁).

How to Get There

From Lijiang Old Town, take a taxi or ride-sharing service to Sister Lake, which is about a 30-minute drive. The journey offers scenic views of the surrounding mountains and valleys.

Travel Tips

• Best Time to Visit: Spring and autumn for the best weather and scenery.
• What to Bring: Comfortable shoes for walking, a camera for stunning photos, and local currency for dining and shopping.
• Weather Considerations: The area can be cooler at higher elevations, so bring a light jacket.

Introduction

Xueshan Academy (雪山书院), founded in the first year of the Yongzheng era (1723) by Yang Shen (杨馝), the first official governor of Lijiang after the “tu gui liu” reform, has a rich history. Over the years, especially in 1893 under Governor Chen Zonghai (陈宗海) and the late Qing scholar Geng Ji (庚吉), significant renovations transformed the academy into a magnificent institution, featuring an impressive library and spacious classrooms.

Historical Background

In 1905, with the abolishment of the imperial examination system and the promotion of schools, Xueshan Academy completed its educational mission after 180 years. During this time, it nurtured two Hanlin scholars, seven Jinshi, sixty-one Juren, twelve vice-examinees, and numerous other candidates, marking a significant development in the cultural education of the Naxi (纳西) ethnic area and symbolizing a pivotal moment when local commoners gained access to Han cultural education.

Chinese Name: 雪山书院
Location: 丽江古城 (Lijiang Old Town)
Founder: 杨馝 (Yang Shen)
Founded in: 雍正元年 (1723)
Notable Figures: 和庚吉 (Geng Ji)
Opening Hours: 周六14:30-16:00 (Saturdays, 14:30-16:00)

Development of Education

In 1907, Xueshan Academy established the Lijiang Encouragement Society, the predecessor of the Lijiang Education Bureau during the Republic of China. The first head of the society was Zhou Wei (周暐), a local scholar. Later, Lijiang governor Peng Jizhi (彭继志) initiated the Lijiang Baihua Newspaper, making it the first vernacular newspaper in Yunnan Province. Moreover, the establishment of the Lijiang Type Foundry at the academy became the birthplace of lead type printing in Yunnan.

After 1912, Xueshan Academy also established elementary schools but was later converted into a military base, suffering significant damage. Only the library’s collection remained, moved to Yuhuang Pavilion (玉皇阁).

Achievements

Xueshan Academy has historically produced a multitude of talents who significantly contributed to the cultural and educational advancements of the Naxi region, achieving recognition in Northwestern Yunnan. From its founding until the abolition of the examination system in 1905, it produced:

• 2 Hanlin scholars
• 7 Jinshi
• 61 Juren
• 12 vice-examinees
• 28 outstanding candidates

The academy’s establishment marked a crucial step in providing opportunities for local commoners to pursue education in Confucian classics and participate in the civil examination system.

Prior to the academy’s establishment, Lijiang was under a semi-closed state regarding Han culture, with local regulations preventing commoners from reading or taking part in exams. The academy opened doors for students from commoner backgrounds, enabling them to pursue scholarly and civil responsibilities.

The Cultural Significance of Xueshan Academy

Xueshan Academy not only served as the highest institution of Han culture education in Lijiang but also became the cradle of education in the region. It played a pivotal role in the emergence of Yunnan’s first vernacular newspaper and lead type printing, making it an essential part of the World Cultural Heritage of Lijiang Old Town.

The revival of Xueshan Academy has ushered in new opportunities for the cultural and historical tourism of Lijiang, currently housing over 20,000 books, aiming to establish itself as a cultural landmark.

Lijiang Forum

In November 2011, Xueshan Academy announced its revival during the launch of “The Chronicle of the World Cultural Heritage Lijiang Old Town.” Starting in 2012, it hosts the Lijiang Forum every Saturday, focusing on topics like history, culture, and social sciences, aiming to excavate history and promote cultural wisdom.

In August 2018, the Lijiang Old Town Protection Bureau, along with Beijing North Education Cultural Media Co., launched the “Lijiang Old Town Celebrity Forum” at Xueshan Academy, featuring prominent scholars and discussions that bridge ancient and modern wisdom.

Collection of Books

The academy’s library, recorded in historical texts, has evolved over time. Significant donations from local officials and scholars have enriched its collection, which includes over 800 volumes of various texts, making it a crucial resource for public literature in Lijiang.

Headmasters

Over its 180-year history, Xueshan Academy had fourteen known headmasters, including Wan Xianyuan (万咸燕), the first headmaster, who played a crucial role in its establishment. He is noted for his contributions to the historical records of Lijiang.

Teacher-Student Relationships

Teaching at Xueshan Academy emphasized rigor. One notable teacher, Yang Nu (杨怒), was known for his strict teaching style, insisting that students memorize texts thoroughly. The academy fostered a culture of respect for teachers, which persisted even into the Republic of China era.

How to Get There

Xueshan Academy is located in Lijiang Old Town. You can reach Lijiang by flying into Lijiang Sanyi Airport (丽江三义机场) and taking a taxi or shuttle bus to the Old Town. Once in Lijiang, the academy is within walking distance of major attractions.

Travel Tips

• Best Time to Visit: Spring and autumn are ideal for pleasant weather.
• Cultural Etiquette: Show respect in traditional settings and during lectures.
• Photography: Check for permissions before taking photos inside the academy.
• Local Cuisine: Try local Naxi dishes at nearby restaurants.

The Ahai Dam (阿海水电站) is a gravity dam on the Jinsha River in Yulong County, Lijiang Prefecture, Yunnan and in the river reach at about 5 km in the lower reaches of Cuiyu River mouth. Preliminary construction began in 2008 and construction on the dam superstructure and power station began in 2010. The dams first generator was operational in December 2012, the third by May 2013.^[1][2] The fifth and final generator was commissioned on 9 June 2014.

Overview

The Ahai Hydropower Station (阿海水电站) is the fourth tier of the “one reservoir and eight levels” development scheme recommended in the “Hydropower Planning Report for the Middle Reaches of the Jinsha River (金沙江中游河段水电规划报告).” It connects upstream with the Liyuan Hydropower Station (梨园水电站) and neighbors the Jin’anqiao Hydropower Station (金安桥水电站) downstream. This station is a vital power source for the Jinsha River Hydropower Base, with a maximum dam height of 130 meters, a total reservoir capacity of 882 million cubic meters, and an effective capacity of 218 million cubic meters, providing daily regulation capability.

The station has a total installed capacity of 2 million kilowatts and an average annual power generation of 8.877 billion kWh, with a static investment of approximately 13.6 billion yuan.

The primary focus of the Ahai Hydropower Station is power generation, with additional benefits in flood control and irrigation, making it significantly important for regional economic development and the implementation of the “West-to-East Power Transmission” strategy.

General Information

• Chinese Name: 阿海水电站
• Location: Yulong Naxi Autonomous County (玉龙纳西族自治县), Lijiang City (丽江市), Yunnan Province (云南省)
• Opening Hours: Open all day
• Ticket Price: Free
• Notable Attractions: Ahai Hydropower Station Rare Plant Garden (阿海水电站珍稀植物园)
• Upstream Station: Liyuan Hydropower Station (梨园水电站)
• Downstream Station: Jin’anqiao Hydropower Station (金安桥水电站)
• Waterway: Upper reaches of the Yangtze River (长江), Jinsha River (金沙江)
• Total Installed Capacity: 2 million kilowatts
• Average Annual Power Generation: 8.877 billion kWh
• Country: China (中国)
• City: Lijiang (丽江市), Yunnan Province (云南省)
• Recommended Visit Duration: 1 hour
• Best Season to Visit: Summer (夏季)
• Reservoir Capacity: 806 million m³ (有效库容2.18亿m³)

Project Overview

The dam site of the Ahai Hydropower Station is located at the junction of Yulong County (玉龙县) and Ninglang County (宁蒗县) along the middle reaches of the Jinsha River. The project is a comprehensive hydraulic and hydropower hub focused on electricity generation, with additional roles in flood control and irrigation. The dam is classified as a major (1) grade project, with permanent main hydraulic structures designed as first-grade constructions.

The project consists of a concrete gravity dam, a left bank overflow surface hole, energy dissipation pool, left bank flood discharge sand flushing hole, right bank sand discharge hole, and main auxiliary power houses behind the dam. The maximum dam height is 130 m, and the normal water level is set at 1504.00 m, with a corresponding reservoir capacity of 806 million cubic meters.

The dead storage level is 1492.00 m, with a dead storage capacity of 700 million cubic meters and an adjustable reservoir capacity of 106 million cubic meters. This classification marks it as a daily regulated reservoir. The total installed capacity of the station is 2000 MW, with an average annual power generation of 8.877 billion kWh. The total construction period for the project is 98 months, with the dam’s first unit expected to generate power by December of the seventh year. The total static investment is approximately 13.6 billion yuan.

Reservoir Area

Once the dam is completed, the normal water level will create a reservoir capacity of 806 million cubic meters, with a total capacity of 882 million cubic meters and a regulation capacity of 238 million cubic meters. The Ahai Hydropower Station reservoir reaches a water level of 1504 m, with a backwater length of approximately 75.3 km, affecting four counties: Muli County (木里县), Yulong County (玉龙县), Ninglang County (宁蒗县), and Shangri-La County (香格里拉县) in the Liangshan Prefecture (凉山州), Lijiang City (丽江市), and Diqing Prefecture (迪庆州).

The total inundation area due to the reservoir is approximately 23.42 square kilometers, comprising 15.9 square kilometers of land and 7.52 square kilometers of water. The submerged area affects 2655 mu of arable land, 2865 mu of protective forest land, and 29431 mu of unused land. There are 34 affected village residential areas, with a total submerged population of 623.

The reservoir creates approximately 22.67 square kilometers of usable water surface, providing a beautiful setting that promotes local tourism development.

Land Acquisition and Resettlement

The land acquisition for the Ahai Hydropower Station involves Yulong County (玉龙县), Ninglang County (宁蒗县), Shangri-La County (香格里拉县) in Diqing Prefecture (迪庆州), and Muli County (木里县) in Liangshan Prefecture (凉山州). The construction area is characterized by sparse population and rugged mountain gorges, with 8424 mu of farmland submerged and a planned relocation population of 2538 people.

The resettlement for the Ahai Hydropower Station is notable for its minimal land submergence and few displaced people compared to other hydropower projects of similar scale, presenting unique developmental advantages. The resettlement planning report for this project is the first large-scale hydropower engineering resettlement planning report prepared according to the “Regulations on Land Acquisition Compensation and Resettlement for Large and Medium-sized Water Conservancy and Hydropower Projects” (State Council Order No. 471) and the 2007 edition of the “Planning and Design Specifications for Resettlement in Hydropower Engineering Construction,” providing valuable experience for similar national projects.

Transportation to the Station

The dam site is approximately 130 km from Lijiang City (丽江市), 636 km from Kunming City (昆明市), and 299 km from Panzhihua City (攀枝花市). The eastern railway line has been connected to Geli Ping and links to Chengkun Railway via the Panzhihua-Geli Ping branch line. The southern railway line has reached Dali (大理), and construction on the Dali to Lijiang railway has commenced, projected to be completed by 2008.

The left bank of the hydropower station is in Ninglang County (宁蒗县), and the right bank is in Yulong County (玉龙县). The transportation status from Ninglang County to the dam site includes a 32 km fourth-grade road to Hongqiao Township (红桥乡) and a 22 km non-standard road to Cuiyu Township (翠玉乡), followed by a 19.2 km simple road leading to Kuzhi Village (库枝村).

Background

The dam section is a transverse valley with a water surface 60 to 150 m wide and low water level of 1048 m. The landforms on both banks are basically symmetrical. There is a measurement of about 50 m wide tableland and about 30 degrees above water surface in the left bank, and the slope in the right bank is about 27 degree and the slope above the elevation of 1500 m is about 48 degree. There is poor sand and soil materials and abundant limestone material satisfied with requirement of quality and reserves within 20 km in the dam area, which is qualified for setting up low dam according to existing geological data. In the light of topographic and geological conditions, the Ahai Dam section can be considered as local material dam type with low height of swell, suitable for connection of backwater with Liyuan cascade. The dam has normal water level of 1514 m, total reservoir capacity of 1.08 billion cubic meters and installed capacity of 2,000,000-2,200,000 kW. Now, a low-cost road to Niukexu has been opened to traffic, and there is only an about 5 km long path to the dam section.

Environmental impact

This project marked the first time representatives from Chinese environmental groups were invited to participate in the environmental impact assessment for a major hydropower project in China, according to the First Financial Daily. Representatives of the Institute for Public & Environmental Affairs and the Green Earth Volunteers took part in the meeting to conduct technical evaluation on environmental impact assessment for the dam on the Jinsha River on December 29–30, 2008 in Beijing.

Overview

Dengjue Temple and its Twins Pagodas巍山县等觉寺和双塔, also known as Baoguosi Twin Pagodas (报国寺双塔), are located at the northeastern corner of Weishan County, Dali (大理巍山县城东北隅报国街). In 1988, these sites were designated as one of the first key cultural relic protection units at the state level in Dali Prefecture (大理州). The Twins Pagodas are nine-tiered, solid brick structures standing approximately 10 meters tall, with the eastern tower preserving only two tiers, reaching a height of about 5 meters. Constructed during the Ming Dynasty (around 1465), the pagodas were built by a local governor from the Zuo family, serving as a prominent feature of Dengjue Temple.

History of Dengjue Temple

Dengjue Temple (等觉寺), situated on the east side of Baoguojie in Nanzhao Town, Weishan County (巍山县南诏镇报国街东侧), was established during the Nanzhao Kingdom (南诏). It is the oldest Buddhist temple in Weishan and served as the residence for the Buddhist management institution during the Ming and Qing Dynasties. The temple underwent significant expansion during the Yongle period of the Ming Dynasty. The main hall, the Sun Palace (太阳宫), boasts impressive dimensions with a single eave and hip roof, measuring five bays wide (approximately 18.2 meters) and four bays deep (approximately 16.1 meters). The hall is surrounded by a corridor adorned with intricate bracket sets (斗拱) and decorative flower boards (花板). This architectural style reflects a solemn and ancient aesthetic, embodying elements of Song Dynasty (宋代) architecture.

During the Xianfeng period of the Qing Dynasty, the temple suffered extensive damage due to military conflicts, leaving only a few structures, including the Sun Palace. In 1939, the temple was repurposed as a health center, officially renamed the People’s Hospital of Weishan Yi and Hui Autonomous County (巍山彝族回族自治县人民医院) in 1958. In 1963, the Sun Palace was converted into a ward and was later used as a medicine warehouse for many years.

The Construction of the Twins Pagodas

In the first year of the Chenghua period (明成化元年) in 1465, local governor Zuo Lin (左琳) and his mother, Zhang Gongren (张恭人), constructed the Twins Pagodas in front of Dengjue Temple as Buddhist towers. Each tower rises over five zhang (approximately 16.7 meters) and has a circumference of four zhang and eight chi (approximately 15.8 meters). These nine-tiered, square pagodas feature niches housing stone Buddhas, with bricks inscribed with Sanskrit characters. The pagoda tops are adorned with copper finials, each standing seven chi tall, crowned with a golden lotus. Additionally, each tower is equipped with 24 wind chimes representing the 24 solar terms and a copper gourd atop the lotus cover.

Each pagoda features a marble inscription detailing the construction by Zuo Lin. Unfortunately, during the Cultural Revolution, the pagodas suffered significant destruction, with their upper sections demolished. One tower was converted into a water reservoir for practical use.

Architectural Features

Dengjue Temple (等觉寺), also known as Baoguosi (报国寺), is located at the northeastern corner of the ancient city of Weishan (巍山古城东北隅). It is the oldest existing Buddhist temple in the Weishan region and served as the residence for the Buddhist management office during the Ming and Qing Dynasties.

In the 16th year of the Yongle period (公元1418年), the monk Wuyong (无用) arrived from Yanshui, Jiangsu (江苏溧阳县), collaborating with local officials and benefactors to construct five courtyards with four rooms. By the second year of the Zhengtong period (公元1437年), the temple began to carve statues. The Twins Pagodas were built on both sides of the main gate in the first year of the Chenghua period (公元1465年), with benefactors contributing to the construction of additional halls. From 1599 to 1605, the Buddhist management office undertook repairs, adding new structures, including the rear halls and changing rooms, which featured sculptures of arhats (罗汉). This expansion marked the temple’s peak size; however, much was destroyed during military conflicts in the Xianfeng period, leaving only the Sun Palace and a few other structures. During the Guangxu period, a Lu Wei Shrine (禄位祠) was constructed to honor Lin Zexu (林则徐) on the left side of the Sun Palace, while the right side was transformed into a Zhao Zhong Shrine (昭忠祠) to commemorate those who died in battle.

Layout and Features

Dengjue Temple faces south, with the Twins Pagodas in front and the Sun Palace behind. The eastern courtyard features the Lu Wei Shrine, while the western courtyard houses the Zhao Zhong Shrine, and a garden is located to the southwest. The Twins Pagodas, originally built in the first year of the Chenghua period (公元1465年), are nine-tiered, square solid brick structures. During the Cultural Revolution, they suffered significant damage, with the eastern tower reduced to two tiers and the western tower reduced to six tiers. The Sun Palace, constructed in the 16th year of the Yongle period (公元1418年), features a single eave, hip roof, and impressive dimensions, adorned with heavy brackets and vertical columns. The building materials are coarse and ancient, contributing to its historical charm. In May 1998, it was announced as a cultural relic protection unit by the Dali Bai Autonomous Prefecture People’s Government.

Address: No. 1 Baoguojie, Weishan County, Dali, Yunnan Province (云南省大理市巍山县城东北隅报国街).

New Look of the Twins Pagodas

In 1988, Dengjue Temple and the Twins Pagodas were designated as cultural relic protection units by the Dali Prefecture People’s Government.

To alleviate population and industrial pressure in the core area of the ancient city, restore ancient relics, and showcase the millennia-old culture of Nanzhao, the Weishan County government invested 63.63 million yuan in 2015 for the relocation of the county hospital and the establishment of the Nanzhao Museum (南诏博物馆). The museum integrates cultural heritage display, collection, academic exchange, and historical cultural research, greatly enriching the cultural life of local residents and promoting the development of related tourism industries. It has become a vital venue for Weishan’s external publicity, cultural exchange, tourism reception, and a key base for youth patriotism education and social science popularization.

How to Get There

To reach Dengjue Temple and the Twins Pagodas, you can take public transportation or drive to Weishan County. The nearest major city is Dali (大理), from which you can hire a taxi or take a local bus. The drive from Dali to Weishan takes about one hour, covering approximately 60 kilometers. Public buses run frequently between the two locations.

Travel Tips

• Best Time to Visit: Spring (March to May) and autumn (September to November) are ideal for pleasant weather and vibrant scenery.
• Respect Local Culture: Be mindful of the religious significance of the temple and pagodas; dress modestly and behave respectfully while visiting.
• Photography: Capture the stunning architecture and landscapes, but avoid intrusive photography during religious ceremonies.
• Local Cuisine: Explore local dishes at nearby restaurants to experience the unique flavors of Weishan County, such as “Weishan Roast Duck” and “Mushroom Hot Pot.”
• Guided Tours: Consider joining guided tours for a more enriching experience, as local guides can share detailed insights about the temple’s history and architecture.

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