It serves both as the name of the paifang and of the scenic spot—a quintessential example of naming a site after an object while honoring that object through its landscape. On the front face, the four characters “Genggu Mingshan” inscribed on the golden plaque are vigorous and powerful, yet elegant, graceful, and rounded, creating an artistic harmony between calligraphy and architecture. These words were adapted from the cliff‑carved inscription “Genggu Mingshan,” personally composed by the Qing emperor Kangxi during his first imperial tour of Panshan, thereby underscoring the paifang’s significance within the mountain complex and, at the same time, highlighting Panshan’s stature in the broader world. Throughout his reign, Emperor Kangxi visited Panshan four times, leaving behind twelve poems and essays, as well as dedicating plaques and couplets to more than ten sites—including Wansong Temple, Yunfeng Fajie, Letianzhen, Panshan Xiufeng, Menwai Yifeng, Yunjing Temple, Panggu Temple, Qingfeng Temple, and Genggu Mingshan—and commissioning two imperial stone steles. The inscription “Genggu Mingshan” is carved into the cliff face of the floating stone boat northeast of Panggu Temple, with each character measuring 30 centimeters across; it remains clearly legible to this day. The word “geng” conveys continuity—both temporal and spatial—so “genggu” signifies a mountain renowned from ancient times to the present, a historic landmark whose fame endures through the ages. As this structure stands as the first iconic edifice encountered upon entering Panshan, we placed particular emphasis on the principle of “highlighting”: accentuating its splendor and grandeur, its noble majesty. Accordingly, the building is imposing in scale, meticulously designed, lavishly adorned with colorful painted decorations, and painstakingly executed in every detail. The paifang is styled in the Ming–Qing imitation‑ancient tradition, stretching 37 meters east–west and rising 14 meters high, supported by two rows of sixteen columns. Above them hang eleven ornate pavilions, their eaves gracefully extending into the void, while the roof is crowned with a yellow glazed‑tile hip roof—a roofing style reserved for imperial gardens. Jade‑stone pilasters flank the base, embellished with intricate gold‑thread painting in the Xuanzi style. Beyond its architectural techniques—cantilevered overhangs, layered eaves, suspended structures, and elevated platforms—the paifang is further enhanced by surrounding groves of towering pines and cypresses, interspersed with massive, rugged boulders. Mountains evoke a sense of remoteness; stones evoke antiquity. Along the parking area and around the paifang, pathways have been carefully laid out, and numerous natural, colossal granite boulders have been artfully arranged—first, to showcase the geological character of Panshan’s granitic bedrock, fostering a feeling of familiarity among visitors; second, to present uniquely shaped forms that delight the eye and heighten the allure of the climb. When these distant and nearby vistas are brought into mutual dialogue, the spectacle becomes all the more extraordinary. Standing close to the paifang, one can see through it the undulating peaks of Panshan, veiled in drifting mist, exuding an aura of vastness and vitality. From a distance, gazing back at the paifang, one beholds its soaring spires catching the wind, layers of mist rising beneath its tiers, golden hues shimmering against verdant greenery, evoking the ethereal presence of a celestial palace suspended in the sky. On the reverse side of the paifang hangs a plaque inscribed by the renowned Chinese calligrapher Aisin‑Gioro Pu Jie, bearing the words “Wuzhong Shengjing.” “Wuzhong” naturally refers to Panshan, while “Wuzhong Shengjing” celebrates this place as a scene of exquisite beauty and enduring renown.