Overview

Near the summit of Goddess Mountain (女神山), there lies a limestone cave known as the Goddess Cave (女神洞), which the Mosuo (摩梭) people refer to as Gemuniko Cave (格姆尼可洞). “Gemuniko” translates to “the place where the goddess resides.” This cave is a popular pilgrimage site, adorned with colorful prayer flags at its entrance. Inside, the cave is vast and maze-like, filled with numerous passages and stunning stalactites, creating an enchanting atmosphere. Situated at an altitude of 3,450 meters, the Goddess Cave is a revered sacred site for the Mosuo people. Each year, on the 25th day of the seventh lunar month during the Mosuo Turning Mountain Festival (摩梭转山节), the Mosuo people climb Goddess Mountain and enter the cave to pay homage to the statue of the Goddess Gemun (格姆女神).

Location

Goddess Cave, also known as “Goddess Palace” (女神宫), is located at the “neck” of Lion Mountain (狮子山) at an altitude of 3,450 meters (the main peak reaches 3,770 meters). The entrance faces Lugu Lake (泸沽湖), and visitors can enjoy a panoramic view of the lake from the viewing platform in front of the cave, making it an ideal spot for photos. The viewing platform is surrounded by wind chimes, allowing tourists to make wishes and seek blessings from the Goddess Gemun. According to local Mosuo beliefs, praying to the goddess for children or safety is particularly effective.

Cave Description

Stepping into the cave reveals a different world. The cave is interlinked with other chambers, creating a sense of mystery. Natural stalactites form fantastical shapes resembling structures from different realms: the underworld, the human world, and heaven. Visitors can find representations of the goddess granting water, a goddess statue, and mythological figures such as Tang Seng (唐僧) and the Monkey King (齐天大圣). Other formations include a python emerging from a cave, sea conch stones, towering pillars, and even symbolic representations of fertility. The statue of the goddess inside the cave is remarkably detailed, featuring a head, face, eyes, nose, and mouth, leaving visitors in awe.

The Goddess’s Blessing Pool

According to legend, a young couple who were unable to conceive sought blessings from the Goddess Gemun. After drinking the sacred water from the goddess, they miraculously became pregnant that very year. Drinking from the Goddess’s pool is believed to dispel disasters, cure illnesses, and extend one’s lifespan, ensuring a peaceful life.

Key Attractions

• Goddess Cave (女神洞)
• Goddess Mountain (女神山)
• Lugu Lake (泸沽湖)
• Lion Mountain (狮子山)
• Blessing Pool (女神赐水池)

Summary

Visitors to the Goddess Cave often leave in awe, carrying memories of Lugu Lake’s beauty and the intriguing matriarchal society of the Mosuo people. Standing at the stunning 3,680-meter tall Goddess Mountain, the cave remains a choice spot for photographers. While many locals know about the cave, few have ventured inside, making it a unique experience for travelers.

How to Get There

1. From Lijiang Airport (丽江机场): Take a taxi or bus to Ninglang Yi Autonomous County (宁蒗彝族自治县), and then hire a local guide or taxi to reach Goddess Mountain.
2. By Bus: Regular buses run from Lijiang to Ninglang, from which you can take a taxi to the mountain.

Travel Tips

1. Altitude Awareness: Be prepared for high altitude; consider acclimatizing before the hike.
2. Weather Preparedness: Check weather conditions before your visit, as temperatures can vary significantly.
3. Respect Local Customs: Be mindful of the cultural significance of the site and the local traditions.
4. Hydration: Carry water, especially during hikes, as it can be dry at high altitudes.
5. Photography: Capture the beauty of the cave and the surrounding landscape, but be respectful of sacred spaces.

Overview

Xiaoyuba Village (小渔坝村) is a small and peaceful village located near Lugu Lake (泸沽湖) in Lijiang (丽江). Positioned just over 2 kilometers from Daluoshui Village (大洛水村), Xiaoyuba is a relatively new development, with trees freshly planted and several guesthouses still under construction. Most of the guesthouses are built against the mountains, providing a picturesque backdrop, and are only about 80 meters away from the lake.

Scenic Features

The village offers a tranquil and colorful setting, ideal for photography enthusiasts. Right across from the hotel and Anxia Mountain (安下山), a variety of plants have been planted, displaying vibrant colors under the sunlight. The scene looks like a painter’s palette splashed with bright hues, creating a visually stunning environment perfect for memorable photographs.

Activities

• Photography: The multicolored scenery, especially around the lake, provides the perfect backdrop for beautiful and vibrant photos.
• Camping: If you’re driving here, you can bring camping chairs and tables to set up by the lakeside. The area is relatively wind-free, making it an ideal spot for a relaxing picnic or a quiet afternoon by the water.
• Seagull Watching: Sit by the lake, sip tea, and feed the seagulls. The serene atmosphere and proximity to nature make it a great place to unwind.

Local Charm

Xiaoyuba Village has maintained a calm and unspoiled environment, away from the more tourist-heavy areas. The guesthouses being built blend harmoniously with the natural surroundings, offering visitors a comfortable and serene retreat. The proximity to the lake makes it easy to explore the water’s edge and appreciate the beauty of Lugu Lake.

How to Get There

If you’re traveling by car, Xiaoyuba Village is just over 2 kilometers from Daluoshui Village. It is easily accessible by local roads, and the short distance makes it convenient for day trips or longer stays.

• By Car: If you have your own vehicle or are renting one, simply follow the road signs towards Lugu Lake, and Xiaoyuba will be just a short drive from Daluoshui Village.

Travel Tips

• Best Time for Photos: Early morning or late afternoon provides the best lighting for photography, especially with the sunlight illuminating the colorful plants.
• What to Bring: If you’re planning to spend the day here, consider bringing a camping set for a more comfortable experience by the lake.
• Relax and Unwind: Take your time enjoying the natural beauty, feeding seagulls, or simply soaking in the peaceful atmosphere by the lake. It’s the perfect place to slow down and relax.

Xiaoyuba Village offers a refreshing and calm alternative to the more crowded areas around Lugu Lake, making it an excellent stop for nature lovers and those looking to escape the bustle.

Overview

The Tianyu Liufang Archway (天雨流芳牌坊) is located in front of the Mu Family Mansion (木府) and features the inscription “天雨流芳.” Initially, its meaning may seem unclear, yet the phrase evokes a sense of poetic beauty. After visiting the Mu Family Mansion and hearing the explanation, the phrase’s true essence becomes even more fascinating. In Naxi (纳西) language, it phonetically translates to “Go read,” emphasizing the importance of knowledge and education, akin to the heavenly dew that brings nourishment. “天雨流芳” expresses a profound connection between acquiring knowledge through reading and receiving blessings from above.

Significance

The phrase “天雨流芳,” written elegantly on the archway beside the Mu Family Mansion in Guangyi Street (光义街), serves as a landmark in the area. Its Naxi meaning, “读书去吧,” reflects the Naxi people’s respect for knowledge, illustrating their early understanding of the importance of education.

Description

The Tianyu Liufang Archway stands along the essential path leading to the Mu Family Mansion. The inscription prominently features “天雨流芳,” which, as informed by local guides, is a homophone in Naxi for “Go read.” This demonstrates the Naxi people’s reverence for learning, making visitors appreciate their insight into the value of education.

The archway, characterized by its rustic charm, is surrounded by stunning scenery, especially in autumn. Ancient trees frame the area, complemented by the soothing sounds of “滴答,” a popular local tune, creating an idyllic atmosphere. This location is worth visiting frequently—once during the day and again at night, when special lighting illuminates the archway, casting a dreamlike quality that makes for beautiful photographs. The area is lively at night, filled with various local snacks, so there’s no need to worry about finding food after exploring.

Location

The Tianyu Liufang Archway is located near No. 33 Guanyuan Alley (官院巷), Old Town, Lijiang City (丽江古城), Yunnan Province (云南省). It is a well-known landmark within Lijiang Old Town and an iconic structure in front of the Mu Family Mansion.

Historical and Cultural Importance

The archway is a wooden structure built during the Ming Dynasty (明朝) and sits on the ancient stone streets in front of the Mu Family Mansion. It is one of the vital cultural heritages of Lijiang Old Town and a must-visit for tourists. The Tianyu Liufang Archway captivates visitors with its unique architectural style and historical significance. It stands not merely as a structure but as a witness to the passage of time and the evolution of Naxi culture.

In addition to the archway, Lijiang Old Town is home to numerous other attractions worth exploring. The winding streets are filled with a rich Naxi cultural atmosphere, allowing visitors to stroll through the alleys, admire the distinctive architectural styles, and appreciate the beautiful scenery.

Summary

In summary, the Tianyu Liufang Archway is a site rich in history and culture. It is not only one of the iconic structures of Lijiang Old Town but also a must-visit location for experiencing Naxi culture and the charm of the ancient town.

Opening Hours

Open all year round, with specific operating conditions depending on the day’s status.

How to Get There

1. From Lijiang Airport (丽江机场): Take a taxi or shuttle bus to Lijiang Old Town. The archway is located within walking distance of the main entrance.
2. By Train or Bus: Arrive at Lijiang Railway Station or the local bus terminal, and then take a taxi or walk to the Old Town.

Travel Tips

1. Timing: Visit during the day to enjoy the scenery and return at night for the beautiful lighting.
2. Stay Hydrated: Carry water, especially if you plan to walk extensively.
3. Respect Local Customs: Be mindful of the cultural significance of the archway and the surrounding areas.
4. Try Local Snacks: Explore the food stalls nearby for authentic local delicacies.
5. Photography: Capture the beauty of the archway at different times of day for varied lighting and atmosphere.

Overview

Axia Quiet Valley (阿夏幽谷) is a romantic meeting place for the Mosuo (摩梭) people, located at the southwestern corner of Lugu Lake (泸沽湖) in Daluocheng Village (大落水村). The valley is also known as the Lugu Lake Grand Canyon and is referred to by the Mosuo as “A Wang Mo Long” (阿王摩龙), meaning “a place where spirits reside.”

Key Features

• Length: Approximately 1.5 kilometers
• Width: Up to 100 meters at its widest point

Scenic Introduction

Axia Quiet Valley is a unique paradise within the Lugu Lake Scenic Area (泸沽湖风景区). It is highly recommended by the Lijiang Travel Network (丽江旅游网) as a must-visit destination. The valley, stretching about 1.5 kilometers and varying in width, is adorned with towering ancient chestnut trees intertwined with dense evergreen vines. Beneath these trees lies a serene and cool world, where streams trickle through rocky crevices, and a thick layer of moss blankets the decaying wood and stones, resembling a green carpet that feels soft and comfortable underfoot.

The valley holds immense value across various domains—historical, religious, ecological, aesthetic, and cultural. It serves as an excellent spot for sightseeing, relaxation, blessings, healing, and adventure activities.

Natural Beauty

Close to Lugu Lake, most visitors to the area stop by Axia Quiet Valley. The valley features stunning mountain streams, chirping birds, and the rustling of rabbits, as well as rare delicacies such as matsutake mushrooms (松茸) and other natural treasures. Historically, it was a sacred site for the Mosuo to perform rituals and prayers, making it a popular rendezvous for young couples.

The name “Axia” derives from the Mosuo language, where “A” means lover, and “Axia” translates to eternal lover, typically used by men to refer to their partners, while women call their male partners “A Zhu” (阿注). In Axia Quiet Valley, visitors feel a profound connection to nature, which often contrasts with the urban lifestyle that can make one forget the beauty of the natural world.

The valley is dotted with numerous waterfalls, each with its own name, reflecting the imagination of the Mosuo people. Those who live close to nature receive many gifts from it, contrasting with the prideful city dwellers who may labor harder for meager rewards.

Major Landscapes

The fertile mountain pastures of Axia Quiet Valley come alive in spring and summer, blanketed in fragrant wildflowers and lush grass. The area teems with life, including the chirping of birds and the playful leaps of squirrels. Key attractions include:

• Lugu Lake Water Source (泸沽湖水源)
• Heaven Waterfall (天堂水瀑布)
• Axia Waterfall (阿夏瀑布)
• Daughter River (女儿河)
• Old Monk’s Meditative Wall (老僧面壁)
• Bodhisattva Cave (菩萨洞)
• Red Yew Trees (红豆杉), a nationally protected plant
• Wild Peach Blossoms (野桃花) that bloom in March

How to Get There

1. From Lijiang City (丽江市): Take a bus or arrange a private vehicle to reach Lugu Lake, then follow local signs or ask locals for directions to Daluocheng Village.
2. Local Transport: Once in Daluocheng, hire a local taxi or take a short hike to reach Axia Quiet Valley.

Travel Tips

1. Dress Appropriately: Wear comfortable shoes suitable for walking on uneven terrain and potential wet surfaces near waterfalls.
2. Stay Hydrated: Bring water, especially when hiking.
3. Respect Local Customs: Be mindful of the Mosuo culture and their practices, particularly in sacred areas.
4. Photography: Capture the beautiful landscapes, but always ask permission before photographing individuals.
5. Pack Snacks: There may be limited food options; having snacks can be helpful during your visit.
6. Explore Nature: Take time to truly appreciate the natural beauty and serenity of the valley.

Overview

忠义牌坊 (Zhongyi Archway), also known as 石牌坊 (Stone Archway), is a magnificent and intricately carved stone structure located in Lijiang (丽江), Yunnan Province (云南). It is widely renowned, with the saying, “Dali’s Three Pagodas, Lijiang’s Stone Archway.” This archway was constructed with the approval of Emperor Wanli (万历皇帝) during the Ming Dynasty (明朝), using white marble sourced from the banks of the Jinsha River (金沙江) at the Lower Hujump (下虎跳).

Located at the southwestern corner of the ancient city, 木府 (Mufu) is another significant landmark. During the Ming Dynasty, its architecture was magnificent. The famous traveler Xu Xiake (徐霞客) once praised Mufu, stating: “The beauty of the government office rivals that of a king.” Unfortunately, most of the buildings were destroyed in the military conflicts at the end of the Qing Dynasty (清朝), and the surviving archway was also damaged during the Cultural Revolution (文化大革命) from 1966 to 1976. After a major earthquake in 1996, the World Bank recognized the value of Mufu and provided a substantial loan to aid in its reconstruction. Skilled artisans in Lijiang meticulously designed and constructed the site, and after three years, Mufu was reborn like a phoenix from the ashes.

Basic Information

• Chinese Name: 忠义牌坊 (Zhongyi Archway)
• Other Name: 石牌坊 (Stone Archway)
• Location: 云南丽江 (Lijiang, Yunnan)
• Type: 大理三塔寺，丽江石牌坊 (Dali’s Three Pagodas, Lijiang’s Stone Archway)
• Builder: Approved by Emperor Wanli (万历皇帝)
• Dynasty: Ming Dynasty (明朝)

Introduction

The Zhongyi Archway was constructed with the approval of Emperor Wanli of the Ming Dynasty, using white marble sourced from the Jinsha River at the Lower Hujump. The plaque is inscribed with the two characters “忠义” (Loyalty and Justice), granted by Emperor Shenzong (明神宗), along with a couplet from the local chief of the Mu family that reads: “凤诏每来红日近, 鹤书不到白云闲” (When the phoenix’s decree comes, the red sun is near; when the crane’s letter arrives, the white clouds are relaxed). This inscription beautifully illustrates the close relationship between a family living on the border and the royal family.

While visiting Mufu, look out for several inscriptions:

• “诚心报国” (Serve the Country with Sincerity, 1383)
• “辑宁边境” (Maintain Peace at the Borders, 1543)
• “乔木世家” (A Family of Tall Trees, 1560)
• “西北藩蓠” (Western Nobility, 1574)
• “益笃忠贞” (Increased Loyalty and Integrity, 1622)

These inscriptions were handwritten by various emperors of the Ming Empire. This honor has never been bestowed upon any other local chieftain family in such a remote area.

How to Get There

Upon arriving at Lijiang Airport (丽江机场), you can take the airport shuttle bus to Lijiang Passenger Station (丽江客运站). From there, board bus route 11 (11路环线), and after three stops, you will arrive at Zhongyi Market Station (忠义市场站), which is near the Zhongyi Archway.

Travel Tips

• Best Time to Visit: Early morning or late afternoon for cooler temperatures and fewer crowds.
• Cultural Etiquette: Respect the local customs and traditions, especially in historical and cultural sites.
• What to Bring: A camera for capturing the architecture and inscriptions, comfortable shoes for walking, and water for hydration.

The Zhongyi Archway offers a rich glimpse into the history and culture of Lijiang and is a must-visit for anyone exploring this beautiful region of Yunnan Province.

Overview

雄古观景台 (Xionggu Observation Deck) is located on the way from Lijiang (丽江) to Shangri-La (香格里拉). It features a stone gate that resembles a cliffside barrier. Passing through this gate leads to a small path that directly connects to the observation deck. This spot is known as a vantage point where three scenic views converge: to the left is Haba Snow Mountain (哈巴雪山), to the right is Jade Dragon Snow Mountain (玉龙雪山), and the winding river visible in between is the Jinsha River (金沙江), also referred to as the bend of the Yangtze River (长江一湾) due to its significant curve here.

Scenic Features

From the observation deck, visitors can enjoy breathtaking views of the diverse terrain, including lush forests, rolling hills, and the iconic snow-capped peaks of both Haba and Jade Dragon Snow Mountains. The site is especially known for its stunning sunrises and sunsets, which illuminate the sky with vibrant colors, creating a picturesque landscape.

Activities

• Photography: Capture the stunning landscapes and the ever-changing colors of the sky.
• Hiking: Explore several hiking trails in the area that allow visitors to appreciate the natural beauty of the surroundings.
• Relaxation: Enjoy a tranquil moment in nature, surrounded by the serene environment.

Accessibility

The Xionggu Observation Deck is easily accessible from the city center of Lijiang. Visitors can reach the site by:

• Driving: Personal vehicles or rental cars can navigate to the observation deck with relative ease.
• Public Transport: Local buses or taxis are available for those who prefer not to drive.

Travel Tips

• Best Time to Visit: Early morning or late afternoon is recommended for optimal lighting conditions for photography.
• Weather Considerations: Be sure to check the weather forecast before visiting, as conditions in mountainous areas can change rapidly.
• What to Bring: A camera for photography, comfortable hiking shoes for exploring, and water for hydration.

Overview

Zhudi Village (竹地村) is located in Yongning Township (永宁镇) of Ninglang Yi Autonomous County (宁蒗彝族自治县) in Lijiang City (丽江市), Yunnan Province (云南省). The village lies in a semi-mountainous area, situated 10 kilometers east of Yongning Township, and experiences an annual precipitation of 1,100 millimeters, making it suitable for the cultivation of crops such as corn and potatoes. The village encompasses 571 acres of cultivated land, with an average of 2.8 acres per person, and features 5,475 acres of forested area.

Zhudi Village is home to 73 farming households, with a total population of 394 residents, of which 392 are engaged in agriculture. The village has a labor force of 196, with 124 individuals involved in the primary industry. In 2008, the village’s total economic income reached 1.05 million yuan, with an average net income per farmer of 1,750 yuan. The main sources of income for the villagers come from agriculture, livestock breeding, and migrant labor.

Demographics

The village consists of 73 households with a rural population of 394, including 182 males and 212 females. Among them, 392 individuals are engaged in agriculture, while the labor force comprises 196 people. The village is primarily inhabited by the Han (汉族), Mosuo (摩梭), and Yi (彝族) ethnic groups, with 168 Mosuo people, 142 Yi people, and 83 Han people residing there.

Cultural Significance

Zhudi Village is a remote village by the shores of Lugu Lake (泸沽湖), known as the “Kingdom of Daughters” (女儿国). It remains largely undeveloped, with few visitors, preserving its pristine natural resources. Upon entering the village, one is greeted by a strong sense of rural authenticity. The narrow paths throughout the village are mostly unpaved, with independent courtyards neatly lined on both sides. Most houses are constructed of wood, reflecting a simple yet unique ethnic style.

In today’s world, where monogamy is the norm, the Mosuo people at Lugu Lake still practice the tradition of “walking marriages” (走婚), characterized by voluntary unions and freedom to separate. This secluded village gained global attention due to the autobiography “Walking Out of the Kingdom of Daughters” (《走出女儿国》) by Yang Erche Namu (杨二车娜姆), published in 1997. The book introduced readers to the beautiful Lugu Lake, the mysterious Kingdom of Daughters, and the Mosuo people’s unique customs. The distinctive Mosuo culture has attracted both domestic and international tourists, leading more people to explore this enchanting land.

Climate and Best Travel Time

Zhudi Village has a subtropical monsoon climate (亚热带季风气候). As a remote village by Lugu Lake, it offers an authentic rural experience, making it a suitable destination for travel throughout the year.

Recommended Duration and Activities

A visit to Zhudi Village is recommended for 2-3 hours, allowing time to explore its natural beauty and unique culture.

How to Get There

1. From Lijiang City (丽江市): Take a bus or arrange a private vehicle to reach Ninglang County (宁蒗县), then transfer to local transport heading to Yongning Township.
2. From Yongning Township: After arriving in Yongning, you can hire a local taxi or take a minibus to Zhudi Village, which is approximately 10 kilometers away.

Travel Tips

1. Respect Local Customs: Be respectful of the Mosuo culture and their traditional practices.
2. Prepare for Hiking: Wear comfortable shoes for walking along narrow and uneven paths.
3. Stay Hydrated: Carry water, especially when exploring the village and its surroundings.
4. Enjoy Local Cuisine: Try traditional Mosuo dishes if available, to immerse yourself in the local culture.
5. Take Photos: Capture the scenic views and unique architecture, but always ask for permission when photographing people.
6. Plan for Connectivity: Mobile reception may be limited; download maps or information in advance.

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.

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