Baita Mountain Park, also known as White Pagoda Hill Park, is a scenic
and historical gem perched on the northern bank of the Yellow River in
Lanzhou.
Named after the striking White Pagoda Temple at its summit, the park offers a
blend of natural beauty and cultural heritage. The pagoda itself dates back to
the Yuan Dynasty and was originally built to honor a Tibetan Buddhist teacher
who died en route to meet Genghis Khan. Reconstructed during the Ming and Qing
dynasties, the pagoda stands 17 meters tall, with its white plaster exterior
and intricate carvings giving it a jade-like appearance. As visitors ascend
the tree-lined paths, they encounter ancient structures, temple pavilions, and
panoramic views of Lanzhou’s skyline and the winding Yellow River below.
Beyond its architectural allure, Baita Mountain Park is a haven for history
buffs and nature lovers alike. The park houses relics such as elephant-skin
drums and bronze bells from the Ming and Qing periods, and features the
Lanzhou Stele Forest—a courtyard filled with reproductions of ancient
calligraphic inscriptions in diverse scripts like Oracle Bone, Tibetan, and
Western Xia. The climb is dotted with vendors selling local handicrafts, and
in spring and summer, wildflowers bloom across grassy courtyards, adding
bursts of color to the serene landscape. Whether you're chasing a quiet moment
or a breathtaking photo op, Baita Mountain Park delivers a rich sensory and
cultural experience.
Zhongshan Bridge, often called the “First Bridge over the Yellow
River,” is one of Lanzhou’s most iconic landmarks. Completed in 1909, it was
the first permanent iron bridge to span the river, replacing centuries of
unreliable pontoon crossings. Designed by an American company and built by
German engineers, the bridge stretches 233.5 meters with five steel truss
spans and four piers. Originally painted bright red, it was later turned grey
during the Second Sino-Japanese War to avoid aerial attacks—a color it retains
today. Renamed in 1928 to honor Sun Yat-sen, the bridge links the bustling
city center to Baita Mountain, offering stunning views of both the river and
the surrounding urban landscape.
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Panorama of the Yellow River and White Pagoda Mountain
The
Yellow River, known in Chinese as Huang He, is the second-longest river
in China and the sixth-longest in the world, stretching approximately
5,464 kilometers from its source in the Bayan Har Mountains of Qinghai
Province to its mouth at the Bohai Sea.
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It flows through nine provinces, including Sichuan, Gansu, and Henan,
and its basin covers nearly 795,000 square kilometers, making it one
of the largest drainage systems in East Asia. The river is famously
muddy, carrying vast amounts of loess sediment from the Loess Plateau,
which gives it its distinctive yellow hue and contributes to its
reputation as the world’s most sediment-laden major river.
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Historically, the Yellow River is revered as the cradle of Chinese
civilization. Its fertile basin supported early agricultural societies
and gave rise to some of China’s earliest dynasties. Cities like
Xi’an, Luoyang, and Kaifeng flourished along its banks, becoming
centers of politics, culture, and commerce for millennia. However, the
river’s power has also been a source of destruction. It has earned the
nickname “China’s Sorrow” due to its frequent and catastrophic
floods—over 1,500 recorded between 602 BCE and 1938—often altering its
course and displacing entire populations.
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In modern times, the Yellow River remains vital to China’s economy and
ecology, though it faces significant challenges. Extensive damming and
water diversion projects have reduced its flow, and pollution from
industrial and agricultural sources has severely impacted water
quality. Despite these issues, the river continues to be a symbol of
resilience and identity for the Chinese people. Efforts are underway
to restore its health through conservation initiatives and sustainable
water management, aiming to balance the needs of development with the
preservation of this ancient lifeline.
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Departure station of the cable car that crosses the Yellow River and
climbs White Pagoda Mountain
The Yellow River Cable Car is a striking blend of engineering and
scenic beauty, offering visitors a unique way to traverse the mighty
river and ascend White Pagoda Mountain.
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Opened in August 1994, this single-line pulsating loop cableway
stretches approximately 1,200 meters, connecting the southern bank of
the Yellow River to the northern slopes of the mountain. Each cable
car accommodates up to six passengers, and the system includes four
groups of gondolas, each with three cars linked together. The
elevation difference between the two stations is 157 meters, and the
ride speed varies between 2 to 4 meters per second, making for a
smooth and leisurely journey across the river.
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The lower station is located near the Binhe Road Greenery Corridor,
nestled between landmarks like Zhongshan Bridge to the east and
Waterwheel Park to the west. As the cable car glides over the Yellow
River, passengers are treated to sweeping views of Lanzhou’s urban
landscape, the river’s churning waters, and the surrounding hills. The
upper station sits near the Peony Pavilion, offering immediate access
to the park’s temples, pavilions, and historical relics. This aerial
route not only saves visitors the effort of climbing the mountain on
foot but also enhances the experience with a bird’s-eye perspective of
the city’s cultural and natural tapestry.
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Riding the cable car is more than just a convenient transport
option—it’s a highlight of any visit to Lanzhou. The juxtaposition of
modern infrastructure with ancient heritage creates a memorable
contrast, as travelers soar above a river that has shaped Chinese
civilization for millennia. The journey encapsulates Lanzhou’s
identity as the “Capital of the Yellow River,” where tradition and
progress coexist. Whether you're a first-time visitor or a returning
explorer, the cable car offers a fresh lens through which to
appreciate the city’s geography, history, and charm.
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The Yellow River seen from the cable car
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Climbing the stairs to the Peony Pavilion
«The Peony Pavilion, also known as the Fuyun Pavilion, was initially
constructed in 1958 and underwent renovation in 2013.
It is an octagonal, double-layered pavilion with a monk's hat-shaped
roof, perched on the mountaintop.
Various species of beautiful peonies are planted in the area north of
the pavilion, making it the highest-altitude peony garden in the Lanzhou
area. This is why it is called the Peony Pavilion.»
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Panorama of the west side of Lanzhou from the Peony Pavilion in Baita
Mountain Park
Lanzhou Qinglongshan Gongbei (on the right side of the panorama)
is a revered Islamic mausoleum located, offering a unique spiritual and
architectural contrast to the predominantly Buddhist and Taoist
structures in the area.
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“Gongbei” refers to a type of shrine or tomb built to honor Sufi
saints and prominent Islamic figures, and Qinglongshan Gongbei serves
as a sacred site for Hui Muslims. Nestled among the pine-covered
slopes of the mountain, the mausoleum is distinguished by its elegant
domes, arched entrances, and tranquil courtyards, reflecting
traditional Islamic design infused with local Chinese elements.
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The site is not only a place of worship but also a symbol of Lanzhou’s
multicultural heritage. Historically, Lanzhou has been a crossroads of
ethnic and religious exchange, especially during the Silk Road era,
when traders and pilgrims from Central Asia passed through the region.
Qinglongshan Gongbei stands as a testament to this legacy, quietly
preserving the spiritual traditions of the Hui community. Visitors
often find the atmosphere serene and contemplative, with the scent of
incense and the soft murmur of prayers creating a peaceful retreat
from the bustle of the city below.
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Accessing Qinglongshan Gongbei involves a scenic climb or cable car
ride up White Pagoda Mountain, with panoramic views of the Yellow
River and Lanzhou’s skyline unfolding along the way. The mausoleum is
tucked into a quieter part of the park, away from the more frequented
tourist spots, making it a hidden gem for those seeking cultural depth
and spiritual reflection. Whether you're drawn by faith, history, or
curiosity, the Gongbei offers a moment of quiet reverence and a deeper
understanding of Lanzhou’s diverse cultural landscape.
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Panorama of the east side of Lanzhou from Peony Pavilion in Baita
Mountain Park
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Entering Ci'en Temple
Ci’en Temple, located, is a
historically significant Buddhist site that complements the mountain’s
rich tapestry of religious and cultural landmarks.
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Originally constructed during the Ming Dynasty, the temple was built
as part of the reconstruction efforts surrounding the White Pagoda,
which itself was erected to honor a Tibetan lama who died en route to
meet Genghis Khan. Over time, Ci’en Temple became an integral part of
the mountain’s spiritual landscape, serving as a place of worship and
reflection for generations of visitors and monks.
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Architecturally, Ci’en Temple showcases classic Chinese design
elements, with sweeping tiled roofs, intricately carved wooden beams,
and serene courtyards shaded by ancient trees. The temple complex
includes several halls dedicated to Buddhist deities, each adorned
with statues, incense burners, and prayer flags. Its elevated position
on the mountain offers not only a tranquil atmosphere but also
commanding views of the Yellow River and Lanzhou’s cityscape below.
The temple’s name, “Ci’en,” meaning “compassion and grace,” reflects
its spiritual mission and the values it promotes among its visitors.
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Today, Ci’en Temple remains a quiet yet powerful presence, drawing
pilgrims, tourists, and scholars alike. It stands as a testament to
Lanzhou’s layered history, where Tibetan, Han, and Islamic influences
converge in a single geographic space. Whether one arrives by foot or
via the cable car that crosses the Yellow River, the temple offers a
moment of peace and introspection amid the bustle of modern life. Its
enduring legacy continues to enrich the cultural and spiritual fabric
of the region.
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White Pavilion at Ci'en Temple
The White Pavilion at Ci’en
Temple is a striking architectural centerpiece that embodies both
spiritual symbolism and refined craftsmanship.
Often referred to as the White Pagoda, this 17-meter-tall brick
structure rises from a 5.4-meter-high pedestal, forming a commanding
presence over the surrounding landscape. Its base is shaped as a Sumeru
seat, a traditional Buddhist design representing the cosmic mountain at
the center of the universe. Above this base sits an octagonal girdle
seat, which supports a covered bowl—an elegant transition to the tower’s
upper section. The entire structure is coated in chalk soil, giving it a
luminous white appearance that stands out against the mountain’s
greenery.
The upper portion of the pagoda is designed in a pavilion style,
featuring seven levels and an octagonal layout. Each level is adorned
with dense eaves and intricately carved brick Buddha statues on all
eight sides, creating a rhythmic visual pattern that draws the eye
upward. These carvings reflect the temple’s devotional purpose and
showcase the artistry of Ming and Qing dynasty stonemasons. At the
pinnacle of the tower sits a horned iron horse, a symbolic guardian
believed to ward off evil spirits and protect the sanctity of the site.
The combination of geometric precision and spiritual iconography makes
the White Pavilion not only a religious monument but also a masterpiece
of traditional Chinese architecture.
Visitors to Ci’en Temple often find the White Pavilion to be a focal
point of their experience, both visually and spiritually. Its elevated
position offers sweeping views of the Yellow River and Lanzhou’s
cityscape, while its serene surroundings invite quiet contemplation. The
pagoda’s layered design, from the grounded Sumeru seat to the soaring
iron horse, mirrors the Buddhist journey from earthly existence to
enlightenment. Whether admired from afar or explored up close, the White
Pavilion remains a powerful symbol of Lanzhou’s cultural depth and
religious heritage.
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Bronze Bell
«Cast in the fifty seventh year of Kangxi's
reign in the Qing Dynasty (in 1718), this bell weighs 153kg. Cast with
exquisite workmanship, this bell is simply and solemnly shaped,
producing loud and forceful sounds. It’s considered the Treasures of the
Temple together with the elephant drum.»
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Elephant Drum
«The elephant drum was presented by an Indian
monk visiting White Pagoda Mountain in the late Yuan Dynasty and
destroyed by war. This elephant drum is an imitation in the late Qing
Dynasty.»
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Chinese Redbud Tree
«As Chinese redbud tree doesn’t grow,
the shiny-leaved yellow-horn bearing is called Chinese redbud tree by
the local. people. The original tree withered and the one we see now was
planted in 2013.»
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King Yu Stele
The King Yu Stele at Ci’en Temple is a
remarkable artifact that bridges myth, history, and calligraphy.
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Said to be a copy of the legendary “Inscription of Xunjun Mountain,”
the stele commemorates Dayu, the ancient hero credited with taming
China’s devastating floods. Measuring 3 meters high and 1 meter wide,
the stele is engraved with 77 characters in ancient seal script—an
archaic and stylized form of Chinese writing that adds to its
mystique. Though the original inscription’s meaning remains elusive
due to its unusual glyphs, later generations associated it with Dayu’s
water-control efforts, embedding it deeply into the cultural memory of
flood management and divine authority.
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The original stele was located on one of the seventy-two peaks of
Hengshan in Hunan Province, where its strange script baffled scholars
and locals alike. In 1212, during the Southern Song Dynasty, He Jiu
discovered the stele and had it engraved at Yuelu Academy, preserving
its form for future generations. Centuries later, in 1861, Hou
Jiangong of Jiuquan created a copy and installed it in the six-sided
pavilion of the Yuwang Temple at Jinshan Temple, situated on the
western side of White Pagoda Mountain. This act of replication was
part of a broader tradition of honoring Dayu and reinforcing the
symbolic power of his legacy in regions vulnerable to flooding.
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After the collapse of the Yuwang Temple, the stele was relocated to
the Peony Pavilion on the northern peak of White Pagoda Mountain in
1963, and finally moved to Ci’en Temple in 1980, where it remains
today. Its journey across dynasties and locations reflects not only
the reverence for Dayu’s mythic deeds but also the enduring
fascination with ancient inscriptions and their cryptic beauty. At
Ci’en Temple, the King Yu Stele stands as a quiet sentinel of history,
inviting contemplation of China’s long struggle with nature and the
cultural narratives that have shaped its response.
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Panorama of Lanzhou and the Zhongshan Bridge seen from Ci'en
Temple
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Panorama of Ci'en Temple seen from the south
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Zhongshan Bridge seen through the park's trees
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Entering Fayu Temple
«Fayu Temple was formerly known as the Luohan Hall. It was initially
established during the Qing Dynasty's Qianlong period and later
underwent reconstruction during the reign of Qing Emperor Guangxu.
In 1996, it was designated as a religious site. Female Buddhist monks
dedicated themselves to the study of Buddhism here, with a continuous
stream of incense and gatherings of the faithful on a daily basis.»
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The Four Heavenly Kings
The Four Heavenly Kings, known in
Chinese as the "Si Da Tianwang," are powerful guardian deities stationed
at the entrances of many Chinese Buddhist temples.
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Each king protects one of the cardinal directions and embodies a
specific virtue and symbolic object. The eastern king, Dhritarashtra,
holds a pipa (lute) and represents harmony and protection through
music. The southern king, Virudhaka, wields a sword and symbolizes
growth and defense. The western king, Virupaksha, carries a dragon or
serpent and oversees vision and perception. The northern king,
Vaisravana, holds a parasol or stupa and governs wealth and stability.
Together, they serve as protectors of the Dharma, warding off evil and
maintaining cosmic balance.
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These figures are typically housed in the Hall of the Heavenly Kings,
the first structure visitors encounter when entering a temple. Their
imposing presence, often depicted in vivid colors and fierce
expressions, is meant to inspire reverence and signal the sanctity of
the space beyond. The kings are not merely decorative; they embody the
temple’s spiritual guardianship and act as intermediaries between the
human and divine realms. Their placement at the entrance also reflects
the Buddhist belief in purifying one’s mind before approaching the
sacred teachings housed deeper within the temple complex.
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At the entrance to Fayu Temple, the Four Heavenly Kings are rendered
with striking detail and regional character. Set within a traditional
gatehouse structure, each statue is positioned to face its respective
direction, forming a protective perimeter around the temple grounds.
The craftsmanship reflects both Buddhist iconography and local
artistic styles, with elaborate robes, expressive faces, and symbolic
weapons rendered in high relief. Visitors often pause before these
guardians, offering incense or silent prayers, acknowledging their
role in safeguarding the spiritual sanctity of the temple. Their
presence at Fayu Temple reinforces the mountain’s layered religious
heritage and the enduring power of Buddhist symbolism’s cultural
landscape.
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Weituo Bodhisattva
«Weituo Bodhisattva: Weituo Bodhisattva is an important Bodhisattva in
Buddhism and also the protector deity of Buddhism.
Originally a Brahmin deity, later absorbed by Buddhism as one of the
guardian deities.
Weituo Bodhisattva has a deep connection with Shakyamuni Buddha, and was
entrusted by the Buddha to guard three continents (Dongsheng Shenzhou,
Nanzhanbu, and Xiniuhe).
In his past life, he was known as Jili Jieji, and in the future, he will
become the last Buddha among the thousand Buddhas of the virtuous
tribulation, known as Lou Zhi Buddha.
Vajrayana Bodhisattva holds significant symbolic importance in Buddhism.
He is not only a representative of the protector Vajrayana in Buddhism,
but also symbolizes the responsibility of exorcising evil spirits and
protecting Buddhism.
In Chinese temples, Bodhisattva Weituo usually stands behind the
Maitreya Buddha statue, facing the Shakya ManiHall, to show that he is
protecting the Dharma and those who are not lazy in their fine
cultivation.
The direction of the Vajra pestle in the hand of the statue of Vajra
Bodhisattva is different, representing the scale of the temple and the
treatment received by the wandering monks, reflecting the scale and
ability of the temple, and providing clear guidance for the wandering
monks.»
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Panorama of the central courtyard
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Counseling taking place in the central courtyard
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Incense burner in the center of the central courtyard
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Panorama of the facade of the main hall
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Entrance door to the main hall of the temple
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Panorama of Fenglin Incense Archway
«The "Fenglin Incense" Archway was constructed in the 45th year of the
Qianlong reign during the Qing Dynasty (1780).
It was inscribed by Li Cunzhong, a juren (successful candidate in the
imperial examination) from Gaolan County and a county magistrate in
Langqiong (now Eryuan County), Yunnan.
The inscription on the front reads "Fenglin Incense", which means temple
incense rises gently, curling up around Fenglin Pass (built during the
Ming Dynasty, located at the Shaoyan Goukou below Baita Mountain).
On the back is the inscription "Talents at San Tai", reminding visitors
to turn around and view the San Tai Pavilion of Gaolan Mountain, where
the deities of the San Tai Stars (responsible for literary success) are
enshrined, hoping that more people from Lanzhou will become Jinshi
(imperial scholars) and distinguished individuals.»
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Panorama of Lanzhou and the Zhongshan Bridge seen from Fenglin
Incense Archway
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Ditian Tai Archway
«"Ditian Tai" represents the unique layout of the Ming and Qing Baita
Mountain architectural complex: at the mountain's summit, the Dizang
Temple symbolizing "Earth" is constructed, and at the mountain's base,
the Jade Emperor Pavilion representing "Heaven" is erected.
This layout mirrors the trigram of "Tai" from the
Book of Changes and signifies the harmony between heaven and
earth, allowing all things to prosper and thrive.
In the mountain-top stupa courtyard, to the north of Zhunti Hall is the
Dizang Hall, while at the mountain's foothill, the Jade Emperor Hall is
at the original San Tai Hall.
The juxtaposition of "Earth" and "Heaven" signifies the cultural
significance of the ancient Baita Mountain architectural complex,
embracing the harmony of heaven and earth, and the prosperity and
thriving of all things.»
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Zhongshan Bridge seen from northeast
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Panorama of White Pagoda Hill Park seen from Zhongshan Bridge
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Crossing the bridge towards Lanzhou
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Panorama of Zhongshan Bridge and White Pagoda Hill Park seen from
Lanzhou
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Bixi Turtle next to the Yellow River and Zhongshan Bridge
Near the banks of the Yellow River and adjacent to the historic
Zhongshan Bridge stands a striking statue of a turtle known as a Bixi, a
mythical creature from Chinese tradition.
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Bixi is one of the nine sons of the Dragon King and is often depicted
as a hybrid with the body of a dragon and the shell of a turtle. In
Chinese culture, Bixi is revered for its strength and endurance,
making it a fitting base for commemorative steles. The Lanzhou Bixi
carries a vertical stone plaque inscribed with the phrase "First in
Hua Si," a title that evokes pride and historical significance,
possibly referencing the prominence of the local temple or region in
religious or cultural terms.
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The sculpture itself is a fine example of traditional Chinese
stonework, with the turtle rendered in lifelike detail—its shell
textured with geometric patterns and its head raised in a posture of
vigilance. The stele it supports rises vertically from its back,
carved with bold characters that stand out against the weathered
stone. This pairing of creature and inscription is not merely
decorative; it serves as a symbolic anchor for the area, linking
Lanzhou’s modern riverside promenade to centuries of imperial and
religious tradition. The Bixi’s placement near Zhongshan Bridge, a
landmark of engineering and history, further enhances its role as a
guardian of memory and cultural continuity.
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Visitors to the site often pause to admire the statue, drawn by its
imposing presence and the quiet dignity it exudes. Some rub the
turtle’s head or shell for good luck, a common practice at Bixi
monuments across China, though conservationists caution against
excessive contact. The inscription "First in Hua Si" invites
reflection on Lanzhou’s place within the broader tapestry of Chinese
civilization, suggesting a legacy of spiritual or scholarly
excellence. As both a visual and symbolic fixture, the Bixi and its
stele offer a moment of connection between past and present, myth and
reality, in the heart of the city.
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Panorama of Journey to the West Sculpture
By the banks of
the Yellow River near Zhongshan Bridge stands a vivid and imaginative
statue dedicated to the classic Chinese tale Journey to the West.
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This sculpture captures the essence of the legendary pilgrimage
undertaken by the monk Xuanzang and his three disciples. The figures
are arranged in dynamic poses, as if frozen mid-journey, with the
river flowing behind them and the historic iron bridge nearby. The
statue serves not only as a tribute to the literary masterpiece but
also as a symbol of perseverance, spiritual growth, and cultural
pride’s public art landscape.
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At the heart of the composition is the monkey, Sun Wukong, depicted
with his signature staff and a fierce, protective expression. His
posture suggests readiness to defend the group from demons and danger,
reflecting his role as the group's most powerful guardian. Nearby
stands Zhu Bajie, the pig, portrayed with a comical yet endearing
demeanor, holding his rake and gazing ahead with a mix of curiosity
and mischief. His rotund figure and relaxed stance contrast with the
more serious expressions of his companions, adding a touch of humor
and humanity to the ensemble.
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The horseman, Tang Sanzang, is shown with calm dignity, seated atop
the charger—a white horse that carries him through the trials of the
journey. His robes flow gently, and his gaze is serene, embodying the
spiritual purpose of their quest. The charger itself is sculpted with
grace and strength, its head slightly bowed as if in quiet service.
Together, these four figures form a tableau that resonates with
viewers familiar with the story, while offering a striking visual
experience to passersby. The statue’s placement near the river and
bridge underscores the theme of crossing boundaries—both physical and
spiritual—on the path to enlightenment.
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See Also
Sources
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