of Liu-pei, towards the end of the second century A.D., and became a national 
hero. He was canonised in the 12th century, ‘‘ became in time a tutelary 
deity” at the end of the 16th century, and was “‘ promoted” to the “rank of 
God ”’ by the Emperor Wan Li (Ming). 
Let into the wall, and immediately behind the Confucian portrait, is a 
small tablet on which are shown the two sides of a fan. On the one side, 
amongst reeds and water lilies, stand two cranes, on the other is neatly 
written a quotation, or composition. The original picture and writings, from 
which the cuttings were made, are acknowledged to be the handiwork of the 
scholarly Emperor K’ang-hsi; and they certainly attest his ability. 
Leaving the grand upper hall, we pass down a roofed pavement, lined 
on either side with large tablets covered with various writings in every 
conceivable style of character. To-day some of these even Chinese scholars 
cannot decipher. Here and there a single large rendering of the character 
“Fu” (prosperity) occupies the whole surface of a tablet, and is much admired 
by scholars as the work of some famous scribe. One example, executed with a 
single continuous sweep and flourish of a large brush, is placed to the credit of 
K’ang-hsi, and is especially valued and admired. 
Turning to the right, when about half way along the avenue of 
monuments, one reaches shortly a large side room, wherein a fine collection of 
massive monuments are arranged in picturesque confusion, some standing on 
solid cubical bases, some leaning against the walls or propped against one 
another. This room seems to be devoted to artistic productions rather than 
~ to literary works, and some of the pictures it contains reach a high standard. 
Particularly is this the case with a large tablet that faces the door; a repro- 
duction of a rubbing from this stone is given in Plate 26, so that a description 
is unnecessary. On another tablet, of equal size, are given the eight principal 
views round Hsi-an Fu, a description of each appearing below it. This tablet, 
and two others bearing quaintly executed representations of T’ai-pei Shan and 
Hua Shan, two of the five sacred mountains of China, show that scenic 
beauty appeals to the cultivated Chinese mind. T’ai-pei Shan is a lofty peak 
lying some days’ journey south-west of Hsi-an. It is studded with temples, 
but extensive and very precipitous, giving shelter to the Tahkin (a peculiar 
animal, looking like a cross between an ox and a goat), the goral (goat- 
antelope), and other animals of shy and retiring habits. The priests of the 
temples, and the natives of the district, being good Buddhists, do not chase 
these animals, which fact no doubt accounts for their presence in great 
numbers. Hua Shan, as stated in the preceding chapter, is situated close to 
48 
