What places of interest are there in Shanxi?

Introduction to Shanxi tourist attractions

Shanxi, referred to as Jin, is located on the west side of the North China Plain and the east of the Loess Plateau. It borders Inner Mongolia to the north by the Great Wall and borders Henan to the south. Taiyuan is the provincial capital. It covers an area of ??156,300 square kilometers. Han people account for 99.75% of the population; ethnic minorities only account for 0.25%, with the Hui people being the largest. Shanxi is one of the birthplaces of Chinese civilization and has rich historical heritage. The main places of interest include: Yungang Grottoes, Yingxian Wooden Pagoda, Hanging Temple, Jinci Temple, Wutai Mountain, Pingyao Wei Ancient City, Jiezhou Guandi Temple, Shanxi Merchants Courtyard, etc. Hanging Temple

Among the many temples in China, the Hanging Temple in Hengshan, Shanxi can be called a wonderful building. Most temples are built on flat ground, but this Hanging Temple lives up to its name, built on a cliff and suspended in mid-air. Its design ideas are truly unique and its architectural art is truly high. The Hanging Temple is made by digging holes into the cliff and inserting wooden beams. Part of the temple is built on these wooden beams, and the other part uses protruding rocks as its foundation. Visitors cannot see these wooden beams from a distance, but they can see many thin wooden beams leaning against the bottom of the temple. Visitors will wonder: Can these trembling wooden pillars withstand such a temple? When people looked carefully and found that in addition to the wooden pillars, there were also huge wooden beams inserted into the rocks that bore the weight, they had to sincerely sigh and admire the wisdom of the ancient craftsmen. The Hanging Temple was built in the late Northern Wei Dynasty, about 1,400 years ago. It has been rebuilt in the past dynasties, but the original structure has not changed. The predecessors introduced the Hanging Temple as follows: "Facing Hengshan Mountain, leaning on the green screen; facing dangerous rocks above, facing deep valleys below; cutting stone as the foundation, and building the house on the rock; the structure is thrilling and the shape is peculiar." After entering the temple, there are stairs. Climbing upstairs doesn't seem that thrilling, but when you are upstairs, walk from south to north along the passage that clings to the cliff, pass a plank road, and walk to the three-story, three-eaves building in the north. When you reach the pavilion, you will find that the terrain here is quite high. Looking up, you can see "dangerous rocks on the top"; looking down, you can see "the deep valley below", and the floor beneath your feet feels like it is shaking. It is really thrilling and thrilling. The temples built on the cliff are small in depth, and the statues in the temple are also relatively small in shape, but they have moderate proportions, rich expressions, and are of great artistic value. There are more than 40 halls in the temple, all of which are wooden structures. Their positions are arranged with changes in symmetry and connections in dispersion. Visitors walk among the corridors, like a maze, and may even find no way out. This is a characteristic of its architectural conception. It is neither rigid nor messy, giving people a sense of twists and turns. On the stone wall of the temple's plank road, there are four characters "Gongshu Tianqiao" engraved in appreciation of the construction skills of the Hanging Temple. Gongshu is Lu Ban, also called Gongshu Ban. He was born in the Spring and Autumn Period and the Warring States Period, and is considered the ancestor of construction craftsmen. These four words mean that this building is simply the work of a master craftsman like Lu Ban. There is a local folk song that describes the breathtaking temple: "The Hanging Temple is halfway up the mountain, with three horsetails hanging in the air." Xu Xiake, a great traveler in the Ming Dynasty, called the Hanging Temple a giant temple in the world in his travel notes, and made great contributions to the architecture and layout of the entire temple. received a very high rating.

Nine-Dragon Wall

The Nine-Dragon Wall is located in the Daiwang Palace, located on Heyang Street in the center of Datong City. It is the screen wall of the palace of Zhu Gui, the thirteenth son of Zhu Yuanzhang in the Ming Dynasty. In the twenty-fourth year of Hongwu (1391), Zhu Gui was granted the title of Dai Wang. In the twenty-fifth year of Hongwu (1392), Datong was established as a vassal. The palace building is large-scale and majestic. The palace faces south and is rectangular. There is a Kowloon screen wall in front of the central axis. The entrance gates are Duanli Gate, Chengyun Gate, Chengyun Hall, Chongxin Gate, Cunxin Hall, Changchun Palace, Guangzhou Palace, etc. Zhimen; on the east side from south to north are Guangfancang, Changchun Palace, Wangzong Tower, Qingshu Hall, Ancestral Temple, Yanju Hall, Back Hall, etc.; on the west side when entering Jimen, there is Sheji Altar on the left, and Fengyun Thunderstorm on the right Shanchuan Altar, Dacheng Hall, and across the corridor are Jinde and other halls. The entire palace is resplendent, luxurious and magnificent, with connected corridors and verandas, scattered houses, front halls and back bedrooms, and side rooms in the west wing. The palaces are deep and the corridors are winding. It is a complete royal palace. It covers a total area of ??175,950 square meters. Today's Donghua Gate, Xihua Gate, Huangchengkou and Shizai Gate are the ruins of the four gates of the palace at that time. The mansion was destroyed by war in the last year of Chongzhen (1644). The Nine-Dragon Wall of the Prince's Mansion stands across Heyang Street, so it is the only one that has been preserved to this day. The Nine Dragon Wall is located in the south of Dadong Street (Heyang Street) in the city, facing north. It was built from the 25th to 29th years of Hongwu (1392) to 29th (1396). The wall is 45.5 meters long from east to west, 8 meters high and 2.02 meters thick. It is the earliest, tallest, largest, most majestic and artistically charming of the three existing Nine Dragon Walls in my country. The entire structure of the Nine Dragon Wall is made of peacock blue, green, true yellow, medium yellow, light yellow, purple and other colors. The entire wall is made of 426 specially-made glazed components. The bottom of the wall is the Xumizuo, the middle is the wall body, and the upper part is the top of the wall. There are two layers of glazed beasts inlaid on the 75 glazed tiles on the waist of Misuzuo. The first layer contains images of elephants, lions, tigers, deer, Pegasus, unicorns, Suan Ni, etc. The second level is a small walking dragon. These glazed beasts have different postures and are lifelike. Nine glazed wall dragons are supported on the Xumizuo. The lower part of the entire wall is covered with green turbulent waves, and the upper part is covered with blue mist and yellow flowing clouds. The giant dragons are separated and connected by clouds, flowing clouds, waves, cliffs and water plants, which are colorful and spectacular. In the center is a sitting dragon, which is yellow in color. This dragon is facing the central axis of the palace, with its head raised and forward, its eyes bright. The pair of light yellow dragons on both sides of the central dragon are flying dragons. The dragon's head faces east and its tail stretches towards the central dragon. It looks cool and contented.

The second pair of dragons are medium yellow in color, with their heads and tails facing west. They are elegant, simple and elegant in shape. The third pair of dragons is purple and is a pair of flying dragons with ferocious and furious expressions, with the potential to overthrow the sea and the river. The fourth pair of dragons are yellow-green, full of energy and majestic. On the entire front, 9 giant dragons stretch out their claws to hold beads, catching the wind and rain, twisting and turning, with majestic bodies, gorgeous colors and lifelike appearance. The top of the wall is an imitation wood structure with a single eaves and five ridges, supported by 62 groups of glazed bucket arches. On both sides of the main ridge, there are high-relief multi-petal lotus and swimming dragon patterns, and at both ends are dragon kisses and heads. Designed as a dragon head. The flying rafters and forehead beams are all carefully carved and lifelike. The east and west ends of the dragon wall are decorated with patterns of the rising sun and the bright moon respectively, and are lined with river cliffs, sea water, and flowing cloud patterns. The reflecting pool in front of the wall is 34.9 meters long, 4.38 meters wide and 0.8 meters deep. It is surrounded by stone fences and connected by a stone bridge. The water in the pool is turquoise, the dragon's shadow is reflected, the water ripples slightly, and the nine dragons seem to be swimming in the water with their heads held high, and they are majestic and majestic. The Nine Dragon Wall is a key cultural relic protection unit in Shanxi Province.

Yongle Palace is located in the east of Longquan Village, three kilometers north of Ruicheng County. It was built on the ruins of the ancient Wei capital of the Western Zhou Dynasty. This is an ancient building with great influence at home and abroad. It is famous for its mural art. The murals here are treasures of existing mural art in our country, comparable to Dunhuang murals.

Yongle Palace, originally a Taoist temple, was built to worship Lu Dongbin, one of the "Eight Caves of Immortals" in ancient Chinese Taoism. It was originally called "Dachunyang Wanshou Palace" because it was originally built in Yongle Town, Ruicheng City. It is called Yongle Palace. The construction of Yongle Palace started in the second year of Guiyou (1247 AD) of Dingzong in the Yuan Dynasty. It was completed in the 18th year of the Yuan Dynasty (1358 AD), including painted murals. The construction period lasted for more than 110 years.

In Yongle Palace, the palace is grand in scale and sparsely laid out. In addition to the mountain gate, there are four tall Yuan Dynasty palaces arranged on the central axis: Dragon and Tiger Hall, Sanqing Hall, Chunyang Hall and Chongyang Hall. These Yuan Dynasty buildings are outstanding heritage in my country's ancient architecture. The overall layout of the building has a unique style. There are no ancillary buildings such as side halls on the east and west sides. In terms of architectural structure, it absorbed the "French style" of the Song Dynasty and the "column reduction method" of the Liao and Jin dynasties, forming its own unique style.

The murals of Yongle Palace are covered in the four main halls. These beautifully painted murals cover a total area of ??960 square meters, with rich themes and superb painting skills. They inherit the excellent painting techniques from the Tang and Song Dynasties, and integrate the painting characteristics of the Yuan Dynasty, forming the valuable style of Yongle Palace murals. It has become the most attractive chapter among the temple murals of the Yuan Dynasty.

Sanqing Hall, also known as Wuji Hall, is the sacred hall dedicated to "Taiqing, Yuzhu, and Yuanshi Tianzun of Shangqing", and is the main hall of Yongle Palace. The four walls of the hall are covered with murals, covering an area of ??403.34 square meters, with a total of 286 figures on the paintings. These figures are arranged in a symmetrical ceremonial form, with the green dragon and white tiger star king on the south wall as the forerunners, and 28 main gods such as the Emperor of Heaven and the Queen Mother are respectively painted. Around the main god, "heavenly soldiers and generals" such as 28 Su and 12 Gong Chen slowly unfold on the screen. The generals on the screen are brave and brave, the warriors are mighty and bold, and the beautiful ladies are upright. The whole picture is extraordinary in momentum, the scene is vast, the characters' clothes and costumes change, and the lines are smooth and exquisite. This scene of complex figures and brilliance is concentrated in the Taoist ritual of nearly 300 "gods" worshiping Yuanshi Tianzun, so it is called "Chaoyuan Picture".

Chunyang Hall was built to worship Lu Dongbin.

In the Chunyang Hall, the murals depict the mythological comic story of Lu Dongbin from his birth to his "achieving enlightenment and becoming an immortal" and "pursuing all sentient beings to play in the world".

The "Zhong and Lu Talking about Taoism" on the wall behind the opposite fan in Chunyang Hall is an extremely precious mural with extremely successful character description and a very good blend of scenes.

Chongyang Hall is a temple dedicated to Wang Chongyang, the leader of the Quanzhen sect of Taoism, and his disciples, the "Seven Immortals". The story inside the palace uses comic strips to describe the story of Wang Chongyang from his birth to his attainment of enlightenment by the "Seven Immortals".

Although the comic strips in Chunyang Hall and Chongyang Hall narrate the stories of Lu Dongbin and Wang Chongyang, they interestingly show the activities of people in feudal society. These pictures are almost microcosms of living social life. Common people wash, dress up, eat tea, cook, farm, fish, chop wood, teach, collect herbs, and chat; princes, nobles, and dignitaries pay homage in the palace, answer questions, and blow gongs to open the way; Taoist priests set up altars and chant sutras. Wait for all kinds of dynamics to pop up on the wall. In the painting, displaced hungry people, depressed cooks, tea servants, musicians, simple, kind and hard-working farmers form a very sharp contrast with the potbellied palace nobles, emperors and generals.

Yongle Town, where Yongle Palace was originally located, is in the flooded area due to the construction of the Sanmenxia Project on the Yellow River. Therefore, from

Gang Grottoes are located at the foothills of Wuzhou Mountain, 16 kilometers west of Datong City, on the Wuzhou River. of the North Shore. The grottoes are carved into the mountains and stretch for one kilometer from east to west. There are 45 main caves in existence, with more than 1,100 niches and more than 51,000 large and small statues. It is one of the largest grotto groups in my country and a world-famous art treasure house. In 1961, the State Council announced it as the first batch of national key cultural relics protection units.

The Yungang Grottoes were excavated in the middle of the Northern Wei Dynasty. The Northern Wei Dynasty experienced "Taiwu destroyed Buddhism" and "Wencheng restored Dharma". Large-scale construction of the Yungang Grottoes began during the Heping reign of Emperor Wencheng (460-465), and they were completed in the fifth year of Zhengguang reign of Emperor Xiaoming (524), taking a total of more than 60 years.

At the beginning, it was presided over by the famous eminent monk Tan Yao, who "cut mountains and stone walls and opened five caves at Xiwuzhou Fortress in the capital city." The 16th to 20th caves are now the "Tanyao Five Caves". Most of the existing caves were excavated before moving to Luo in the 18th year of Taihe (494). According to the "Shui Jing Zhu", at that time, "the mountain was carved out of stone. Because of the rock structure, it was really huge and majestic, which was expected by world law. The mountain hall, the water hall, the smoke temple facing each other, the forest abyss and the brocade mirror, the view is new every day."

The Yungang Grottoes are famous for their majestic sculptures and rich and colorful sculptures among the three major grottoes in my country. The smallest Buddha statue is 2 cm. The largest one is 17 meters high, and most of them are religious figures with different expressions. The grottoes have imitation wood buildings of various shapes, Buddhist reliefs with prominent themes, finely carved decorative patterns, and lifelike music and dance sculptures, which are lively and dazzling. Its carving art inherits and develops the carving art tradition of Qin and Han Dynasties, absorbs and integrates the essence of Buddhist art, and has a unique artistic style. It had a profound impact on the development of art in the Sui and Tang Dynasties. It occupies an important position in the history of Chinese art. It is also a historical witness of friendly exchanges and cultural exchanges between China and Asian countries.

The fifth and sixth caves in Yungang are located in the middle of the Yungang Grottoes. They are a set of twin caves excavated from about 465 to 494 before Emperor Xiaowen moved to Luo. In front of the temple, there are five four-story wooden pavilions built in the eighth year of Shunzhi in the Qing Dynasty (1651), with vermilion columns and glazed tile roofs, which are quite spectacular. The fifth cave is opened in the form of an oval thatched cottage and is divided into front and back rooms. The main statue on the north wall of the back room is a seated statue of Sakyamuni. It is 17 meters high and is the largest Buddha statue in Yungang. The exterior is decorated with clay sculptures from the Tang Dynasty. The cave is full of carved Buddhist niches and statues. On the west side of the cave are two Buddhas sitting opposite each other under the bodhi tree. The top is embossed with flying stars and beautiful lines. The plane of Cave 6 is nearly square. In the center is a two-story square pagoda connected to the top of the cave. It is about 14 meters high. There are four Buddhas carved on the pagoda pillars. There is a nine-story pagoda with eaves on each corner of the tower, which is carried on the back of an elephant. . The four walls of the cave are full of sculptures of Buddha, Bodhisattva, Arhat, Feitian and other statues. There are thirty-three heavens and various rides on the top of the cave, which is dizzying. Surrounding the four sides of the tower and the middle and lower parts of the southeast and west walls, there are 33 reliefs depicting Buddhist stories from Sakyamuni's birth to enlightenment. The content is coherent and the composition is exquisite. This cave is magnificent in scale, rich in carvings, rich in content, and refined in technique. It is a representative cave in the Yungang Grottoes and is also a grand review of the collection of sculpture art in the mid-term.

The seventh and eighth caves of Yungang Grottoes are located in the middle of Yungang Grottoes. The existing wooden building in front of the Seven Grottoes was built in the eighth year of Shunzhi (1651) in the Qing Dynasty. The planes of the seventh and eighth caves are all rectangular, and the layout of the caves is layered up and down, and divided into left and right sections. In the center of the upper canopy niche on the north wall of the back room of Cave 7, there is a statue of Maitreya Bodhisattva with crossed legs, sitting on a lion throne. There is a reclining Buddha statue on the left and right, and two attendant Bodhisattvas on the sides. The content is still about the three Buddhas, and there is a combination of statues. The lower niche is a seated statue of Sakyamuni and the Many Treasures Buddha. A row of figures of musicians are carved at the junction between the wall and the top of the cave, each playing a musical instrument. The east and west walls are symmetrically carved, and a row of thousands of Buddhas is carved at the junction of the wall and the top. There are eight different Buddhist niches carved on the lower four floors. There is a door and a window carved into the south wall, and four Buddhist niches are carved on the left and right sides. Between the doors and windows there are six statues of donors and Jile deva. Inside the bright window are carved Bodhisattvas and meditating monks. The inner arch is engraved with the image of the Dharma Protector Heavenly King and Feitian. The top part of the cave is carved with flat chess pieces, a lotus in the middle, and a flying sky in the middle. The entire top of the cave is decorated with flowers. Compared with the previous cave groups, the seventh and eighth caves have undergone many changes in terms of shape, content, statue composition, and themes, which reflect the torrent of social changes in the Northern Wei Dynasty.

The Tanyao Five Grottoes are currently numbered from caves 16 to 20. They are the first phase of the caves excavated by the monk Tanyao and are also one of the most eye-catching parts of the Yungang Grottoes. According to "Book of Wei·Shi Lao Zhi": "At the beginning of Heping Dynasty,... the White Emperor Tan Yao built a stone wall in the west of the capital city, dug five caves, and engraved one Buddha on each one. The height was seventy feet, and the next sixty. The ruler, with its magnificent carvings and decorations, was crowned in the first generation. "Five great statues were carved using the five emperors Daowu, Mingyuan, Taiwu, Jingmu and Wencheng as models. These five caves are large in scale and majestic. The most common feature of the shape is that the outer wall is fully carved with thousands of Buddhas, which generally imitate the oval-shaped thatched cottage form, without a back room. The statues are mainly of the three Buddhas (past, future and present). The main Buddha is tall and occupies the main position in the cave.

The standing statue of Sakyamuni in Cave 16 is 13.5 meters high and has a handsome appearance. In the center of Cave 17 is a seated statue of Maitreya with crossed legs in a Bodhisattva costume. It is 15.6 meters high. The smaller statue in the cave is larger and more aggressive.

The original statue in Cave 18 is a standing statue of Sakyamuni wearing the cassock of a thousand Buddhas. It is 15.5 meters high and majestic. The statues of the disciples on the upper floor of the east wall are unique in shape and skillful in technique. The original statue in Cave 19 is a seated statue of Sakyamuni, 16.8 meters high, making it the second largest statue in Yungang. Cave 20 is an open-air statue, with a seated Sakyamuni statue in the middle, 13.75 meters high. It is a representative work of the Yungang Grottoes. The faces are semicircular, with deep eyes, a high nose, large eyes and thin lips. Big earlobe shoulders, both shoulders straight, majestic shape and powerful momentum.

Yungang Wuhua Cave is located in Cave 9-13 in the middle of Yungang Grottoes. These five caves got their name because they were asked to paint with clay. Cave 9 and Cave 10 are a set of double caves with a front and rear chamber structure. They were built in the eighth year of Taihe (484), the reign of Emperor Xiaowen of the Northern Wei Dynasty, and were completed in the thirteenth year of Taihe. Chongfu Temple was built here in the Liao Dynasty. The plane of the two caves is nearly square. The south wall of the front end is carved with octagonal columns, and the upper parts of the east and west walls are carved with three wooden Buddhist niches. The remaining walls are full of carved Buddha statues and apsaras. There is a bright window carved on the door of the back room, and the main Buddha on the north wall is Sakyamuni Buddha. The main statue of Cave 10 is Maitreya. There are finely carved patterns on both the inner and outer sides of the door arch of the back room. The structure is rigorous and full of changes.

Cave 11-13 is a group, and Cave 12 with front and rear caves is the central cave. There is a cubic tower pillar in Cave 11. There are niches for statues on all sides of the tower pillar. Except for the niche on the south side which is Maitreya, they are all standing statues of Sakyamuni. On the upper part of the east wall, there is an inscription on the statue made in the seventh year of Taihe in the Northern Wei Dynasty (483), which is an important material for studying the history of Yungang excavation. In the northeast of the cave are an inscription niche dating from the 20th year of Taihe (496) and seven standing statues of Buddhas. In the front room of Cave 12 and on the upper parts of the east and west walls, three Buddhist niches imitating wooden houses are carved, with two pillars in the front and three doors. The top of the cave is carved with a figure of Ji LoTian, ??holding a panpipe, pipa, transverse flute, girdle drum and other musical instruments. , is an important material for studying music history. The original statue in Cave 13 is the cross-legged Maitreya Bodhisattva, about 13 meters tall, with a strongman carved under his right arm to support him, which not only has a mechanical effect, but also has a decorative effect. The seven standing statues of Buddhas on the upper floor of the south wall and the offerings to gods and humans on the lower floor of the east wall are both exquisite products in the cave. The Buddhist niches on the east wall are of various shapes. The Wuhua Cave is richly decorated with beautiful carvings and is a precious material for studying the history, art, music, dance, calligraphy and architecture of the Northern Wei Dynasty. It is an important part of the Yungang Grottoes Group.

The Yungang Eastern Grottoes Group refers to 1 to 4 at the east end of the Yungang Grottoes, all of which are pagoda caves. Cave 1 and Cave 2 are a group opened at the same time. They were dug before Emperor Xiaowen moved to Luo. The cave has a square tower carved in the center and niches for statues on all sides. The main figure of the first cave is Maitreya. On the south side of the pagoda, there is a statue of Sakyamuni Buddha on the lower floor and a statue of Sakyamuni on the upper floor. The five-story small tower in relief is an image material for studying the architecture of the Northern Wei Dynasty. The second cave is the statue of Sakyamuni. The lower floor of the south side of the tower is carved with the statue of Sakyamuni Buddha, and the upper floor is carved with the Buddha of the Three Generations. Both sides of the cave doors on the south wall of the two caves are carved with Vimalakirti and Manjusri. The third cave is the largest cave in the Yungang Grottoes. The front wall is about 25 meters high and it is said to be the Tan Yao Sutra Translation Building. The cave is divided into two rooms, front and back. There are two pagodas carved on the left and right sides of the upper part of the front room, and a square cave room is carved in the middle. The main image is Maitreya, and the walls are covered with thousands of Buddhas. On both sides of the south side of the back room are carved one Buddha and three Bodhisattvas with round faces, plump muscles and smooth agricultural patterns. The seated statue is about 10 meters high, and the two standing statues are 6.2 meters high. Judging from the style and carving techniques, it is probably a work from the early Tang Dynasty. The fourth cave is severely weathered and water-eroded. There is an inscription from the Zhengguang period of the Northern Wei Dynasty above the cave door on the south wall. It is the latest inscription in the Yungang Grottoes.

The Yungang Western Grottoes Group includes Cave 21 to Cave 45 in the Western Yungang Grottoes, as well as some unnumbered small caves and niches. Most of them are works produced after the 18th year of Taihe (494) in the Northern Wei Dynasty. It is characterized by many ungrouped caves, many small and medium-sized caves, and many small niches carved as supplements. Most of the statues are thin and clear, with overlapping pleats on the lower part of the clothing pattern, elegant and beautiful expressions, and elegant and free flying sky in the caisson. They have a strong Chinese style and are very close to the sculptures of the "Longmen Period". Among them, the relief sculpture of "The God of Music" on the north wall of Cave 38 is an image material for studying the miscellaneous performers of the Northern Wei Dynasty.

There is a five-story tower in the center of Cave 39. There are five bays and six pillars on each side of the tower. The brackets on the pillars support the eaves and the balance base. The width and height of each floor are smaller than the lower one, which is steady and elegant. , is an important material for studying early tower building. The overall layout of Cave 40 cleverly uses decorative art to make the format and composition of the cave regular.

Time: 2004-2-09 Monday, 4:19 am Title: Mianshan

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Mianshan, also known as Jieshan, is 20 meters southeast of Jiexiu City Kilometer 1, it belongs to the Taiyue Mountains, located at the junction of Jiexiu, Lingshi and Qinyuan counties, stretching for more than 50 kilometers, with an altitude of 2072 meters. Mianshan has steep mountains, many cliffs, green pines and cypresses, and very beautiful natural scenery. It is a provincial-level scenic spot.

According to legend, during the Spring and Autumn Period, Jie Zitui, an aristocrat of the Jin State, fled with Chong'er, the Prince of Jin, for more than ten years. When he was hungry, he cut off the meat from his own thighs and gave it to Chong'er to eat. After Jin Wengong returned to the country and became king, he took his mother to live in seclusion in Mianshan. Jin Wengong sent people to search for him. In order to force Jiezitui to push out of the mountain, he set fire to the mountain, but he and his mother were burned to death. When Duke Wen learned of this, he was filled with grief and anger, and ordered that Mianshan be changed to Jieshan, and Yang County be changed to Jiexiu County. He also "encircled Mianshan Mountain and sealed it as a recommended field" to express his memory. And on the day before Qingming Festival, which is the day when Jie Zitui was burned, no fires are allowed and every household can only eat cold food, which is called the "Cold Food Festival".

Lishan Tourist Area is a beautiful natural scenic spot located 56 kilometers southwest of Qinshui County. Here, the scenery is unique and charming. A visit here is like walking in a painting, and the gods are following the fairyland. Those who are lucky may wish to go to Lishan to enjoy the beautiful influence of natural scenery.

Lishan is the main peak of Zhongtiao Mountain, with a total area of ??100 square kilometers and an altitude of 2,358 meters. It is adjacent to Yicheng, Yuanqu and Yangcheng. The mountains and hills within the territory are verdant and high above the clouds. It is Shanxi The highest mountain in the southern part of the province preserves the only virgin forest in North China. Here, natural scenery, primeval forests and ancient human culture are integrated into one, making it a national nature reserve.