Basic Information

• Chinese Name: 丽江宝山石头城木家客栈
• English Name: Mu’s Family Guesthouse in Baoshan Stone City, Lijiang
• Address: Baoshan Stone City (宝山石头城), Baoshan Township (宝山乡), Yulong Naxi Autonomous County (玉龙纳西族自治县), Lijiang City (丽江市), Yunnan Province
• Contact Number: 13578372040 / 13170771897
• Room Rate: 50 RMB per room (with two beds)

Location and Transportation

Guesthouse Features

Superior Location

Naxi Cultural Experience

Unique Architecture

Accommodation and Services

Room Facilities

Dining Services

Other Services

Recommended Activities

Visiting the Stone City

Experiencing Naxi Culture

Hiking

Travel Tips

Best Time to Visit

Precautions

Note

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.

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.

¡¡¡¡¡¡
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

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 Grand Marshal Residence of the President (总统兵马大元帅府, Zǒngtǒng Bīngmǎ Dàyuánshuài Fǔ) is located on the southern section of Fuxing Road (复兴路, Fùxīng Lù) within Dali City (大理市, Dàlǐ Shì), covering an area of 21,510 square meters. Originally built during the reign of the Kangxi Emperor (康熙, Kāngxī) in the Qing Dynasty (清朝, Qīngcháo), this site served as the Governor’s Office (提督府, Tídú Fǔ).

In 1856, during the sixth year of the Xianfeng Emperor’s reign (咸丰, Xiánfēng), the anti-Qing uprising led by Du Wenxiu (杜文秀, Dù Wénxiù) and predominantly consisting of Hui people (回族, Huízú) captured Dali. On September 17, they established a government, and on September 25, they erected an altar at Nanxiaochang (南校场, Nánxiàochǎng), where Du was elected as the Grand Marshal. The Governor’s Office was transformed into the Grand Marshal Residence, featuring two main courtyards, an entrance gate, an emperor’s platform (天子台, Tiānzǐ Tái), and a red stone terrace (丹墀, Dānchí), along with side halls and flower halls to the north and south.

Architectural Features

The residence was equipped with a council hall (议事厅, Yìshì Tīng), a military affairs office (军机处, Jūnjī Chù, also known as Baihu Hall, 白虎堂, Báihǔ Táng), living quarters, a study, a guards’ room, and storage spaces, making it a large architectural complex. Du Wenxiu also composed couplets displayed in the main hall:

“天生英雄扭转中原世界；
地出豪杰戳破胡儿乾坤。”
(“Heaven gives birth to heroes who can turn the world;
The earth produces heroes who break through the barbarian realms.”)

The residence is surrounded by high walls and battlements, constructed of bricks and stones, modeled after imperial city architecture, and is commonly referred to as the “Forbidden City” (紫禁城, Zǐjìn Chéng).

Historical Context

After the uprising’s failure in 1872 during the eleventh year of the Tongzhi Emperor’s reign (同治, Tóngzhì), most of the Grand Marshal Residence was demolished. It underwent further reconstruction in the tenth year of the Guangxu Emperor’s reign (光绪, Guāngxǔ) but remained a Governor’s Office for Yunnan. During the Republic of China (民国, Mínguó) era, it served as the headquarters for various military regions, including the Tengchong-Dali (腾冲大理, Téngchōng Dàlǐ), Chuxiong-Dali (楚雄大理, Chǔxióng Dàlǐ), and the Western Yunnan Military Region (滇西师管区, Diān xī Shī Guǎnqū).

In 1987, based on historical records, the council hall, Baihu Hall, the Forbidden City Gate (紫禁门, Zǐjìn Mén), the main entrance, study, and southern city wall of the Forbidden City were gradually restored. The architectural layout is meticulous and structured.

Dali Museum

In 1987, the Dali Museum (大理市博物馆, Dàlǐ Shì Bówùguǎn) was established within the residence, covering 1,404 square meters and housing over 2,800 artifacts, including local stone tools, pottery, bronze ware, porcelain, jade, and various stone, jade, and wood carvings as well as calligraphy. In 1990, some of the museum’s exhibits received high praise from the international cultural heritage community during exhibitions in Switzerland and Japan.

Visitor Information

• Chinese Name: 总统兵马大元帅府 (Zǒngtǒng Bīngmǎ Dàyuánshuài Fǔ)
• Address: 126 Fuxing Road, Dali City (大理市复兴路126号, Dàlǐ Shì Fùxīng Lù)
• Area: 21,510 m²

Practical Information

• Estimated Visit Duration: Less than 1 hour
• Opening Hours: 08:00 – 18:00 (January 1 – December 31, Monday – Sunday)
• Ticket Price: Please consult the site for specific details.

Transportation

• Public Transport: Take the San Ta dedicated line to Yita Kou Station (一塔口站, Yī Tǎ Kǒu) and walk to the site.

How to Get There

To visit the Grand Marshal Residence of the President:

• By Car: Navigate through Dali city toward Fuxing Road.
• By Bus: Public buses are available to Yita Kou Station, followed by a short walk.

Travel Tips

• Best Time to Visit: Spring and autumn for mild weather.
• What to Bring: Comfortable shoes for walking and a camera for capturing the historical architecture.
• Cultural Etiquette: Be respectful when exploring, as the site holds significant historical importance.

The Grand Marshal Residence offers visitors a deep dive into Dali’s rich history and cultural heritage, making it a must-see destination for anyone exploring the region.

Introduction

The General Zhu Baozhong Memorial Museum (周保中将军纪念馆) is located in Wanqiao Village (湾桥村), Wanqiao Town (湾桥镇), Dali City (大理市), Yunnan Province (云南省). Originally the residence of General Zhu Baozhong (周保中), a key military leader in modern Chinese history, this museum honors his life, contributions, and the historical context of his actions. The original house was tragically destroyed by fire in 1954. A reconstruction was completed in 1994, covering 16.9 acres and featuring various elements to enhance visitor experience.

Facilities

The museum complex consists of:

• Exhibition Halls: Featuring displays that tell the story of General Zhu’s life and military achievements.
• Statues: Commemorative sculptures that honor his legacy.
• Simulated Residence: A replica of his home, providing insight into his personal life.
• Main Entrance: A grand entryway welcoming visitors.

The museum also includes well-maintained gardens and pathways, enhancing the visitor experience with a peaceful and reflective environment.

Life of General Zhu Baozhong

Zhu Baozhong (周保中) was born in 1902 in Wanqiao Town, Dali City. He joined the army at 15 and became involved in significant military movements, including:

• National Protection Movement: Participated actively, gaining recognition for his skills.
• Northern Expedition: Achieved notable victories and was promoted to deputy division commander.
• Chinese Communist Party: Joined in 1927 during the tumultuous period of the Great Revolution.

Leadership in the Anti-Japanese War

In 1931, he was appointed as the commander and political commissar of the Second Route Army of the Anti-Japanese Allied Army (抗日联军), where he fought against the Japanese Kwantung Army and the puppet government forces for 14 years. His strategic leadership helped to unify various ethnic groups in the region during the conflict.

After Japan’s defeat in 1945, he continued to play a vital role in the liberation of Northeast China, contributing significantly to the anti-Japanese resistance and subsequent revolutionary struggles.

Contributions Post-1949

After the establishment of the People’s Republic of China in 1949, Zhu was given critical responsibilities, including:

• Deputy Director of the Military Control Committee in Kunming (昆明市军事管制委员会).
• Vice Chairman of the Yunnan Provincial Government (云南省人民政府).
• Chairman of the Political and Legal Committee of the Southwest Military and Political Committee.

He was honored with various medals for his dedication and service, including the First-Class August 1st Medal (一级八一勋章) and others.

Memorial Museum Features

The museum hosts a rich collection of materials, including:

• Photographs: 120 images showcasing key moments in Zhu’s life.
• Artifacts: Over 90 physical items, including military uniforms, awards, and personal belongings.
• National-Level Cultural Relics: Eight items recognized for their historical significance.

In 1998, the Dali Prefecture Museum (大理州博物馆) undertook renovations to enhance the exhibitions, ensuring a well-curated experience for visitors.

In 2012, the museum was renamed to honor the 110th anniversary of General Zhu’s birth, solidifying its place in the narrative of Chinese revolutionary history.

Recognition

The General Zhu Baozhong Memorial Museum has received several honors:

• Designated a cultural heritage site by the Yunnan Provincial Government in June 1987.
• Recognized as a patriotic education base by the Yunnan Provincial Party Office in 1996 and 2009.
• Named a national model base for patriotic education by the Central Propaganda Department in September 2019.
• Designated as a red educational site for retired cadres in Yunnan in December 2022.

How to Get There

Transportation Options

1. By Bus: Regular bus services run from Dali City to Wanqiao Town. Check local schedules for the most convenient times.
2. By Taxi: Taxis are available throughout Dali City, and the ride to the museum takes approximately 30-40 minutes.
3. By Self-Driving: If you prefer driving, rent a car in Dali and follow the signs to Wanqiao Town. The scenic route offers beautiful views of the countryside.

Travel Tips

1. Opening Hours: Confirm the museum’s hours ahead of your visit. They may vary seasonally.
2. Guided Tours: Consider booking a guided tour for a more in-depth understanding of General Zhu’s life and historical significance.
3. Local Cuisine: After your visit, explore nearby eateries to sample local Yunnan cuisine, known for its rich flavors and fresh ingredients.
4. Cultural Etiquette: Maintain a respectful demeanor throughout your visit, especially in memorial areas.
5. Photography Guidelines: While photography is generally allowed, be aware of specific areas where it might be restricted. Always ask if unsure.
6. Souvenirs: Look for books or items related to General Zhu Baozhong’s history to take home as mementos of your visit.

By exploring the General Zhu Baozhong Memorial Museum, visitors gain valuable insights into a pivotal figure in Chinese history and the broader context of revolutionary movements in the 20th century.

The Former Residence of Wang Fusheng (王复生, Wáng Fùshēng) and Wang Desan (王德三, Wáng Désān) is a provincial-level key cultural relic protection site, a patriotic education base, and a “Red Heritage” on-site teaching base. It is located in Wangjiazhuang Village (王家庄村, Wángjiāzhuāng Cūn).

Historical Background

A plaque reading “Former Residence of Martyrs Wang Fusheng and Wang Desan” hangs above the entrance. Wang Fusheng and his brother Wang Desan were born in this courtyard in the late 19th century, where they left their childhood marks. In a time of turmoil, they emerged from this residence to become notable revolutionary martyrs in the history of the Chinese Communist Movement.

Location

• Address: Wangjiazhuang Village (王家庄村, Wángjiāzhuāng Cūn), Liu Factory Town (刘厂镇, Liú Chǎng Zhèn), Xiangyun County (祥云县, Xiángyún Xiàn), Dali Bai Autonomous Prefecture (大理白族自治州, Dàlǐ Bái Zìzhìzhōu), Yunnan Province (云南省, Yúnnán Shěng).

The residence is a traditional wooden structure typical of Yunnan, featuring a main courtyard surrounded by a three-bay, double-eaved wooden building forming a Siheyuan (四合院, traditional courtyard house). The layout includes a typical “three rooms and a screen wall” (三坊一照壁, sān fáng yī zhàobì). The entire courtyard covers an area of about 640 square meters, with a construction area of approximately 1,200 square meters.

Pursuing Red Memories and Inheriting Red Spirit

Wang Fusheng was one of the 19 founders of China’s first Marxist research group, the Marxist Studies Association at Peking University (北京大学马克思学说研究会, Běijīng Dàxué Mǎkèsī Xuéshuō Yánjiūhuì), and he was the first member of the Communist Party of China (中国共产党, Zhōngguó Gòngchǎndǎng) from Yunnan. His brother, Wang Desan, was a principal founder of the Shaanxi North Party organization, the first Secretary of the Yunnan Provincial Party Committee (云南省委员会, Yúnnán Shěng Wěiyuánhuì), and a pioneer in the liberation of Yunnan.

In recognition of their contributions, the residence was designated as a county-level cultural relic protection site in 1985. In November 1993, it was announced by the Yunnan Provincial Government as a key cultural relic protection site. In August 2009, the Yunnan Provincial Party Committee and Government designated it as a patriotic education base. In June 2012, it was listed as one of four on-site teaching bases for cadre education and training in the province.

Notable Figures

Wang Fusheng (王复生, Wáng Fùshēng)

• Born in 1896 in a scholarly family in Wangjiazhuang Village.
• In 1918, he excelled academically and entered the liberal arts preparatory program at Peking University (北京大学, Běijīng Dàxué).
• A key participant in the May Fourth Movement (五四运动, Wǔsì Yùndòng) on May 4, 1919.

Wang Desan (王德三, Wáng Désān)

• Born in 1898, he joined the Marxist Studies Association in 1921 and became a member of the Communist Party in 1922.
• He served as a political instructor at the Whampoa Military Academy (黄埔军校, Huángpǔ Jūnxiào) in Guangzhou.

In 1930, under extreme duress, Wang Desan was captured and, after 51 days in prison, was executed on December 31. He was only 32 years old at the time.

Cultural Significance

The residence serves as an educational site where government agencies and enterprises organize cadres and employees to explore the revolutionary legacy of the martyrs. Visitors reflect on the revolutionary spirit and commitment to the mission inspired by the lives of Wang Fusheng and Wang Desan.

How to Get There

Transportation Options

1. By Bus: There are local buses that connect Dali City (大理市, Dàlǐ Shì) to Xiangyun County. Check local schedules for convenience.
2. By Taxi: Taxis are available in Dali, taking approximately 1 hour to reach the residence.
3. By Car: Self-driving from Dali offers scenic views. Follow road signs to Wangjiazhuang Village.

Travel Tips

1. Opening Hours: Confirm the museum’s hours before your visit as they may vary.
2. Guided Tours: Consider a guided tour for deeper insights into the history and significance of the site.
3. Photography: While photography is generally allowed, check for restrictions in specific areas.
4. Local Cuisine: Explore nearby eateries for traditional Yunnan dishes.
5. Respectful Behavior: Maintain a respectful attitude, especially in memorial areas.
6. Plan Ahead: Ensure to allocate enough time for exploration and reflection during your visit.

Location:
http://ylxf.yn.gov.cn/Html/News/2016/8/19/176653.html
http://www.ynta.gov.cn/Item/16881.aspx

Overview

The Former Residence of Chu Tunan (楚图南故居) is located at No. 11 Shangtiao Street, Wenshan City (文山市上条街11号), within the Wenshan Zhuang and Miao Autonomous Prefecture (文山壮族苗族自治州), Yunnan Province (云南省). It is a specialized museum dedicated to the life and works of Chu Tunan (楚图南), a prominent figure in Chinese social sciences. Covering an area of 480.32 square meters, the site was established to commemorate Chu Tunan’s life and contributions.

Key Information

• Name: Former Residence of Chu Tunan (楚图南故居)
• Location: No. 11 Shangtiao Street, Wenshan City (云南省文山壮族苗族自治州文山市上条街11号)
• Type: Social Science-themed museum
• Opening Hours: Morning: 9:00 AM – 1:30 PM; Afternoon: 3:00 PM – 5:30 PM (Open year-round)
• Admission: Free
• Established: January 10, 2006
• Building Area: 480.32 m²

Historical Background

The former residence of Chu Tunan was originally constructed during the Daoguang period of the Qing Dynasty (清道光年间). On April 25, 2005, the local government undertook a restoration project, transforming it into a museum. The official establishment of the site took place on January 10, 2006, with further improvements carried out in November 2009. The surrounding area was developed into Chu Tunan Cultural Street (楚图南文化街) and Chu Tunan Cultural Square (楚图南文化广场), integrating his legacy into the local urban fabric.

Layout and Exhibits

Museum Layout

The residence is a two-story traditional courtyard building (四合院), with the main structure facing south. The first floor houses an audio-visual room, as well as exhibits showcasing various production and living tools used by Chu Tunan. There is also a small vegetable garden. The second floor features a temporary exhibition hall, which primarily displays the “Life of Chu Tunan” Exhibition (楚图南生平展). This floor also contains historical artifacts, including Chu’s personal notes, daily items, and a calligraphy hall.

Main Exhibits

The Life of Chu Tunan Exhibition

The core exhibition, titled “The Life of Chu Tunan”, covers an area of 160 square meters and is divided into three main sections:

1. Life Exhibition Hall (楚图南生平展厅)
2. Artifacts Exhibition Hall (实物展厅)
3. Calligraphy Exhibition Hall (书法展厅)

The exhibition presents a collection of photos, documents, and personal artifacts, vividly portraying Chu Tunan’s illustrious life and accomplishments. Visitors can appreciate his role as a scholar, educator, and politician through the display of his writings, historical documents, and personal effects.

Architectural Features

The Chu Tunan Former Residence is a typical example of Qing Dynasty residential architecture (清代民居建筑风格). The building features a hard-gable roof (硬山顶) and post-and-beam timber construction (穿斗式土木结构). The courtyard is enclosed by a high wall with an intricately designed main gate (带暗销的大门), which separates it from the busy street outside. The residence maintains a simple yet elegant aesthetic, using materials such as earth, wood, tiles, and lime in natural tones, with minimal decorative elements.

Notable Artifacts

The museum’s collection of over 100 artifacts (截至2012年12月，故居藏品共计100件) includes items donated to the museum and is protected under a surveillance and management system.

Honors and Recognition

The Former Residence of Chu Tunan has been recognized as a Provincial Patriotic Education Base (云南省省级爱国主义教育基地), acknowledging its importance as a cultural and historical site.

Chu Tunan: A Life of Scholarship and Service

Biography of Chu Tunan

Chu Tunan (1899—1994) was born in Wenshan County (文山县), Yunnan Province. He pursued higher education at Beijing Normal University (北京师范大学) and later became a professor at institutions such as Jinan University, Yunnan University, and the Shanghai Law College. During his career, he held numerous prominent positions, including Chairman of the Foreign Cultural Association, Acting Chairman of the Democratic League, and Deputy Chairman of the Standing Committee of the National People’s Congress.

Chu was not only an influential political figure but also a distinguished writer, translator, and calligrapher. His works include essays, poetry, and translations of foreign literature, such as Walt Whitman’s “Leaves of Grass” (《草叶集选》) and Nekrasov’s long poem “Who is Happy in Russia?” (《在俄罗斯谁能快乐自由》).

Chu’s calligraphy, highly regarded for its elegance and classical style, was deeply inspired by traditional aesthetics, embodying a moral philosophy in both form and content. His famous verse, “First comes strength and grace, only then does the ink carry fragrance” (先有风骨俊，始能翰墨香), reflects his belief in the importance of character and integrity in art.

Publications and Literary Contributions

• “Essays on Battle Drums” (《刁斗集》)
• “Essays on Warfare” (《荷戈集》)
• Translations: Whitman’s “Leaves of Grass”, Wilbur’s “Greek Myths and Legends”, Nekrasov’s “Who is Happy in Russia?”

Institutional Setup and Services

The Chu Tunan Former Residence operates as a state-owned institution, funded by government allocations. It employs a small staff of five people (two male, three female) and provides guided tours to visitors. The site receives an average of 21,034 visitors annually.

Visitor Information

Location

The Former Residence of Chu Tunan is located at:

• No. 11 Shangtiao Street, Wenshan City (文山市上条街11号)
• Wenshan Zhuang and Miao Autonomous Prefecture, Yunnan Province (云南省文山壮族苗族自治州)

Opening Hours

• Morning: 9:00 AM – 1:30 PM
• Afternoon: 3:00 PM – 5:30 PM
• Open year-round

Admission

• Free entry

How to Get There

From the Wenshan Zhuang and Miao Autonomous Prefecture Government, take Hualong North Road (华龙北路), then follow Phoenix Road (凤凰路), continue on Wenxin Road (文新路), and proceed via Puyang West Road (普阳西路) and Kaifa Middle Road (开化中路) to reach the residence.

Travel Tips

• Best Time to Visit: Plan your visit during the morning to avoid crowds and have ample time to explore the exhibitions.
• Nearby Attractions: Combine your visit with nearby cultural sites like the Wenshan Cultural Square or Phoenix Park for a deeper experience of Wenshan’s history.
• Language Support: English guides may not be available, so it’s recommended to have a translation app or guidebook handy.

Overview

Chinese Name: 河口县海关旧址 (Hekou Xian Haiguan Jiu Zhi)
Location: No. 5, Renmin Road (人民路5号), Hekou Yao Autonomous County (河口瑶族自治县), Honghe Hani and Yi Autonomous Prefecture (红河哈尼族彝族自治州), Yunnan Province (云南省), China

The Site of the Former Customs in Hekou is located in the southeastern part of Hekou County (河口县) and is approximately 50 meters from the China-Vietnam Railway Bridge (中越铁路大桥). This historic site features a French-style building that was established in the 23rd year of the Guangxu era (光绪二十三年, 1897). It is one of the best-preserved examples of French architecture in the Hekou region and serves as a valuable resource for studying modern history and customs history in Hekou.

In 1998, the site was designated as a provincial-level cultural relic protection unit. In 2001, to commemorate the 90th anniversary of the Xinhai Revolution (辛亥革命) and the 93rd anniversary of the Hekou Uprising (河口起义), the site underwent renovations and was converted into the Hekou Uprising Memorial Hall (河口起义纪念馆), becoming an important venue for patriotic education in Hekou County.

Architectural Significance

The architectural style of the Former Customs site is unique, showcasing the elegance and solemnity of French architecture. Features include a flat roof, brick-concrete structure, and an “L”-shaped corridor, all contributing to its distinctive aesthetic. Upon entering the site, visitors feel as if they are transported back in time to an era rich in historical significance.

Historical and Cultural Importance

Beyond its architectural value, the Former Customs site holds significant historical and cultural importance. It has witnessed the historical changes in the Hekou area and stands as a testament to the friendly exchanges between the people of China and Vietnam (中国和越南). It is a rare and precious treasure of Hekou.

In the 13th year of the Guangxu era (光绪十三年, 1887), customs were established in Hekou to manage affairs related to Vietnam (越南). The customs office consisted of five brick and wood structures with red tile roofs, covering an area of 1,127 square meters, making it one of the earlier customs buildings in the region. In 1998, it was officially recognized as a cultural relic protection unit in Yunnan Province.

How to Get There

Transportation Options

• By Bus: Public buses run regularly from major cities, including Kunming (昆明), to Hekou. Once in Hekou, local buses or taxis can take you to the Former Customs site.
• By Car: You can drive from Kunming to Hekou via G320 National Highway (G320国道), enjoying the scenic views along the way.

Travel Tips

• Best Time to Visit: The ideal time to visit is from October (10月) to April (4月), when the weather is more pleasant for sightseeing.
• Nearby Attractions: Take the opportunity to explore other historical sites in Hekou, including local markets and the China-Vietnam Railway Bridge.
• Respect the Heritage: Be mindful of the site’s historical significance and avoid any actions that could damage the building.

Overview

Chinese Name: 河口邮政局旧址 (Hekou Youzhengju Jiu Zhi)
Location: Erbao, Hekou Ancient Street (二堡, 河口明清古街), Hekou Yao Autonomous County (河口瑶族自治县), Honghe Hani and Yi Autonomous Prefecture (红河哈尼族彝族自治州), Yunnan Province (云南省), China

The Site of the Former Post Office in Hekou is a century-old building marked by two stone plaques inscribed with “邮政局” (Post Office) and “电报局” (Telegraph Office) in traditional Chinese characters. These plaques, though weathered, reflect the historical significance of this site, which is the only remaining post and telegraph office from the Qing Dynasty (清朝) in Jiangxi Province (江西省), having stood for nearly 120 years.

Historical Significance

Early Postal Services

In the Ming (明) and Qing (清) dynasties, Qianshan (铅山) had four relay stations (驿站), dozens of relay soldiers (驿兵), and several relay horses (驿马). The four relay stations included:

• Ehu Station (鹅湖驿)
• Zixi Station (紫溪驿)
• Chepan Station (车盘驿)
• Yunji Station (云霁驿)

Qianshan also established 16 postal relay offices (递铺), primarily serving military and governmental correspondence. These relay offices continued until the end of the Qing Dynasty. In the 22nd year of the Guangxu era (光绪二十二年, 1896), with the establishment of the Qing Postal Service (大清邮政), they gradually ceased operations.

Establishment of Hekou Post Office

The first post office in Hekou was established in the 27th year of the Guangxu era (光绪二十七年, 1904), almost 120 years ago. Prior to this, in the 14th year of the Guangxu era (光绪十四年, 1888), the Senchang Civilian Postal Bureau (森昌民信局) in Nanchang (南昌) had set up two branches in Hekou. These branches handled civilian mail and provided services for the government until they were abolished in the early Republic of China (民国) period.

Initially, the Hekou Post Office was classified as a third-class office (三等局) under the dual management of the Jiujiang Postal General Office (九江邮政总局) and the Jiangxi Provincial Postal Bureau (江西省邮政局). In the 30th year of the Guangxu era (光绪三十年, 1907), the Qianshan Postal Agency (铅山邮政代办所) was established in Yongping Town (永平镇) under the Hekou Post Office.

Upgrades and Development

In the 6th year of the Republic of China (民国六年, 1917), the Hekou Post Office was upgraded to a second-class office (二等局), and the Qianshan Postal Agency also elevated to a third-class post office. Under these two offices were eight postal agencies:

• Yangcun (杨村)
• Chenfang (陈坊)
• Shitang (石塘)
• Shixi (石溪)
• Ehu (鹅湖)
• Zixi (紫溪)
• Chepan (车盘)
• Gangdong (港东)

The Hekou Post Office eventually managed several postal agencies from neighboring towns.

Telecommunications Development

As communication technology advanced, telegraphy emerged. In the 32nd year of the Guangxu era (光绪三十二年, 1909), a telegraph branch was established in Hekou. This branch was upgraded to a telegraph office in the 7th year of the Republic of China (民国七年, 1918), located within the Hekou Post Office. This explains the presence of two plaques on the building.

Before the War of Resistance (抗战), the Hekou Telegraph Office expanded its service routes and began offering long-distance telephone services in the 19th year of the Republic of China (民国十九年, 1930).

How to Get There

Transportation Options

• By Bus: Buses are available from major cities like Kunming (昆明) to Hekou (河口). Upon arrival, taxis and local transport can take you to the Old Post Office site.
• By Car: Driving from Kunming (昆明) to Hekou (河口) via G320 National Highway (G320国道) offers scenic views.

Travel Tips

• Best Time to Visit: The optimal visiting period is from October (10月) to April (4月) when the weather is pleasant.
• Explore Nearby Attractions: Take the opportunity to visit other historical sites in Hekou, including local markets and cultural spots.
• Respect the Heritage: Be mindful of the historical significance of the site and avoid actions that could damage the building.

Overview

The Former Residence of Yuan Jiagu (袁嘉谷) is located at 22 Nan Zheng Street, Yilong Town, Shiping County, Honghe (石屏县城异龙镇南正街22号). Covering an area of 695.8 square meters with a building area of 875.9 square meters, this residence is a classic wooden Siheyuan (四合院) from the Qing Dynasty. The exhibits within the residence provide a vital window into the cultural history of Shiping.

Interior Features

Upon entering the courtyard, visitors are greeted by a large portrait of Yuan Jiagu displayed prominently on the west wall of the main hall. The upstairs showcases Yuan’s biography, works, and calligraphy, while the lower level exhibits historical artifacts from Shiping. The side rooms served as Yuan’s study during his lifetime, housing his treasured writing tools.

Despite its modest size, the residence encapsulates the rich historical and cultural essence of Shiping, making it an excellent place for locals to learn about their cultural heritage. In 1993, it was designated a provincial cultural relic protection unit in Yunnan.

About Yuan Jiagu

Yuan Jiagu (袁嘉谷, 1872-1937), whose courtesy name was Shuwu (树五) and art name Shupu (树圃), was a prominent figure in Yunnan’s educational and cultural landscape. Renowned for his contributions as a professor at Yunnan University, he was celebrated as a unique national scholar and the top scholar in the region. His self-created calligraphy style, known as “Yuan Family Script” (袁家书), marked his exceptional status.

Architectural Features

The residence features intricately carved beams and a horizontal plaque at the entrance bearing the words “Economic Special Scholar” (经济特元) in gold on a red background. The couplets on either side read:

• “The fish pond is clear after rain, the wind stirs the fragrance of ink and paper” (雨过鱼池清，风荡纸墨香)
• “A thousand years of shade from the fishweed, the pine sound stretches nine miles” (萱蔭千秋松声九里)

Above the second gate is a black plaque reading “Tai Shi Di” (太史第).

Yuan Jiagu’s Life

Yuan Jiagu was born on July 12, 1872, in Shiping. At 21, he moved to Kunming for examinations and achieved high ranks, earning the title of “King of Examinations” (课王). Despite setbacks, he persevered and became a high-ranking official and educator. His achievements included ranking first in the “Economic Special Examination” (经济特科) in 1904, a significant milestone as it marked Yunnan’s first top scholar since the abolition of the imperial examination system.

Contributions and Legacy

In 1903, Yuan passed the unique Economic Special Examination, focusing on governance and practical solutions. His status was elevated above ordinary scholars, earning him the nickname “National Third Scholar” (国朝第三人). His contributions to education included developing textbooks and introducing terms still in use today.

Later in life, he established the Shiping Library and advocated for improving national literacy. His works, including identifying the birthplace of Zheng He (郑和), emphasized the importance of local history.

Travel Tips

• Getting There: The residence is accessible via local transportation or by car. The nearest major city is Kunming, which has frequent bus and train services to Shiping County.
• Best Time to Visit: Spring and autumn are ideal for pleasant weather.
• Local Cuisine: Don’t miss trying local dishes in nearby restaurants for a complete cultural experience.

By visiting the Former Residence of Yuan Jiagu, you gain insight into Yunnan’s educational heritage and the legacy of one of its most revered scholars.

Yunnan Travel Guide

Things To Do

• Yunnan Overview
• Yunnan Attractions
• Yunnan Tours
• Yunnan Shopping
• Yunnan Culture
• Festivals and Activities

Travel Information

• Yunnan Travel Tips
• Yunnan Climate
• Yunnan Transportation
• Yunnan Maps
• Yunnan Photos
• Yunnan Dining
• Yunnan Accommodation
• Yunnan Education
• Yunnan Travel News
• Administrative Divisions

Create My Trip

You Might Like

• 6 Days Kunming and Zhaotong Muslim Culture Tour
• 3 Days Kunming Jiaozi Snow Mountain Hiking Tour with Dongchuan Red Land
• 9 Days Kunming-Dali-Shaxi-Lijiang-Shangri-La High Speed Train Tour
• 17 Days Yunnan Ethnic Minorities Festivals Tour around Chinese New Year
• 4 Days Shangri-La City Tour
• 4 Days Shangri-La Alpine Pasture and Niru Village Hiking Tour
• 12 Days Yunnan Three Parallel Rivers Overland Tour with Biluo and Meili Snow Mountains from Lijiang to Tengchong
• 20 Days Grand South China Speed Train Tour with Minorities Discovery

Celebrity Homes and Former Residences

Celebrity Homes & Houses in Yunnan

Mu Family Guesthouse in Baoshan Stone Town, Lijiang

Basic Information Chinese Name: 丽江宝山石头城木家客栈 English Name: Mu’s Family Guesthouse in Baoshan Stone City, Lijiang Address: Baoshan Stone City (宝山石头城), Baoshan Township (宝山乡), Yulong Naxi Autonomous County (玉龙纳西族自治县), Lijiang...

Accommodation    Veiw

• Baoshan Stone Town
• Celebrity Homes and Former Residences
• Lijiang
• Yulong County

Guangbi Tower of Mu Palace in Lijiang Old Town

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...

Attractions    Veiw

• Ancient Towns
• Celebrity Homes and Former Residences
• Gucheng District
• Lijiang
• Lijiang Ancient Town
• Towers and Pagodas

Former Residence of Chamawang and Memorial Hall in Shuhe Old Town

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...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Gucheng District
• Lijiang
• Memorial Halls and Exhibitions
• Shuhe Ancient Town

Former Residence of Fang Guoyu in Lijiang Old Town

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...

Attractions    Veiw

• Ancient Towns
• Celebrity Homes and Former Residences
• Lijiang
• Lijiang Ancient Town

Former Residence of Shali in Baisha Old Town, Lijiang

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,...

Attractions    Veiw

• Ancient Towns
• Baisha Ancient Town
• Celebrity Homes and Former Residences
• Lijiang
• Yulong County

Grand Marshal Residence of the President in Dali City

Overview The Grand Marshal Residence of the President (总统兵马大元帅府, Zǒngtǒng Bīngmǎ Dàyuánshuài Fǔ) is located on the southern section of Fuxing Road (复兴路, Fùxīng Lù) within Dali City (大理市,...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Dali
• Dali Ancient Town
• Dali City
• Museums

Former Residence of Zhou Baozhong in Dali City

Introduction The General Zhu Baozhong Memorial Museum (周保中将军纪念馆) is located in Wanqiao Village (湾桥村), Wanqiao Town (湾桥镇), Dali City (大理市), Yunnan Province (云南省). Originally the residence of General Zhu...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Dali
• Dali City

Former Residence of Wang Fusheng and Wang Desan in Xiangyun County, Dali

The Former Residence of Wang Fusheng (王复生, Wáng Fùshēng) and Wang Desan (王德三, Wáng Désān) is a provincial-level key cultural relic protection site, a patriotic education base, and a...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Dali
• Xiangyun County

Former Residence of Chu Tunan in Wenshan City

Overview The Former Residence of Chu Tunan (楚图南故居) is located at No. 11 Shangtiao Street, Wenshan City (文山市上条街11号), within the Wenshan Zhuang and Miao Autonomous Prefecture (文山壮族苗族自治州), Yunnan Province...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Wenshan
• Wenshan City

Site of the Former Custom in Hekou County, Honghe

Overview Chinese Name: 河口县海关旧址 (Hekou Xian Haiguan Jiu Zhi) Location: No. 5, Renmin Road (人民路5号), Hekou Yao Autonomous County (河口瑶族自治县), Honghe Hani and Yi Autonomous Prefecture (红河哈尼族彝族自治州), Yunnan Province...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Hekou County
• Honghe

Site of the Former Post Office in Hekou County, Honghe

Overview Chinese Name: 河口邮政局旧址 (Hekou Youzhengju Jiu Zhi) Location: Erbao, Hekou Ancient Street (二堡, 河口明清古街), Hekou Yao Autonomous County (河口瑶族自治县), Honghe Hani and Yi Autonomous Prefecture (红河哈尼族彝族自治州), Yunnan Province...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Hekou County
• Honghe

Former Residence of Yuan Jiagu in Shiping County, Honghe

Overview The Former Residence of Yuan Jiagu (袁嘉谷) is located at 22 Nan Zheng Street, Yilong Town, Shiping County, Honghe (石屏县城异龙镇南正街22号). Covering an area of 695.8 square meters with...

Attractions    Veiw

• Celebrity Homes and Former Residences
• Honghe
• Shiping County