Scenic Poetic
Charm
Located at the foot of Tianzhushan, Valley Spring Cultural Park is known for its deep forests, long-flowing springs, and the serene, ancient charm of the Shiniu Cave. Throughout history, renowned officials, scholars, poets, and writers wandered here, losing themselves in the harmony between man and nature, composing poems, exchanging verses, and inscribing words on stone.
Valley Spring Cultural Park
"Cliff inscriptions of poetry rest hidden in the quiet valley,
while the muffled sound of spring water is like jade being washed.
Its notes ring out like shattered crystal, crisp and sonorous;
its limpid freshness fills the air and seems to cleanse the soul."
while the muffled sound of spring water is like jade being washed.
Its notes ring out like shattered crystal, crisp and sonorous;
its limpid freshness fills the air and seems to cleanse the soul."
Located at the foot of Tianzhushan, Valley Spring Cultural Park is a place of deep cultural resonance. Huang Tingjian built a study here and read in seclusion, styling himself “The Daoist of the Valley.” Li Gonglin, hailed as “the greatest painter of the Song Dynasty,” painted Huang Tingjian seated on the Shiniu Rock here, and the work has long been celebrated in the history of Chinese painting. Wang Anshi once toured the site by candlelight at night, marveling that he had “explored its depths without reaching the end, and sat upon a rock, forgetting to return.”
The line by the Yuan Dynasty poet Wu Ji, “Countless poems lie within Shiniu Cave, all hidden amid drifting mist and cloud,” vividly captures the tranquil setting and remarkable number of cliff inscriptions at Valley Spring Cultural Park. According to the 1920 Qianshan County Gazetteer, “on both banks of the clear stream, the encircling rock walls are carved with poems by Tang and Song writers, leaving no space uninscribed.” Along the approximately 2,000-meter-long valley, on the cliff faces and valley floor, nearly 400 stone inscriptions by celebrated figures such as Li Ao, Su Dongpo, Wang Anshi, and Huang Tingjian have been preserved from the Tang Dynasty to the present day. Adapting naturally to the shapes of the rocks and displaying extraordinary artistry, these inscriptions spread throughout the valley from top to bottom, forming a spectacular landscape of waterside cliff carvings distinguished by their fame, uniqueness, abundance, and completeness.
In terms of literary form, the inscriptions include poems, lyrics, songs, fu, records, and commemorative texts, representing a full range of genres. In content, some express feelings inspired by mountains and waters, some use objects to convey aspirations, and others reflect on the past and honor worthy predecessors. In calligraphic style, all five major scripts are represented — regular, cursive, clerical, seal, and running script — with works reflecting the traditions of Yan, Liu, Ou, Mi, and Zhao. In carving technique, both intaglio and relief methods are employed, balancing angular and rounded forms.
From the perspective of chronology, the inscriptions span the Tang, Song, Yuan, Ming, Qing, and Republican periods, continuing into modern and contemporary times. This stream of refined cultural elegance has flowed through the centuries, with Song Dynasty inscriptions being especially numerous and complete. The calligraphy is at times vigorous and bold, at times graceful and fluid, and at times a harmonious balance of discipline and expressiveness. Rich in variety and beauty, these works fully embody the aesthetic characteristics often summarized as “the Tang valued method, the Song valued meaning, the Yuan and Ming valued style, and the Qing valued substance,” making them one of the most striking cultural landscapes of Tianzhushan.
While giving full protection to and showcasing the cliff inscriptions of past dynasties, Valley Spring Cultural Park has also built a number of cultural facilities, including Shugong Pavilion, Shangu Jingshe, Dongpo Bieye, and the Tianzhushan Academy of Painting and Calligraphy for artistic creation and exchange. Together, these features have made it a rare and outstanding cultural attraction.
In terms of literary form, the inscriptions include poems, lyrics, songs, fu, records, and commemorative texts, representing a full range of genres. In content, some express feelings inspired by mountains and waters, some use objects to convey aspirations, and others reflect on the past and honor worthy predecessors. In calligraphic style, all five major scripts are represented — regular, cursive, clerical, seal, and running script — with works reflecting the traditions of Yan, Liu, Ou, Mi, and Zhao. In carving technique, both intaglio and relief methods are employed, balancing angular and rounded forms.
From the perspective of chronology, the inscriptions span the Tang, Song, Yuan, Ming, Qing, and Republican periods, continuing into modern and contemporary times. This stream of refined cultural elegance has flowed through the centuries, with Song Dynasty inscriptions being especially numerous and complete. The calligraphy is at times vigorous and bold, at times graceful and fluid, and at times a harmonious balance of discipline and expressiveness. Rich in variety and beauty, these works fully embody the aesthetic characteristics often summarized as “the Tang valued method, the Song valued meaning, the Yuan and Ming valued style, and the Qing valued substance,” making them one of the most striking cultural landscapes of Tianzhushan.
While giving full protection to and showcasing the cliff inscriptions of past dynasties, Valley Spring Cultural Park has also built a number of cultural facilities, including Shugong Pavilion, Shangu Jingshe, Dongpo Bieye, and the Tianzhushan Academy of Painting and Calligraphy for artistic creation and exchange. Together, these features have made it a rare and outstanding cultural attraction.