Panshan, with its sharply carved peaks and lush forests, offers breathtaking scenery throughout the year—whether under frost and wind or in rain and snow—and is renowned as “the First Mountain of Eastern Jing.” Alongside Mount Tai, Mount Hua, Mount Song, and Mount Heng, it was designated in the Qing dynasty as one of China’s fifteen celebrated mountains. During the Kangxi era, Li Xiangen wrote in his “Inscription on the Sword‑Dancing Terrace”: “North of Ji there are many mountains; among them, Panshan stands supreme.” Its famed sights—such as the “Three‑Plateau Evening Rain,” the “Five Peaks and Eight Rocks,” and the “Resonant Springs and Cascading Waterfalls”—are countless and ever‑more enchanting. Since ancient times, Panshan has captivated countless visitors with its peerless splendor, inspiring generations to cultivate, explore, celebrate, and study this remarkable landscape. The result is a rich tapestry of invaluable historical and cultural heritage, giving rise to a distinctive Panshan culture and history. In short, Panshan is not only a stunningly beautiful mountain of extraordinary natural beauty but also a venerable cultural landmark steeped in profound tradition.

 

The developmental history of Panshan culture can be traced back as far as the Neolithic period. In 1957, cultural relics experts discovered the Zhangjiayuan archaeological site in a hilly area about four kilometers north of Bangjun Town, bordering Xujiatai. Through three rounds of archaeological excavations, they unearthed numerous artifacts belonging to the Lower Xiajiadian Culture of Inner Mongolia—dating from roughly 4,000 to 3,000 years ago—including stone tools, bone implements, pottery, and bronze objects, totaling over a hundred items from the Xia, Shang, and Zhou dynasties. Moreover, during the second excavation, a small number of cultural remains were identified that bore similarities to the Longshan Culture of Henan, which flourished between approximately 2,900 and 2,100 BCE. These findings indicate that human activity had already taken place here more than 5,000 years ago. In 1977, further excavations at the Nanchengzi site in Xujiatai yielded Zhou‑dynasty artifacts such as pottery and bronze wares. Together, these two ancient sites stand as crucial evidence of our ancestors’ pioneering and sustained engagement with the Panshan region; they encapsulate the long-standing history and culture of Jixian County and mark the profound beginnings of Panshan culture.

 

Religious culture is a defining feature of Panshan’s cultural heritage. Throughout history, Buddhism and Daoism have alternated in their development on Panshan, vying with one another to spread their teachings and compete for prominence. In particular, the introduction and subsequent flourishing of Buddhism played a crucial role in the region’s exploitation and cultivation. The great Tang‑dynasty poet Liu Yuxi wrote in his celebrated essay “Ode to My Humble Abode”: “A mountain need not be high; it is renowned when inhabited by immortals. Water need not be deep; it becomes sacred when home to a dragon.” From ancient times to the present, people have habitually associated temples closely with deities and immortals. As for when Buddhism first entered China, opinions vary. The most widely accepted view holds that, in the first century AD, during the reign of Emperor Ming of the Han dynasty, Buddhism was brought to China along the Silk Road opened by Zhang Qian. During the Eastern Han period, Buddhism began to take root in Jixian County, and at the foot of Yushan, twenty li east of Panshan, the first Buddhist temple—Xianglin Temple—was erected. In the Ming dynasty, Feng Youjing, a serving reader in the Hanlin Academy, recorded in his “Inscription on the Guanyin Hall of Xianglin Temple”: “Xianglin was founded in the Han era and renovated during the Tang, Liao, Jin, and Yuan dynasties.” During the Kangxi era of the Qing dynasty, the monk Zhipu included Xianglin Temple among Panshan’s monasteries in his “Panshan Gazetteer,” giving rise to the saying that Buddhism on Panshan “began in the Han, flourished in the Tang, and reached its zenith in the Qing.”

 

China is home to four renowned Buddhist mountains: Wutai Mountain in Shanxi, Emei Mountain in Sichuan, Putuo Mountain in Zhejiang, and Jiuhua Mountain in Anhui. A review of the historical development of Buddhism at these four sacred sites reveals that Pan Mountain’s Buddhist tradition predates both Putuo and Jiuhua—where monastic activity only began in the Song Dynasty—while standing on par with Wutai and Emei, which received Buddhism as early as the Eastern Han period. By the Tang dynasty, Buddhism had flourished at Pan Mountain, with the construction of more than ten major temples, including Yunzhao Temple, Wansong Temple, Tiancheng Temple, Tianxiang Temple, Qianxiang Temple, Ganhua Temple, Shangfang Temple, Zhongpan Temple, Shuangfeng Temple, Puji Temple, Xiangshui Temple, and Baiyan Temple. During the Ming and Qing dynasties—particularly under the Qing court—imperial funds were repeatedly allocated for large-scale renovations, expansions, and new constructions, bringing the total number of temples on Pan Mountain to seventy-two, with a monastic community approaching one thousand. At one point, even an imperial stand-in of the Qianlong Emperor took ordination there. This era marked the zenith of Pan Mountain’s Buddhist heritage, establishing it as one of the most important Buddhist sanctuaries not only in eastern Beijing but throughout the nation. As Fu Guangzhai wrote in his “Record of the Reconstruction of the Pagoda Enshrining the Buddha’s Relics” during the Ming dynasty: “The Buddhist monasteries of Pan Mountain are scattered like pieces on a chessboard.” In the Kangxi period of the Qing dynasty, Zhipu recorded in his “Pan Mountain Gazetteer” the splendor of all seventy-two temples. Meanwhile, Zhang Chaocong noted in his “Jizhou Gazetteer”: “Among all the temples in Jizhou, those built on Pan Mountain are the most numerous, varying in size and differing in style and elegance.” Popular lore also spoke of Pan Mountain as “home to seventy-two temples and thirteen exquisite pagodas.” In his inscription commemorating the renovation of the Zhengfa Chan Monastery, Cai Shiying of the Qing dynasty remarked: “The ancient Zhongpan is none other than the Wutai of the East.” Thus, Pan Mountain came to be known as the “Eastern Wutai.” When Zhao Puchu, former president of the Chinese Buddhist Association, visited Pan Mountain, he inscribed the four characters “Eastern Wutai” on Cuiping Peak, thereby solemnly affirming the mountain’s pivotal role and enduring significance in the history of Buddhism.

 

Shaolin Temple is, among the many temples on Mount Pan (with the exception of Xianglin Temple), the earliest to have been established, and it ranks among the earliest Buddhist monasteries with verifiable historical records in Jixian County and even in Tianjin. Both Zhipu’s “Record of Mount Pan” and Zhu Yizun’s “Old Records of the Capital” as well as Yu Minzhong’s “Examination of Old Records of the Capital” all note: “Shaolin Temple was originally named Faxing Temple, and according to tradition, its construction began during the Jin–Wei period—namely, the Two Jin dynasties and the Northern Wei dynasty.” Historically, Buddhism was introduced into China around the time of the Han dynasties, but at first its spread and influence were rather limited. After the Cao Wei and the Two Jin periods, by the Northern and Southern Dynasties era, Buddhism had become widely disseminated throughout the country, with temples springing up across the land. At that time, the Southern Dynasties boasted some 3,000 monasteries, housing hundreds of thousands of monks and nuns. The Tang poet Du Mu wrote in his poem “Spring in Jiangnan”: “Four hundred and eighty temples in the Southern Dynasties—how many pavilions and terraces shrouded in mist and rain!” vividly capturing the flourishing state of Buddhism in the south. In the north, the Tuoba Wei dynasty embraced Buddhism wholeheartedly, bringing its development to a peak; at the capital Luoyang alone there were 1,367 monasteries, while nationwide the number of ordained monks exceeded two million, with Xi’an alone counting over ten thousand monks and nuns. The world‑famous Mogao Caves, Yungang Grottoes, and Longmen Grottoes were all carved during this period. The Pan Mountain region was one of the earliest areas to receive Buddhism. As early as the Wei–Jin period—the Cao Wei and the Sima Jin dynasties—monks had already ventured into the heart of Pan Mountain, erecting simple huts for their retreats. With the Northern Wei dynasty’s vigorous promotion of Buddhism, the nationwide fervor for building temples and constructing monastic complexes inevitably left a profound impact on Pan Mountain (which at the time was under Northern Wei jurisdiction). Thus, local chronicles’ assertion that Shaolin Temple on Pan Mountain—originally known as Faxing Temple—was founded during the Jin–Wei period (265–557 CE) rests on solid historical evidence and is highly credible. From the standpoint of its founding date, Pan Mountain’s Shaolin Temple predates Fujian’s Putian Shaolin Temple (established in 557 CE) and is no later than Henan’s Songshan Shaolin Temple (built in 495 CE). In terms of scale, the Pan Mountain Shaolin Temple was an imposing structure. The Daoist disciple Ji Zhizhen wrote in his “Collection of Cloud Mountains”: “Within the temple stands an ancient pagoda enshrining Buddha’s relics, standing two hundred feet tall.” By modern reckoning—since one ancient foot equaled roughly seven modern inches—the pagoda would measure approximately 46.6 meters, surpassing even the Liao‑dynasty White Pagoda within the city by ten meters (the White Pagoda stands 36.6 meters high), thus attesting to the temple’s grandeur at the time. Today, the surviving Multi‑Treasure Pagoda at the Shaolin Temple site rises 20 meters, having been constructed by monks during the Ming and Qing dynasties. In terms of influence, Pan Mountain’s Shaolin Temple is historically recorded as the sole branch of Songshan Shaolin Temple, known as the “Northern Shaolin Temple.” It also stands as a witness to one of the most significant doctrinal disputes between Buddhism and Daoism in history. A comprehensive review of the various editions of the “Records of Jizhou,” “Records of Jixian County,” and “Records of Mount Pan” reveals a clear picture of the temple’s full historical trajectory: prior to the Yuan dynasty, Pan Mountain’s Shaolin Temple remained a sacred Buddhist site. During the Yuan period, Genghis Khan maintained close ties with Qiu Chuji—one of the Seven Masters of the Quanzhen School, styled Tongmi and known as the “Changchun Daoist”—leading to a flourishing of Daoism. The Daoist Wang Zhijin, a disciple of Qiu Chuji, together with his apprentice Zhang Zhige, visited Pan Mountain, forcibly seized Faxing Temple, expelled the monks, and destroyed the Buddhist statues. In 1226, Wang Zhijin and Zhang Zhige invited Qiu Chuji to Faxing Temple to perform a ritual offering—a Daoist rite—and transformed the monastery into the Qiyun Monastery. Toward the end of Emperor Xianzong’s reign (1255–1257), Master Fuyu of Songshan Shaolin Temple—known as Xueting—alongside the Western Region monk Master Namo, submitted three petitions to Emperor Mongke. Following three rounds of court debates, Faxing Temple was returned to Buddhist control. During the Zhongtong era (1260–1263), Fuyu appointed Master Yunwei—known as Chaoyun—to take charge of Faxing Temple. Upon arriving, Yunwei drove out the Quanzhen Daoists, reinstated the Buddhist clergy, taught martial arts, and propagated the Plum Blossom Fist, thereby establishing the temple as a branch of Songshan Shaolin Temple. In 1315, Master Yunwei, together with Master Namo from the Western Regions and Master Fuyu of Songshan Shaolin Temple, traveled to Dadu (modern Beijing) to pay homage to Emperor Renzong of the Yuan dynasty. Emperor Renzong, deeply moved by their devotion, bestowed upon them the title “Northern Shaolin Temple.” The Songshan Shaolin Temple’s “Stele of Master Yu of Shaolin” (referring to Master Fuyu) states: “Master Fuyu sought to establish five branches—Helin, Youji, Chang’an, Taiyuan, and Luoyang—forming what came to be known as the Five Shaolins.” Among these, the Youji Shaolin Temple corresponds precisely to Pan Mountain’s Shaolin Temple, thereby confirming the close kinship and shared origins between the two. In 2002 and 2003, Master Shi Yongxin of Songshan Shaolin Temple made repeated visits to Jizhou to conduct field investigations, conclusively verifying that Pan Mountain’s Shaolin Temple is indeed the only officially recognized branch of Songshan Shaolin Temple. According to relevant historical documents, there are ten Shaolin Temples nationwide, yet only Pan Mountain’s Shaolin Temple truly qualifies as the “Northern Shaolin Temple,” maintaining a genuine north–south connection with Songshan Shaolin Temple. Therefore, intensifying research and development efforts focused on Pan Mountain’s Shaolin Temple holds great significance for studying the rise and fall of Buddhism and Daoism in northern China, restoring Pan Mountain’s status as a renowned Buddhist pilgrimage site, and promoting tourism.

 

After two millennia of development and construction, Panshan has preserved a wealth of ancient architectural relics—temples, monasteries, courtyards, hermitages, pagodas, platforms, pavilions, kiosks, and bridges. Spanning from the Han, Wei, Jin, and Northern and Southern Dynasties through the Sui, Tang, Five Dynasties, Liao, Jin, Song, Yuan, and Ming–Qing periods, these structures exhibit distinct styles unique to each era, masterfully crafted and each bearing its own distinctive charm. Truly a remarkable compendium of exemplary architecture from successive dynasties, Panshan stands as one of northern China’s rare treasures of architectural art, giving rise to a vibrant and multifaceted architectural culture. According to Zhi Pu’s “Panshan Gazetteer,” Panshan once boasted 22 temples, 2 monastic courtyards, 29 hermitages, 10 meditation chambers, 9 shrines, 5 platforms, 5 bridges, 1 fortified village, 4 pavilions, 2 open‑air verandas, 3 Buddhist pagodas, and over a hundred bone‑relic stupas. Regrettably, these architectural gems have repeatedly suffered the ravages of war, leaving only a handful intact today. The surviving ancient Buddha‑relic pagodas—the Dingguang Pagoda and the Ancient Buddha‑relic Pagoda—have been designated municipal cultural heritage sites, while the Duobao Pagoda and the Pagoda of Master Puzhao have been listed as county‑level protected monuments. Following the reform and opening-up, Panshan opened to the outside world, and its tourism industry flourished. Temples such as Tiancheng Temple, Wansong Temple, and Yunzhao Temple were restored or rebuilt, allowing domestic and international visitors to once again appreciate the exquisite charm of Panshan’s architectural heritage. Among Panshan’s many cultural edifices, particularly noteworthy is the Jingji Villa, begun in the ninth year of the Qianlong reign (1744) and completed in the nineteenth year (1754). This villa, one of the five major imperial summer palaces within Jixian County, was designed in imitation of the Mountain Resort at Chengde. As the Qing scholar Fu Zengxiang wrote in the preface to his “Ode to Jingji Villa”: “The villa lies on the southern slope of Panshan; constructed in the ninth year of Qianlong, its layout closely follows that of the Mountain Resort, with walls enclosing seven and a half li. Later, it was slightly expanded.” Covering more than six thousand mu, the entire estate is divided into eight inner scenic spots, eight outer scenic spots, six newly added scenes, and an additional sixteen subsidiary views, totaling thirty-eight vistas. It ranks as the third grand imperial garden of the Qing dynasty, following Emperor Kangxi’s Mountain Resort and Emperor Yongzheng’s Old Summer Palace, and stands as another masterpiece of ancient Chinese garden art. After its completion, the Qianlong Emperor resided there on more than thirty occasions, while the Jiaqing Emperor stayed on seven. Following the fifteenth year of Jiaqing (1810), imperial visits ceased altogether. In the eleventh year of the Daoguang reign (1831), the Panshan summer palace was abolished, and all its furnishings were transferred to the Mountain Resort. Even by the end of the Qing dynasty, some caretakers still maintained the grounds. However, during the Republican era, the site fell victim to looting and theft by Hu Jingyi’s forces and by the custodial officials themselves, resulting in devastating destruction of this royal residence that had stood for over two centuries. Today, only ruins remain.

 

The region’s exquisite natural scenery and the enduring incense offerings at its numerous temples have long attracted imperial rulers such as Emperor Cao Cao of the Wei Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Taizong Yelü Deguang of the Liao Dynasty, Emperor Shengzong Yelü Longxu of the Liao Dynasty, Emperor Shizong Wanyan Yong of the Jin Dynasty, and Emperor Zhangzong Wanyan Jing to visit, pay homage, and offer incense. In the nineteenth year of the Zhenguan era (645), Emperor Taizong of the Tang Dynasty, returning from his eastern campaign against Goguryeo, paused at Panshan and remarked, “This place is worthy of leisurely exploration—why must one travel beyond Xiangcheng?” He left behind many relics, including the Tent‑Stone, the Armor‑Drying Stone, the Dragon Pavilion Stone, and the Eastern Campaign Well. During the Qing dynasty, Emperor Qianlong personally inscribed the four characters “Zhenguan Remnants” on the cliff beside the Armor‑Drying Stone, designating it as one of the Eight Scenic Spots of the Jingji Villa. By the Qing period, Panshan had become an important royal route connecting the capital with the Eastern Tombs for ancestral rites. Emperor Kangxi visited Jizhou five times, climbing Panshan on four occasions; Emperor Jiaqing ascended Panshan twelve times. Most notably, Emperor Qianlong, beginning in the fourth year of his reign (1740), made a total of thirty-two visits over twenty-eight years—up to three times in a single year—exclaiming, “Had I known of Panshan earlier, why would I have journeyed south of the Yangtze?” Even after becoming retired emperor, at the age of eighty-seven, he made one final ascent. Such was Qianlong’s devotion to Panshan that few other famous mountains across China could rival it. The renowned Qing scholar Wang Shizhen wrote of Panshan’s preeminence: “Among all the celebrated mountains in the realm, aside from the Five Great Mountains—such as Mount Huang and Mount Kuanglu—since Emperor Taizong of the Tang Dynasty took up residence here, successive Liao and Jin emperors paid frequent visits. And in our own era, the Imperial Procession graced these heights once more, with imperial calligraphy illuminating the valleys below, leaving even the most eminent peaks far behind.” This eloquently captures Panshan’s lofty standing among China’s great mountains at the time. Prominent officials and military leaders—including Li Si, Qi Jiguang, Zhu Yizun, Gao Shiqi, Zhang Tingyu, Liu Yong, Ji Xiaolan, and Heshen—as well as literary figures like Chen Shou, Li Daoyuan, Gao Shi, Chen Ziang, Fang Xiaoru, Tang Xianzu, Yuan Hongdao, Yuan Zhongdao, Xu Xiake, Kong Shangren, Hong Sheng, Gao E, and Wei Yuan—also flocked to Panshan. Since ancient times, whenever a mountain or river has earned renown, wise men and sages have often withdrawn there, drawing countless admirers and giving rise to numerous tales and legends. At the end of the Eastern Han dynasty, the distinguished scholar Tian Chou, fleeing the chaos of war, secluded himself on Panshan, attracting over five thousand households who settled nearby. There, they established a harmonious community—one where no one picked up lost items, doors were left unlocked at night, schools flourished, and propriety prevailed—a veritable “utopia” beyond the world. Thus, Panshan came to be known as “Tianpan Mountain.” During the Chongzhen era of the Ming Dynasty, the jinshi Li Kongzhao (style name Guangsi), upon hearing of the Jia-Shen Incident in the capital (when Li Zicheng captured Beijing), retreated to Panshan, devoting himself to poetry and writing while shunning worldly affairs. He earned his livelihood by gathering firewood and caring for his aged mother, an episode that became a cherished story. Today, the “Pine Tree of the Jinshi” at Shangfang Temple derives its name from Li Kongzhao. These emperors, high officials, scholars, and recluses alike were captivated by Panshan’s breathtaking beauty, their spirits soaring as they composed verses, crafted inscriptions, and carved stone monuments. Their abundant poetic works, stele inscriptions, and stone carvings have endowed Panshan with a rich imperial and celebrity culture, transforming it into a treasure house of art and literature. As for how many poems and writings exist about Panshan, no precise tally has yet been compiled. Take Emperor Qianlong, for instance: each time he visited Panshan, his poetic inspiration surged. “Panshan and I have never spoken a word, yet every visit brings forth a poem.” How many poems did Qianlong compose on Panshan? According to Fu Zengxiang’s preface to the “Song of the Jingji Villa,” “Poetic tributes to the mountain are recorded in five imperial anthologies and several supplementary collections, totaling 1,366 pieces.” Later, historians and literary scholars uncovered additional works, bringing the current count to over 1,700. Moreover, Panshan’s stelae and stone carvings are scattered throughout the landscape, dazzling in their splendor. The Buddhist sculptures and stone tablets of Qianxiang Temple have been designated as municipal cultural relics, with the sculptural reliefs already submitted for national-level protection. The inscription on the “Qianxiang You Tang Temple Founding Hall Stele” reads: “Long ago, a venerable monk traveled far, seeking a place to set down his staff. Beneath the northeastern cliff of the monastery lay a clear spring (a washing‑bowl pool); in a moment, a thousand monks appeared to wash their bowls, only to vanish in an instant. Thus arose a refined hermitage for seated meditation. Later, on the rocky banks of the stream, a thousand Buddha images were carved to proclaim the temple’s exceptional virtue. Because so many Buddhas were etched into the cliff face, the temple was named ‘Qianxiang.’” The Buddha statues encircle Qianxiang Temple, varying in height and grouped in threes or fives, either seated or standing, all rendered in intaglio with full, flowing forms, draped in voluminous robes, bathed in radiant halos, crowned with piled hairdos, embodying both Tang‑era elegance and certain Liao‑dynasty nuances. To date, 124 distinct Buddha sculptures have been identified on the cliffs surrounding Qianxiang Temple, totaling 535 figures. Among them, one can discern representations of Sakyamuni Buddha, Vairocana Buddha, Guanyin Bodhisattva, Ksitigarbha Bodhisattva, and many others. Stone carvings are ubiquitous throughout Panshan. Statistics indicate that 224 stone inscriptions remain well preserved and legible, including 102 inscribed texts, 22 inscribed passages, and 120 inscribed poems. Of these, the largest number bear Qianlong’s mark: 118 poems, 1 passage, and 12 inscriptions. Among Panshan’s sixty-three notable stones (listed in Zhipu’s “Record of Panshan,” which names twenty-six), nine were personally inscribed by Qianlong. These cultural treasures constitute invaluable resources for studying Panshan’s history, the art of calligraphy and stone carving, and Buddhist culture, possessing profound historical significance.

 

Red culture is a defining feature of Panshan’s cultural heritage. Panshan is a mountain steeped in a glorious revolutionary tradition; during the War of Resistance Against Japanese Aggression, under the leadership of the Communist Party of China, the people of Panshan fought bravely and valiantly against the Japanese invaders, making significant contributions to the war effort. In June 1938, the Fourth Detachment of the Eighth Route Army, led by Song Shilun and Deng Hua, advanced into eastern Hebei. To coordinate with the main forces, on July 14, under the leadership of Li Zigang and other key officials of the county party committee at the time, the first shot of armed resistance in western Hebei was fired in Bangjun Town at the foot of Panshan. Subsequently, at Qianxiang Temple on Panshan, an anti-Japanese united army numbering 5,000 was established, supporting the Eighth Route Army’s main force in attacking county seats such as Jixian and Yutian. On April 15, 1940, the inaugural meeting of the Jipingmi United County was held at Liangzhuangzi on Panshan. This marked the establishment of the first anti-Japanese democratic government in western Hebei, signifying the initial formation of the Panshan anti-Japanese base area. In August 1940, the 13th Regiment of the Eighth Route Army was formally organized and stationed on Panshan.

 

In that year, both the Jidong Western Regional Party Committee and the Jidong Special Administrative Office were established in Panshan. As a result, Panshan became the epicenter of the anti-Japanese struggle in western Jidong. To crush the anti-Japanese armed forces in Panshan, the Japanese and puppet troops launched five intensified security campaigns, killing anyone they encountered and burning every building; they even deployed aircraft to carry out relentless aerial bombardments, reducing the picturesque Panshan into a scorched wasteland. Nevertheless, under the leadership of the Party, the people of Panshan fearlessly endured sacrifice and tenaciously waged political and military struggles against the Japanese and puppet forces. According to statistics, during the War of Resistance Against Japan, the Panshan base area lost more than 20 cadres at the county‑level regimental rank or above, and over 200 cadres at the district level or higher. They defended this base with their lives and blood, expanding it into a vast region comprising 12 districts, 1,220 villages, and a population of 518,000, thereby delivering a severe blow to the arrogance of Japanese imperialism. In April 1945, the Luanxi branch of the “Jiu Guo Bao,” the official organ of the Jidong Fourteenth Regional Party Committee, relocated its office from Pinggu to a small stone house at Qianxiang Temple in Panshan. The voice of the CPC Central Committee and the Eighth Route Army Headquarters, along with major domestic and international news and critical information from the anti-Japanese battlefields, was disseminated throughout Jidong via newspapers and radio broadcasts from this location, greatly boosting the anti-Japanese spirit of the military and civilians in the region. Today, Panshan preserves 17 sites of anti-Japanese relics and eight inscribed anti-Japanese slogans, serving as invaluable tangible educational resources for fostering patriotism and revolutionary heroism among young people. To honor the martyrs and inspire future generations, in 1957 the Jixian People’s Government built the largest martyrdom cemetery in Jidong—Panshan Martyrs’ Cemetery—where 2,596 martyrs who died during various periods, including the War of Resistance Against Japan, the Liberation War, and the War to Resist U.S. Aggression and Aid Korea, were collectively interred and commemorated with tombstones. In 1991, the Panshan Martyrs’ Cemetery was designated by the Publicity Department of the CPC Central Committee as one of the nation’s hundred patriotic education bases.

 

Wandering through Panshan, one can say that every peak bears a name, every step reveals a scenic vista, and each view is steeped in legend. Historical anecdotes, the solemn chants of ancient temples, tales of revolutionary heroism, along with mythical lore—such as ghostly lamps and eerie lights, tree spirits and serpent monsters, benevolent clouds and dharma rain, and sacred caves with miraculous springs—are everywhere, lending this culturally renowned mountain a dazzling array of colors. Culture is the soul of Panshan. To build up Panshan, to develop its tourism, and to elevate its appeal, we must first promote and celebrate its rich cultural heritage. By leveraging Panshan’s captivating cultural allure, we can restore and reestablish its status and brand as “the First Mountain of Eastern Jing.”