Prologue (Part One), Qili Mountain Pond, depicting a scroll of human habitation

This person's appearance is quite fitting for his name; he is called Cheng Tianle

Cao Xueqin is not Jia Baoyu from "Dream of the Red Chamber," and the Pufu Zen Temple on Shantang Street is certainly not the Gourd Temple from the same work. However, creation does not occur in a vacuum; the depiction of local customs and culture is inevitably related to the author's experiences and observations. Cao Xueqin mentioned this street outside the Changmen Gate of Suzhou and the temple by the street, subtly reflecting the landscapes and human presence of the world in his writing

Qiao Sanren smiled slightly: "Perhaps there is, perhaps there is not. This painting is created from the essence of mountains, waters, and human habitation. The immortal child of the clear wind seals it with great magical power, serving to validate the path of deduction. The mountains, waters, and human habitation sealed within the painting are all illusory scenes, yet they can change according to the deductions of those outside the painting, much like reflections in water. Who knows what kind of scenery will emerge a thousand years from now?"

At the mouth of Huangli Alley, the oriole seems to want to speak, while at the head of Wuqiao River, the ice appears ready to melt

The geographical location of the Shantang River is exceptionally favorable, not only facilitating drainage and irrigation but also providing convenient waterway transportation. Once Shantang Street emerged alongside the river, it became a hub of commerce and cultural scenery in Suzhou. Later generations referred to Shantang Street as Baigong Dike and erected the Baigong Shrine at the head of the Dusi Bridge outside Changmen to commemorate it

On that day, the ground collapsed in the southeast. In this southeastern corner lies a place called Gusu, which has a city known as Changmen, renowned as one of the most affluent and elegant places in the mortal realm. Outside Changmen, there is a street stretching ten miles, within which is a lane called Renqing Lane, and within that lane stands an ancient temple. Due to the narrowness of the area, it is commonly referred to as the Gourd Temple

It is now the summer of 2012, in Suzhou City, Jiangsu Province, People's Republic of China. Qili Shantang Street has become a tourist scenic spot. This street is built along the river, with waterways crisscrossing, and as one walks along the stone-paved path, there are many ancient bridges. Among them, two adjacent bridges are named Qingshan Bridge and Lushui Bridge. Between Qingshan Bridge and Lushui Bridge, there is a newly constructed temple called Pufuchan Temple

Pufuchan Temple was established during the Song Dynasty. The temple is narrow, consisting only of two main halls with a courtyard in between, forming a gourd shape overall. Although it is not large, it once enjoyed great popularity. This temple was destroyed during the "Great Leap Forward" in the late 1950s. In 2008, the local government rebuilt it on the original site, and after fifty years of destruction, it was once again completed, becoming a scenic spot on Shantang Street. Whether it is called Gourd Temple or not, it simply exists there.

Liu Xianzi questioned: "But this Shantang and Tushui River were just newly excavated; a hundred years ago, when the Mingyue Xiantong painted, there was no such river in the world. Could it possibly exist in the painting?"

Qiao Sanren smiled bitterly and said: "Not only can you and I not see it, but even the Qingfeng Patriarch, who is depicted in the painting, cannot see it either. This object is merely a fleeting thought of his. The door in the painting is not integrated with the painting itself; it is simply a spell. After a thousand years, when this magical power dissipates, the traces of the painting will reappear. If the traces of the painting have transformed into the landscapes of Gusu a thousand years later, it would indicate that the path of deduction of the Qingfeng Patriarch had already reached great success back then, not inferior to that of the Zhenyuan Patriarch."

This jade pendant is approximately 1 inch wide and 2 inches long, with a finely carved bamboo branch on the front and a cloud flower pattern on the back. Its shape is reminiscent of a teardrop, perfectly sized to fit in the palm of one's hand. When it fell into the river, it surprisingly did not create a single ripple, as if it had mysteriously blended into the reflections and shimmering light, unnoticed by the pursuers in the distance.

The Bai Causeway of West Lake still exists today, while the ancient Bai Causeway outside Qiantang Gate has long since vanished. However, in the region of Jiangnan, there remains a Bai Causeway that has been preserved to this day, which is the Qili Shantang Street, a famous scenic area in Suzhou, stretching from the Changs Gate to Tiger Hill.

On this day, in an old study located in the western suburbs of Beijing, there hung a plaque inscribed with the three characters "Xueqin Ju." A scholar in a blue robe was bent over his desk writing. His name was Cao Zhan, and he was in the midst of composing.

Liu Xianzi turned to Qiao Sanren and said: "You also practice the art of deduction, yet you cannot compare with the two ancestors. However, on Mount Wanshou, you are renowned for your painting skills. Why not use this scroll to create a painting and gain a deeper understanding of the sentiments from that year?"

However, it is important to note that the "prototype" in literary creation and the "original site" in historical research are entirely different concepts. For instance, in "Dream of the Red Chamber," no one can deny that Jia Baoyu bears the shadow of Cao Xueqin; it can even be said that Cao Xueqin is one of the character prototypes of Jia Baoyu, but this has undergone artistic literary processing

There are some who have a deep impression of the original work "Dream of the Red Chamber" and may, with a look of indignation, explain to their companions on the spot, using a tone that seems to express righteous anger or sarcasm: "I have read 'Dream of the Red Chamber' countless times. The Ten-Mile Street is a homophone for social climbing; Renqing Alley is a homophone for human sentiment. Cao Xueqin clearly wrote about the Street of Social Climbing and the Alley of Human Sentiment. How can this be related to the Shantang Street in Suzhou?"

In the fourth year of the Changqing era of the Tang Dynasty, Bai Juyi, who was then the governor of Hangzhou, mobilized the populace to construct water conservancy projects, including the building of dams and sluices, as well as the dredging of West Lake. Near the Shihan Bridge outside the Qiantang Gate, there was once a dam known as the Baigong Dam, which no longer exists today. The beautiful scenery of West Lake has persisted for a thousand years, and later generations regarded the Baisha Dam on the lake as a memorial to Bai Juyi, leading many to mistakenly believe that the Baidao of West Lake is the same as the Baigong Dam of that time.

... ...

Lady Liu furrowed her brows slightly and said, "I too do not understand this painted realm; what kind of mountains and rivers could it possibly be?"

Cao Xueqin's "Dream of the Red Chamber" begins by mentioning a street outside the Changmen Gate in Suzhou, which is renowned as one of the most affluent and elegant places in the world of mortals. Within this street stands a Gourd Temple. The exact location of this Gourd Temple is not essential to explore, as it is stated in the novel that the temple was destroyed in a great fire. However, more than three hundred years later, a "Gourd Temple" has indeed emerged on the bustling Shantang Street outside the Changmen Gate in Suzhou.

If Qiao Sanren appears to be deep in thought, he points to the scene below the mountain and says: "This very scene of human habitation that you see before you is indeed the realm depicted in the painting"

Qiao Sanren squinted his eyes as if deep in thought. When he opened his eyes again, a brush had appeared in his hand. He pondered, "This brush in my hand, the 'Qunfang Dianyuan Brush,' was bestowed upon me by the Celestial Child of the Bright Moon in years gone by. With this brush, I shall paint, depicting the scenery of the mountain pond before me, and then roll it up, awaiting the day a thousand years hence when the images within the scroll will reappear. Since the gentle breeze has dissipated and the bright moon does not return, let this painting remain in the mortal realm."

In the second year after the construction of the dam and the dredging of West Lake, which was also the first year of the Baoli era of the Tang Dynasty, Bai Juyi bid farewell to Hangzhou and was appointed as the governor of Suzhou. Upon his arrival, he visited Tiger Hill to pay homage to the burial site of King Helu of Wu and, upon observing the local waterways being blocked and the navigation being obstructed, he summoned craftsmen and officials to measure and design a solution. He then solicited funds from merchants and mobilized laborers to excavate a new canal, known as Shantang River.

Qiao Sanren smiled: "The Qingfeng Immortal Child indeed cannot paint, nor is he skilled in singing. The traces of painting in this scroll were originally captured by the Mingyue Immortal Child, depicting landscapes and human habitation. He merely employed the technique of deduction to seal the realm into the painting."

The Fairy Liu slowly unfurled a scroll, approximately one foot high and nearly four feet long, yet it was completely blank. She sighed softly, saying: "This scroll was created by the Moonlight Immortal Youth during his journey through the mortal world when he passed through Suzhou. It requires no ink or brush; it captures the reflection of the mountains and rivers of the human realm under the moonlight, yet leaves no trace behind"

This river starts at the Changsmen Ferry and the Sengqiao Bridge in the east, and extends to the Wangshan Bridge at Huxi in the west, with a total length of over 7 li. Along the river, a bustling and prosperous Shantang Street has formed, also known as Qili Street.

This young man is in his twenties, sporting a crew cut. His facial features are quite decent, yet he always wears a silly grin, smiling at everything with a carefree demeanor. His skin has a slight tan, clearly sun-kissed, as the exposed skin beneath his open collar is noticeably lighter.

Qiao Sanren shook his head and said: "This is beyond my knowledge. The Qingfeng Patriarch, in a moment of inspiration, left behind such a scroll, which serves merely as a testament to one's cultivation. As for the scroll itself, it is rather dispensable."

Liu Xianzi nodded and said: "I understand. If in a thousand years someone is able to see this painting, although it was created by the Moonlight Immortal Child a thousand years ago, the scenery depicted in the painting is that of Suzhou at that time. Regardless of whether that person has been to Suzhou or where this painting may have ended up, the traces of the painting within this scroll have already faded, and even you and I cannot see them."

This scene often unfolds in front of Pufu Zen Temple. For instance, today, a group of people is engaged in such discussions here. At this moment, a young man approaches from the direction of Qingshan Bridge, holding the arm of a rather beautiful young woman, followed by a young man carrying a travel backpack. They stop in front of Pufu Zen Temple to look at the introduction of the tourist attractions. This person also hears the discussions of those around him, but he simply smiles foolishly and mutters to himself: "So Cao Xueqin has also been here, but this temple is not that temple anymore, haha, how interesting!"

As the saying goes, "Above there is heaven, below there are Suzhou and Hangzhou." Since ancient times, the two places known as the paradise on earth, Suzhou and Hangzhou, have been more or less associated with a great poet from the Tang Dynasty.

Many first-time visitors to Shantang Street often display a look of confusion when they see the introduction to the attractions in front of the temple gate. They furrow their brows and ponder, "Oh, is this the Gourd Temple mentioned in Dream of the Red Chamber? Nonsense, it must be a scam! Dream of the Red Chamber is a novel; how could this temple possibly exist?"

At this moment, Shantang Street in Suzhou, having endured the vicissitudes of war and several cycles of rise and fall, is far more prosperous than in the past. The streets along the river are lined with shops, gathering places, and abundant goods, with tourists and merchants bustling like clouds. Boats continuously traverse Shantang River, their oars creating a rhythmic sound intermingled with the melodies of silk and bamboo instruments. During the day, merchant ships shuttle back and forth, while at night, colorful lanterns and painted boats drift along, embodying a scene of wealth and elegance amidst the worldly hustle.

May I ask when the spring breeze arrives, it is only from the day before yesterday to this morning

And - in the illustrated book, Bai Juyi's poem was composed after his appointment in Suzhou, and Qiao Sanren wrote the "Shantang Scroll". Over six hundred years have passed, reaching the Ming Dynasty during the Chenghua period.

While Bai Juyi was composing poetry in a pavilion on the mountain, he was unaware that two immortals were gazing at the Seven Li Mountain Pond outside the city from halfway up the mountain. One was a man, dressed in wide robes and large sleeves, with a silk sash around his waist, named Qiao Sanren; the other was a woman, with her hair styled high and a graceful, delicate appearance, known as Liu Xianzi, a companion of Qiao Sanren. These two immortals hailed from the celestial realm of Wanshou Mountain and had paused in the mortal world outside Suzhou.

The night is already deep, and the sounds of music from the painted boat gradually fade away, leaving only the fragmented reflections of colorful lanterns on the water like scales. The shops along the street have long since closed their doors, and only the lanterns bearing the names of various families still hang in front of the grand mansion. There is not a single shadow on the bustling Shantang Street, which has been lively all day.

A figure swiftly approached from the direction of Wangshan Bridge, gliding along Shantang Street without touching the ground, heading towards Changmen. Under the illumination of the lanterns, a shiny bald head could be faintly discerned, revealing the visage of a middle-aged monk. His gray monk's robe was torn in several places, stained with mottled blood.

As the monk threw the jade pendant, he did not pause for a moment underfoot, instead leaping onto the water's surface and dashing between the painted boats, passing through the water gate on the side of Changmen and entering Suzhou City. The beam of sword light closely pursued, soaring over the city wall and flying into the city. The people, deep in slumber, were startled awake by that abrupt shout, while the monk and the sword light that followed had already vanished without a trace.

At that moment, whether on the shore or on the boat, the people in their dreams all heard a sharp shout: "Demon, do not escape!"

Liu Xianzi pondered: "The three great ancestors of Wanshou Mountain, I do not know much about the Mingyue Xiantong, but both Zhenyuan and Qingfeng are exceptionally skilled in the art of deduction. However, I have heard that the Qingfeng ancestor cannot paint at all"

Bai Juyi is renowned in the world for his poetry and prose, while the evaluations of his private life by later generations vary widely. Among the prominent literary figures of the Tang Dynasty, Bai Juyi stands out as the one who served in official capacities to benefit the local community, develop the economy, and promote agricultural irrigation, leaving behind a legacy of beautiful landscapes that continue to benefit the area and foster commercial prosperity and tourism development to this day.

... ...

The green waves flow in all directions, with three hundred and ninety red railings on the bridges

Mandarin ducks glide with their wings intertwined, willows intertwine in countless strands

The beautiful scenery of Suzhou and Hangzhou is a harmonious blend of natural landscapes and human craftsmanship. However, Bai Juyi was unable to stay for long. The Shangtang River had just been opened, and he departed the following autumn. In the first month of the year before his departure, Bai Juyi climbed the mountain and gazed at the city of Suzhou, filled with boundless emotions, and composed a poem expressing his feelings.

More than two hundred years later, during the Qianlong period of the Qing Dynasty, after the strange monk had departed

Upon finishing her words, Fairy Liu unfurled the scroll, while Qiao Sanren held the brush of myriad flowers to paint, depicting the scenery of the newly excavated Qili Mountain Pond. After completing the painting, Qiao Sanren casually waved, and the artwork floated towards the sky, its landing place on earth unknown.

According to the introduction of tourist attractions at Pufu Zen Temple, this small temple is the prototype of the Gourd Temple described by Cao Xueqin. Many people have raised doubts about this "verification," and some have even resorted to online insults, believing it to be a gimmick organized by the local government to deceive tourists with the help of "experts".

... ...

Qiao Sanren also sighed, saying: "When the Immortal Child of the Bright Moon condensed this painting into a scroll, the Immortal Child of the Clear Wind was right beside him, extending his finger to obscure the traces of the painting within the scroll, and with great magical power, he drew a door upon it. From then on, the mountains, rivers, and human habitation within the painting formed a world of their own"

Along the banks of the river embankment stone street, there are many bridgeheads where stone beast statues have been placed, the exact era of which is unknown. These statues are approximately half a person tall, resembling lions, tigers, cats, and even raccoons. The appearance of these stone beasts is not fierce; rather, each one has a cheerful and endearing expression. After the night deepens and silence falls, it seems that only these stone beasts continue to silently guard the Qili Mountain Tang River.

The monk moved swiftly through the Shantang Street, casting a silent spell with his right hand on the forehead of each stone beast he passed. In the blink of an eye, he had traversed seven miles of Shantang and arrived at the Dusi Bridge. From a distance, a beam of sword light flew in from the direction of Tiger Hill. Gritting his teeth, the monk threw a jade pendant he held in his left hand into the Shantang River.

Often, companions would echo: "Yes, exactly, those 'experts' who talk nonsense, and the boring politicians! They create such things to deceive people... How pathetic!" While shaking their heads in lament, there was, however, a hint of self-satisfied superiority in their expressions.

Liu Xianzi sighed again and said: "It is a pity that the gentle breeze has dispersed and the bright moon has not returned. Even if a thousand years later the traces in this scroll reappear in the world, what does it prove? That the path of the Qingfeng Xiantong is no less than that of the Zhenyuan Daxian? What difference does it make? When the Qingfeng Patriarch sealed this painting back then, did he ever think that a hundred years later he himself would have perished?"

The monk seemed to have left something on Shantang Street; at that time, he was being pursued too closely and planned to return for it later. However, a year passed, then ten years, then a hundred years, and he never returned again