## Detailed walkthrough
### [00:00](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=0s) The Legend of Venerable Huili and the "Five Lings" of Hangzhou
The group gathers near Yongfu Temple with Abbot Master Yansheng, discussing the structural symbolism and sacred geography of the monastery. Master Yansheng explains that Buddhist temples typically feature three entry gates representing the three liberations: emptiness, signlessness, and wishlessness. Yongfu Temple's specific hallmark is its secluded depth, hidden away from the bustle. The origin of the site traces back to an Indian monk, Venerable Huili (Zen Master Huili), who traveled from Central India to Hangzhou. Upon arriving at the site, Master Huili looked up at the dramatic crag and marveled that it looked identical to Vulture Peak in India where he had practiced, famously exclaiming, "When did it fly here?" According to legend, a small peak detached from Vulture Peak and flew across the continent to this very ground, giving birth to the name Feilaifeng ("Peak That Flew Here").
Master Huili followed the mountain ridge and founded five distinct Buddhist practice sites in Hangzhou within a single year. Master Yansheng points out that all five temples share the auspicious character *"Ling"* (灵):
- **Lingjiu Temple (灵鹫寺):** The original name of Yongfu Temple, nestled deep in the mountain ridge.
- **Lingyin Temple (灵隐寺):** The expansive, world-famous sanctuary sitting right where the mountain shadow meets the stream.
- **Lingshun Temple (灵顺寺):** Perched atop North Peak.
- **Lingfeng Temple (灵峰寺):** Located in the area now occupied by the Hangzhou Botanical Garden, renowned for "Lingfeng Plum Blossom Viewing," one of Hangzhou’s classic scenic highlights.
- **Lingshan Temple (灵山寺):** The historic collective precursor to the Upper, Middle, and Lower Tianzhu temples (上、中、下天竺), where locals have traditionally flocked to worship Guanyin.
```mermaid
flowchart TD
accTitle: The Five Ling Temples Founded by Zen Master Huili
accDescr: Diagram illustrating the five monastic practice sites established by Huili in Hangzhou.
subgraph Origin["Venerable Huili arrives from Central India"]
V["Discovers Feilaifeng<br/>(Resembles India's Vulture Peak)"]
end
subgraph FiveLings["The Five 'Ling' Sanctuaries in Hangzhou"]
L1["Lingjiu Temple<br/>(Yongfu Temple)"]
L2["Lingyin Temple<br/>(Hidden in the woods)"]
L3["Lingshun Temple<br/>(North Peak)"]
L4["Lingfeng Temple<br/>(Botanical Garden / Plum Blossoms)"]
L5["Lingshan Temple<br/>(Upper, Middle, Lower Tianzhu)"]
end
V --> L1
V --> L2
V --> L3
V --> L4
V --> L5
```
[01:56](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=116s) The Taihu Stones and Buddhist Rock Carvings of Feilaifeng
Examining the foot of Feilaifeng, the travelers immediately notice how drastically its stone formations differ from the surrounding landscape. While typical Hangzhou hills are a mixture of earth and scattered rock, Feilaifeng is composed entirely of exposed, bizarre limestone crags resembling an enormous Taihu stone. Dou Wentao ponders whether Hangzhou was historically submerged underwater as a seabed or coastline, which would explain the lack of soil and the water-eroded, honeycombed limestone textures. Dou Wentao is visibly captivated by the crags, earning gentle teasing about how he is utterly mesmerized whenever he encounters ornamental stones. He excitedly urges the camera crew to frame the rocks, marveling at the cliffs along the stream.
The discussion turns to the cliff-side grottoes and Buddhist relief carvings, which represent more than a millennium of continuous sculptural history. While the iconic, jovial Maitreya Bodhisattva of Feilaifeng dates to the Northern Song Dynasty, other surrounding niches prominently showcase Yuan Dynasty carvings. Master Yansheng points out that Yuan carvings frequently feature Tibetan Esoteric Buddhist (Tantric) motifs, distinguished by dynamic upward-sweeping lotus pedestals and specific iconographies such as the Usnisa Vijaya Dharani and Vajrasattva. Professor Xu Zidong ruefully admits that in all his past visits to Hangzhou, he acted like an ordinary tourist who went straight to Lingyin Temple to burn incense and drop money into designated prayer boxes, completely overlooking the immense cultural treasury embedded in Feilaifeng's cliffs.
- Feilaifeng's stone features the classic weathered, perforated characteristics of scholars' rocks and garden stones.
- The cliff carvings span from the Song to the Yuan dynasties, preserving both Han and Esoteric Buddhist traditions.
- Dou Wentao notes that despite visiting Hangzhou dozens of times, he had never properly explored Feilai Peak’s stone carvings, calling the discovery through Master Yansheng a profound and pleasant revelation.
[05:50](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=350s) Contemplating Stones: Emptiness, "No-Form," and Ancient Watermarks
As the ascent steepens, Professor Xu Zidong opts to rest behind with the Buddha statues while Dou Wentao and the rest of the party continue exploring the crags. Wentao stops before a rock face marked by undulating ripples, recognizing them as ancient wave erosions from prehistoric water bodies. Master Yansheng confirms that these bizarre cliffs closely resemble the real summit of Vulture Peak in India, which he has personally visited on pilgrimage. Dou Wentao playfully spots zoomorphic shapes in the rocks, remarking that one looks just like an elephant’s eye and trunk, before philosophically linking the shifting shapes to the concept of "no-form" (signlessness) taught in the *Diamond Sutra*.
Wentao's fascination with miniature landscapes takes center stage as he spots an isolated, perforated stone spire. He envisions setting it onto a carved wooden base to sit on a scholar's desk or placing it inside a traditional garden courtyard. Master Yansheng elaborates on the aesthetics of porosity, observing that when a stone is hollowed out and completely connected from within, "spiritual energy flows in and out." Thus, a perforated rock becomes its own self-contained sacred world. Along the stone crevices, Master Yansheng points out an edible cliff-dwelling wild herb; Wentao samples the tender shoot on camera, remarking that it tastes crisp and slightly like sweet potato, before guiding the cameraman to trace the serpentine "dragon-like vein" of the limestone cliff.
- Ancient watermarks on Feilaifeng mirror the rocky crags atop Vulture Peak in India.
- Porosity and hollow channels in stones are traditionally revered because they allow spiritual qi (*lingqi*) to circulate freely.
- The group experiments with foraging native mountain plants directly from rock fissures.
[08:40](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=520s) Nature’s Calligraphy and the Sculptural Wisteria Vine
Approaching the summit, Dou Wentao playfully dramatizes his climbing attire, comparing his flowing garments to a "Fairy's Sleeve" or a traditional pipa. Examining the patterns on the rocks and weathered tree trunks, the group discusses the natural origins of Chinese aesthetics. Some natural gnaw marks and fissures appear remarkably like ancient Chinese characters. The travelers reflect on the ancient legend of Cang Jie creating Chinese characters after observing the patterns of constellations above and the tracks left by insects, birds, and snakes on the earth. This innate naturalism extends directly into Chinese calligraphy, particularly the prized technique known as "leaking stains down a wall" (屋漏痕), where a brushstroke mimics the unforced, irregular downward seepage of rainwater on an old plaster wall.
The hike concludes with the discovery of an extraordinary botanical curiosity: an ancient wisteria vine that has naturally grown into an abstract, self-supporting sculpture. Rather than sprawling straight, the thick vine once looped itself into a tight knot and continued growing and thickening over decades, forming an organic, perfectly rounded base and pillar. Master Yansheng suggests that long ago, a forest worker may have thrown a trailing branch over a fork to clear the path, allowing it to fuse and thicken into its sculptural posture. In season, the magnificent knot produces long cascades of purple blossoms that emit an exotic, heavy fragrance reminiscent of temple incense.
[22:04](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=1324s) Steering the Wheel of the Mind: Impermanence, Ego, and the Sage
The conversation opens on the nature of personal freedom and agency. True freedom is framed not as letting circumstances steer you, but as keeping both hands firmly on the steering wheel of your own life. When Dou Wentao asks whether such mastery is genuinely possible or if mental affliction is inevitable, Master Niansheng responds with calm reassurance: vexation is merely a fleeting state of mind, like a cloud passing across the sky. He challenges Dou to consider whether anyone can remain intensely annoyed for twenty-four hours straight without interruption. Because all emotional states naturally rise and fall, life, death, troubles, and joy are fundamentally governed by impermanence (*anicca*). Once a person genuinely grasps impermanence, they realize that suffering is transient, but so is ecstatic pleasure. Consequently, when adversity strikes, they are not crushed by distress, and when fortune arrives, they do not lose themselves in arrogance.
```mermaid
flowchart TD
accTitle: Progression from Mental Affliction to Selflessness
accDescr: Flowchart illustrating the transition from personal vexation to spiritual liberation through impermanence and shedding the ego.
subgraph Mindset["Recognizing the Mind"]
A["Mental Troubles & Emotions"] -->|"Observe Rise & Fall"| B["Understanding Impermanence"]
B -->|"Neither Gripped by Grief<br/>Nor Carried Away by Joy"| C["Transcending Affliction"]
end
subgraph EgoReduction["Stages of Selfhood"]
C -->|"Shift Focus Outward"| D["Worthy Person (贤人)<br/>Has Self, Serves Public"]
D -->|"Completely Sever Ego"| E["Sage / Buddha (圣人)<br/>Total Selflessness (无我)"]
end
```
Dou presses further, questioning whether human desires can ever truly be extinguished. The Master explains that liberation is not about forcefully suppressing desire, but about eliminating a single root cause: the illusion of the "self" (*anatta*). Where there is no ego to defend, there is no trouble to endure. Dou connects this Buddhist insight to Western philosophy, specifically recalling Bertrand Russell's realization in *The Conquest of Happiness* that his persistent misery stemmed from an obsessive preoccupation with his own thoughts and ego. The moment Russell shifted his gaze outward toward the world, his burdens evaporated. In traditional Chinese thought, this marks the distinction between a worthy person (*xianren*) and a sage (*shengren*): a worthy person still possesses an ego but subordinates it to the public good ("the world as a public domain"), whereas a sage completely eradicates the self.
This psychological liberation culminates in the ideal of being "in the world, yet above it"—possessing complete sophistication and worldly understanding, yet preserving a pure, untainted innocence deep within, maintaining inner tranquility while living in total harmony with secular society.
[24:35](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=1475s) "Suiyuan" vs. "Suibian": The Essence of Buddha-Style and the Journey to Ling Mountain
Dou Wentao brings up the popular modern trend among youth who describe themselves as "Buddha-style" (佛系), asking the Master how ordained monastics view this cultural phenomenon and where it diverges from authentic practice. Master Niansheng crystallizes the distinction into a single, profound character: authentic Buddhist practice is *suiyuan* (随缘, "going with the flow" or aligning with conditions and causes), whereas secular pop-culture has degraded it into *suibian* (随便, "whatever," carelessness, or passive resignation). Dou is immediately struck by this formulation. While modern individuals adopt "whatever" as a defense mechanism or excuse for slacking off, true Buddhist *suiyuan* requires active engagement and acceptance of reality's shifting conditions without attachment to rigid outcomes.
Recognizing the encounter itself as an act of predestined affinity (*yuanfen*), Dou reflects on their journey through the stones and temples of the region. He quotes the ancient Buddhist verse reminding travelers that "Ling Mountain (*Vulture Peak*) is not far away; it resides solely within one's own heart." For worldly people wrapped up in daily pressures, visiting a quiet sanctuary and speaking with a monk is like fulfilling the classical poetic yearning to "steal half a day of leisure from a floating, busy life." Expressing sincere gratitude to Master Niansheng for his clarity and guidance, the travelers prepare to continue their pilgrimage through Jiangnan.
- **The Core Distinction**: *Suiyuan* (随缘) means acting in accordance with karmic causes and conditions with full presence, while *suibian* (随便) is indifference, neglect, or nihilistic resignation.
- **Classic Allusion**: "Ling Mountain is only in one's heart" (佛在灵山莫远求，灵山只在汝心头), emphasizing that spiritual enlightenment is an internal realization rather than an external destination.
[26:15](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=1575s) Meeting the Wrinkled Cloud Peak (Zhouyun Feng) in Hangzhou
The journey shifts back into Dou Wentao's consuming aesthetic obsession: Chinese scholar stones. The group arrives at a historic site established in the ninth year of the Yongzheng reign (1731), celebrated historically as one of the Eighteen Scenic Views of West Lake. Turning a corner into a secluded courtyard, they discover that an entire architectural compound was built exclusively to enshrine a single legendary rock: the Zhouyun Peak (绉云峰, Wrinkled Cloud Peak). Dou is visibly ecstatic, gasping aloud as he finally beholds the stone in person: "Oh my, Zhouyun Peak, I have finally found you! I have finally seen it!"
Standing before the towering, slender monolith, Dou marvels at its dynamic, cloud-like contours and dramatic horizontal corrugations that evoke rolling waves. He identifies the rock as a classic Ying stone (英石), originally quarried from Yingde in Guangdong province. When a companion wonders whether its intricate folds could possibly have been carved by human hands, Dou explains the classical Chinese philosophy of stone appreciation: while human artisans may have gently guided or cleaned the material, the carving strictly adhered to the natural disposition of heaven and earth—craftsmanship so organic that it appears entirely untouched by human artifice (*虽由人作，宛自天开*).
Traditional literati named great stones after clouds because stones were revered as the "roots of clouds" (*云根*), born of condensed mountain vapors. Under the drizzle of the Jiangnan rain, the Zhouyun Peak displays an exquisite, moist jade-like luster (*润*). Dou humorously compliments his female companions by comparing the stone's slender, graceful silhouette to their figures, completely mesmerized by the stone's tactile surface and deep, wave-like wrinkles.
- **Historical Provenance**: Built in the 9th year of Qing Emperor Yongzheng (1731); preserved as a centerpiece of West Lake garden heritage.
- **Geological Origin**: Sourced from Yingde, Guangdong (Ying stone / 英石), distinguished by its dense texture, dark tone, and dramatic wrinkles.
- **The Four Great Scholar Stones of Jiangnan (江南四大名石)**:
1. **Guanyun Peak (冠云峰)** — Lingering Garden (留园), Suzhou (Taihu stone)
2. **Yulinglong (玉玲珑)** — Yu Garden (豫园), Shanghai (Taihu stone)
3. **Ruiyun Peak (瑞云峰)** — Suzhou No. 10 Middle School (Taihu stone)
4. **Zhouyun Peak (绉云峰)** — Hangzhou (Ying stone; the only non-Taihu stone among the four)
[29:38](https://www.youtube.com/watch?v=U3J-_Kl-5fE&t=1778s) Dou Wentao's Passionate Obsession: Lighting the Stone and Bidding Farewell
As twilight descends, Dou Wentao steps back to take in the stone from a distance, raving about its silhouette standing starkly against the evening sky. The stone perfectly embodies the classical aesthetic criteria for scholar rocks: pierced (*tou*), hollowed (*lou*), slender (*shou*), and wrinkled (*zhou*), blending rigid stony strength with flowing elegance. Dou is so captivated he cannot tear his eyes away. When his companion teases him, asking if he is desperate to haul it home, Dou shamelessly jokes, "I’d be willing to be a dowry for it!"
Dou takes charge of the television crew, demanding that the camera operators stop filming the human hosts altogether. He insists that illuminating the stone against the dim twilight will reveal dramatic textures and contours far superior to daytime viewing: "Both of you step aside, don't film us anymore, just film this stone! At this moment, we are not important." Bathed in the production lights, the rock's moist, glistening ridges come alive, creating what Dou calls the quintessential soul of a Jiangnan garden.
This encounter completes a personal pilgrimage for Dou. Having already visited the other three legendary Jiangnan stones in Suzhou and Shanghai, Zhouyun Peak was the final missing piece of his lifelong quest. Playfully referencing *The Story of the Stone* (*Dream of the Red Chamber*), where Jia Baoyu is the incarnation of a mythical stone, Dou jokes that while Baoyu is the jade protagonist, he himself is just a "fake Laoyu" (an old stone fanatic). When the crew finally forces him to pack up and leave, Dou reluctantly bids the rock a fond, affectionate farewell, calling it "my dear" and then "big brother," promising the ancient monolith that he will return to visit it again.
[0:00] Master, Master Yansheng is the abbot of
[0:03] our Yongfu Temple.
[0:05] The four vows are the three gates of
[0:07] liberation: emptiness, signlessness,
[0:08] and wishlessness, so temples generally
[0:10] have three gates. They all have three
[0:12] gates.
[0:13] This counts as this gate.
[0:14] This is considered the third gate.
[0:15] Ah, I see.
[0:17] Because the special characteristic of
[0:18] Yongfu is its seclusion.
[0:19] Mm.
[0:20] It is exceptionally deep and secluded.
[0:25] At that time, there was a high monk who
[0:27] came from India. He was called
[0:30] Venerable Huili, or Zen Master Huili.
[0:33] He built five practice sites here in
[0:35] Hangzhou, and Yongfu was one of them.
[0:37] Mm.
[0:40] When he arrived in Hangzhou from
[0:41] Central India, he reached this place
[0:43] and discovered this mountain, and he
[0:45] said, "This mountain looks exactly like
[0:47] the Vulture Peak where I practiced in
[0:48] India. When did it fly here?" So, a
[0:52] small peak of Vulture Peak flew to this
[0:55] place.
[0:55] That is why it is called Feilaifeng (
[0:57] Peak That Flew Here).
[0:58] Feilaifeng, yes.
[0:59] Come.
[1:00] He followed the path along this
[1:01] mountain range upward.
[1:03] Mm.
[1:04] He built practice sites, five of them
[1:06] in one year.
[1:06] Mm.
[1:07] Yongfu is one of them, called Lingjiu
[1:09] Temple.
[1:10] Lingjiu Temple.
[1:11] Right at the mountain. By the water
[1:13] below, right where the forest casts a
[1:15] shadow, this vast area is also one of
[1:17] his practice sites, called Lingyin
[1:19] Temple. They all have the character "
[1:21] Ling."
[1:21] Oh, so that's it.
[1:22] At the top of North Peak, though we
[1:24] can't see it from here, there is a
[1:25] temple called Ling-shun Temple. One of
[1:27] the eight scenic spots of Hangzhou is "
[1:29] Lingfeng Plum Blossom Viewing."
[1:30] The area now known as the Botanical
[1:32] Garden used to be called Lingfeng
[1:33] Temple.
[1:34] Oh.
[1:34] Also, the places in Hangzhou where the
[1:36] local people most like to worship Guan
[1:38] Yin are Upper Tianzhu, Middle Tianzhu,
[1:39] and Lower Tianzhu. Originally, these
[1:41] three Tianzhu temples were called
[1:43] Lingshan Temple.
[1:44] Four "Lings."
[1:45] Five "Lings."
[1:46] Oh, five "Lings" now.
[1:48] Lingjiu, Lingshun, Lingfeng, Lingshan,
[1:50] Tianzhu-Ling. This is Feilaifeng, it
[1:54] really flew here.
[1:55] At the foot of Feilaifeng.
[1:56] Look at these stones; they are
[1:57] different from the surrounding
[1:59] mountains. Our local mountains are a
[2:00] mix of soil and stone, but this
[2:02] mountain is full of strange rocks; the
[2:04] stones are very beautiful.
[2:05] Really.
[2:05] Every single piece is a beautiful
[2:07] ornamental stone. They are all
[2:08] landscape stones.
[2:09] They are all prized stones, all of them
[2:11] .
[2:11] Yes, all prized stones; that is why
[2:13] this peak is different from other
[2:14] places.
[2:14] Mm, it looks like it flew in from
[2:16] somewhere else.
[2:17] It flew here. They are especially
[2:18] concentrated in this area; the entire
[2:20] mountain is like one giant Taihu stone.
[2:22] Along the bank, there are many rock
[2:24] carvings.
[2:24] There are rock carvings? Shall we go
[2:26] and take a look?
[2:27] We can go and take a look.
[2:28] Should we go see that? Okay.
[2:30] Hey, let me tell you all. Film this.
[2:34] This, this really looks just like Taihu
[2:36] stone. Exquisite. Was this area of
[2:39] Hangzhou underwater before? It might
[2:41] have been by the seaside.
[2:43] Either the seabed or the coast,
[2:44] otherwise how could there be no soil?
[2:46] It’s all stone.
[2:47] So, it shares the same formation
[2:49] principle as Taihu stone. Yes, Lingjiu
[2:51] Mountain, exquisite.
[2:52] Linglong Mountain, oh, what a great
[2:54] name.
[2:55] Wentao. Wentao is mesmerized whenever
[2:57] he sees things like this.
[2:58] Hey, I love this, it’s truly a sight
[3:00] to behold.
[3:01] Let me go take a look at that.
[3:04] This, this is a sight to behold, how
[3:06] wonderful, look at this mountain. Let
[3:13] me pay my respects, let me use my lens
[3:15] to pay my respects. And these Buddhist
[3:21] statue carvings have spanned over a
[3:23] thousand years. A history of carving
[3:24] that has continued for over a thousand
[3:26] years. The iconic Maitreya Bodhisattva
[3:28] of Feilai Peak was carved during the
[3:30] Northern Song Dynasty. A very large one
[3:33] . Oh, Feilai Peak. How could we have
[3:38] never visited Feilai Peak? Xu, how
[3:42] could we have never visited Feilai Peak
[3:44] ? Professor Xu, have you never been to
[3:46] Feilai Peak?
[3:47] I've been here, but just as a mortal, I
[3:49] just went straight to Lingyin Temple to
[3:51] pray.
[3:53] Me too.
[3:54] Praying for all sorts of things, right?
[3:57] They even categorize the donation boxes
[3:59] , depending on what you're praying for,
[4:01] they give you a specific box, so we
[4:02] ignored the treasures here.
[4:04] I’ve been to Hangzhou dozens of times
[4:06] , how have I never been to Feilai Peak?
[4:07] I’ve only ever heard of it. So, so it
[4:09] doesn't matter anymore if this mountain
[4:11] flew here from India, right?
[4:12] Doesn't matter, it doesn't matter.
[4:13] This is our own treasure mountain in
[4:15] China, a treasury of Buddhist culture.
[4:16] Fantastic.
[4:17] Oh, Yuan Dynasty.
[4:19] Yuan Dynasty carvings.
[4:21] Then that one next to it must be from
[4:23] the Yuan Dynasty too. Where?
[4:25] Film more of this, look at these folds
[4:27] and holes in the stone.
[4:29] Ah, wonderful, oh, thank you so much,
[4:31] Master Niansheng. You’ve led us to
[4:33] discover a new world, my god, we
[4:35] weren't just surprised, we were very
[4:37] pleasantly surprised. Right, we’ve
[4:39] been to Hangzhou, I even wrote it down.
[4:42] Yuan Dynasty Bodhisattva statue.
[4:47] Look, the lotus pedestal of his
[4:49] Bodhisattva statue is flying upwards.
[5:02] That one above is very typical, it’s
[5:04] Esoteric Buddhism, right?
[5:05] Yes, yes, it’s Esoteric Buddhism,
[5:07] most Yuan Dynasty statues are Esoteric.
[5:09] Oh.
[5:09] This one, the sutra says it’s the
[5:11] Usnisa Vijaya Dharani.
[5:12] Oh, Usnisa Vijaya Dharani.
[5:15] Look at this Vajrapani, Vajrasattva
[5:17] beside it. Going up, look at you, if
[5:50] you’re not feeling well, should you
[5:52] just rest here for a while?
[5:53] Sure, are you guys coming back down?
[5:55] We’ll come down in the morning, you
[5:56] go ahead.
[5:57] Okay, okay, okay.
[5:58] Alright, Professor, you have a rest
[6:00] then.
[6:00] Master Xiu is here.
[6:01] Stay with the Master and Buddha for a
[6:03] while.
[6:03] Yes, that's right.
[6:05] Oh, look at this. This stone is also
[6:08] great. This is it, can you all see?
[6:10] This one. Traces of ancient waves and
[6:12] tides. This is, this is from water
[6:14] erosion.
[6:15] This has touched Master Wentao's heart.
[6:18] It's so beautiful. Look at this group,
[6:23] you can take a look at this one too.
[6:24] And this is very similar to Lingqiu
[6:26] Mountain. Vulture Peak in India, its
[6:28] summit has such strange cliffs too.
[6:29] Is Vulture Peak in India still a
[6:31] mountain now?
[6:32] It's still a mountain.
[6:33] Have you been there to see it?
[6:34] I have been there.
[6:35] Oh, you've been there?
[6:36] Yes.
[6:36] Oh my. I just like stones, you probably
[6:40] think it's a bit childish, right?
[6:44] Having a hobby is a good thing. Look,
[6:47] doesn't this look like an elephant's
[6:49] trunk?
[6:49] It looks like that elephant.
[6:51] Like the elephant's eye. Doesn't it?
[6:55] But it’s also truly like the "no-form
[6:57] " mentioned in the Diamond Sutra.
[7:00] Master Wentao is being playful.
[7:03] Master Wentao is being mischievous
[7:04] again.
[7:05] Look, there is that independent
[7:06] standing one.
[7:08] That lone peak, right?
[7:11] That would look especially beautiful
[7:12] placed in a garden. How beautiful it is
[7:16] , oh, this hollow part.
[7:18] Yes, yes.
[7:19] Absolutely.
[7:20] You all need to film this.
[7:21] This hollow part.
[7:22] This is where the spiritual energy is.
[7:25] So, anything that is hollow and
[7:26] connected has spiritual energy flowing
[7:29] in and out; therefore, this is a
[7:30] spiritual mountain, a world of its own.
[7:34] Oh my, look how beautiful this is. This
[7:36] is a work of art, right?
[7:39] Get a small base for it.
[7:41] Exactly, then turn it around with this
[7:43] side facing down, or this side facing
[7:45] up. Get a small base for it.
[7:49] Put it on your desk; what a beautiful
[7:50] mountain it would be.
[7:53] Oh boy.
[7:54] You can eat one of these.
[7:55] Oh?
[7:55] You can eat one.
[7:56] Is this really edible?
[7:57] It really is edible, it really is.
[7:59] What is this thing?
[8:00] This is a type of plant from the
[8:01] mountain, they call it...
[8:03] Are you eating the little bulb or? No,
[8:05] just this part is...
[8:08] It's tender.
[8:09] Hmm, it tastes a bit like sweet potato.
[8:13] Yeah. Stone-growing plant. This is a
[8:16] stone-growing plant. Film this, you
[8:17] guys have a shot, let me tell you, you
[8:19] can do it like this. Just, just follow
[8:22] this vein, just follow this vein, and
[8:24] finally settle on this spot.
[8:26] Imposing as a dragon.
[8:28] Right, imposing as a dragon. Oh my. Oh,
[8:32] this, this is my biggest gain in
[8:34] Hangzhou. Yes, a bit smaller. From
[8:37] these ancient scattered stones.
[8:40] Starting now?
[8:41] Stepping out. This is the "Fairy's
[8:48] Sleeve," the "Fairy's Sleeve," the Pipa
[8:50] , I'm changing clothes.
[8:53] Come, Feilai Peak summit.
[8:55] Oh. Oh my,
[8:56] This is wonderful.
[8:57] Check-in successful.
[8:58] Is this—are there characters here too
[9:00] ?
[9:00] It is.
[9:01] No, these were formed by touch.
[9:02] There are some.
[9:03] Does it look like his?
[9:04] It feels like there are characters.
[9:05] Feels like there are characters.
[9:07] Like wood occasionally forming patterns
[9:08] ; it’s like wood being gnawed and
[9:09] forming patterns by chance.
[9:10] Occasionally forming patterns. So, the
[9:12] invention of Chinese characters was
[9:14] close to nature. Legend has it that
[9:17] Cang Jie created characters by
[9:18] observing celestial phenomena and the
[9:20] trails left by insects and snakes on
[9:22] leaves; you can see the prototypes of
[9:24] Chinese characters in nature. It’s
[9:27] not.
[9:28] In our calligraphy, there is a
[9:29] technique we call "leaking stains."
[9:32] Those water stains seeping down a wall
[9:34] —if your calligraphy can capture such
[9:36] traces, it’s extremely natural.
[9:39] Hmm. Wow, this scene—oh my, this is
[9:41] —this is number one, this is amazing!
[9:43] What does this mean? Why?
[9:45] This is incredible, my goodness.
[9:49] This is a sculpture, this is.
[9:51] Look, look, this is a sculpture, it’s
[9:53] a vine, not a root—it’s not a root.
[9:56] It tied itself into a knot here.
[9:58] Then it kept growing, kept thickening,
[10:00] kept growing, kept thickening, and it
[10:02] formed this base.
[10:03] Why is it so round?
[10:04] It just happened to make a loop.
[10:05] It twisted itself directly. Yes,
[10:07] twisted. It’s also possible it was
[10:09] blocking the path and a forest worker
[10:11] threw it onto the tree. Uh, it also
[10:13] blooms.
[10:13] Oh, where does it bloom?
[10:16] It blooms hanging from the top, like
[10:18] purple ones.
[10:19] It blooms with those purple flowers,
[10:21] and there’s a strange fragrance.
[10:23] There’s even a fragrance?
[10:25] Like the scent of incense, I mean its
[10:27] flowers.
[10:30] Good heavens, this is like a miracle. "
[10:37] Green peaks trace the path behind, vast
[10:39] and indistinct the view ahead."
[10:43] That describes exactly where we came
[10:45] from; looking back at the place we just
[10:47] passed, it’s "vast and indistinct,"
[10:49] it fits the scenery perfectly.
[10:52] Joining the teacher.
[10:53] They said you got lost.
[10:54] Not at all.
[10:56] They say, "A few days in the mountains
[10:58] is a thousand years on earth," fearing
[11:00] we’d turn to stone by the time we
[11:01] came out. Ah. Hey. This is where
[12:04] Donggao Xinyue left his mark, called "
[12:06] Where Clouds Are Born."
[12:08] Hmm, "Where Clouds Are Born."
[12:09] Oh, so this is Donggao Xinyue.
[12:11] Yes, his calligraphy.
[12:13] Is this the Donggao Xinyue who went to
[12:15] Japan?
[12:15] Yes, an abbot who lived at Yongfu
[12:18] Temple from 1671 to 1676.
[12:21] You found Huang Zong through him.
[12:23] He originally practiced here, oh, and
[12:25] then traveled east to Japan.
[12:27] Yes, yes, he traveled east to Japan
[12:30] from here; Zen is like a spring dream,
[12:32] leaving no trace.
[12:35] This is how it looked during the Kangxi
[12:36] Emperor's southern inspection tour; it
[12:38] was restored like this in the past.
[12:40] It was like this before. Ask the
[12:42] teacher over there.
[12:44] Come and take a look.
[12:47] The story behind this picture is about
[12:49] a royal excursion; the late Southern
[12:51] Song Emperor Duzong,
[12:53] he was quite playful, playing during
[12:54] the day and lighting lanterns at night.
[12:56] Mm. At that time, this place was part
[12:59] of his temporary palace, his imperial
[13:01] temple, so this mountain is Feilaifeng,
[13:04] this very mountain; it was originally a
[13:06] two-story building.
[13:08] Oh, is this a pavilion or a tower?
[13:10] It's this one, this one. It was
[13:11] originally two stories, but it was
[13:13] lowered later, so it's not as tall as
[13:15] before.
[13:16] Emperor Duzong's mother always lived at
[13:18] Yongfu Temple. So he also visited
[13:20] Yongfu Temple, right here in front of
[13:22] us. Since we want to see where Emperor
[13:25] Huangbo's calligraphy was filmed, let's
[13:26] go.
[13:27] Let's go straight there, let's go
[13:28] directly. Come on.
[13:30] Come.
[13:31] These are a few pieces Old Yue prepared
[13:33] for everyone to appreciate.
[13:35] Chrysanthemum painting, Donggao Xinyue
[13:37] perhaps.
[13:38] The same piece you saw on your phone.
[13:39] Yes, yes, exactly.
[13:42] My goodness, oh my god, let me take off
[13:44] my ring, I don't want to scratch it.
[13:47] Come on. Donggao Xinyue.
[13:54] He paints chrysanthemums and orchids
[13:56] without roots.
[13:59] What does that mean?
[14:01] Because he traveled east to Japan,
[14:03] leaving his homeland, leaving his roots
[14:05] .
[14:06] Oh, that's interesting.
[14:08] Right, in his era, his orchid and
[14:10] chrysanthemum paintings never show
[14:12] roots.
[14:13] Deep meaning, yes.
[14:15] And his Zen-style paintings are very
[14:17] elegant and pure.
[14:20] Yes, very elegant and pure, and
[14:22] preserved very well. Truly
[14:25] well-preserved.
[14:26] And this is Donggao's famous
[14:28] Bodhidharma painting.
[14:29] Bodhidharma painting.
[14:31] Ah.
[14:36] Bodhidharma crossing the river on a
[14:38] reed.
[14:39] Yes, crossing on a reed. A Ming Dynasty
[14:48] monk who could write and paint.
[14:51] Traveled east to Japan.
[14:54] And the things he left behind
[14:55] influenced Japan.
[14:56] Yes, it influenced Japan at the time,
[14:59] and...
[14:59] During the Edo period, they were
[15:01] influenced by these monks who traveled
[15:03] east to Japan during the transition
[15:04] from Ming to Qing.
[15:06] Now we have brought it back.
[15:07] It can be considered a witness to
[15:09] cultural exchange between China and
[15:10] Japan. It's quite interesting. "
[15:14] The Universe Lets Me Be Lazy," hey, I
[15:16] saw this in an exhibition at the
[15:18] National Art Museum of China.
[15:22] I had a very deep impression of it,
[15:23] it's very interesting.
[15:26] This is the earliest "lying flat."
[15:27] It is truly written with Zen technique;
[15:29] Zen emphasizes not being too deliberate
[15:30] , not being overly polished.
[15:33] A relaxed state.
[15:36] Mm, let's finish looking at this "lying
[15:38] flat.""The Universe Lets Me Be Lazy."
[15:41] How wonderful. So vast is the world,
[15:44] hey, I can take a lazy nap. This is a
[15:46] typical example, what we call a tea
[15:48] scroll. This is a typical one, what we
[15:51] call a tea hanging scroll. A line of
[15:54] calligraphy.
[15:54] A cup of tea for the guest.
[15:56] A cup of tea for the guest, oh.
[15:57] Not a single word of nonsense. Isn't it
[15:59] refreshing?
[16:00] Ah. You’re saying that back then, a
[16:03] monk from our China was treated like a
[16:05] national master in Japan; that’s
[16:07] quite an honor.
[16:09] Indeed.
[16:12] Because they were isolated, their own
[16:14] national culture was contained within.
[16:18] So anything foreign, even just one
[16:20] person or a small group, would have a
[16:22] very profound impact on them.
[16:24] And the Japanese are particularly good
[16:25] at learning; as long as you are strong,
[16:27] I will respect you. Not to mention a
[16:29] master. Anything is possible.
[16:32] Also, you mentioned these Zen monks—
[16:34] why does it seem like Chinese Zen monks
[16:36] could do everything? Writing,
[16:39] architecture, agriculture, and so on.
[16:42] Back then, there was no division.
[16:44] They knew how to do everything.
[16:46] Before they became monks, they were
[16:48] scholars or Confucian students.
[16:51] Literati.
[16:52] Literati.
[16:52] They had a certain level of scholarly
[16:54] cultivation and monk-like discipline.
[16:56] Actually, many late Ming literati
[16:58] became monks; when the Qing entered the
[17:00] pass, many scholars found themselves
[17:02] useless— "of all things, scholarship
[17:04] is the most useless."
[17:05] Right, right, right.
[17:07] So, what could they do? Either live in
[17:10] seclusion, or—
[17:12] Right.
[17:12] Either become a monk and get ordained.
[17:15] Ordained.
[17:15] Become a monk, go to Japan, or live in
[17:18] seclusion—those were the three paths.
[17:20] Just those few paths.
[17:21] Three paths, right?
[17:22] Yes, yes, yes, three paths.
[17:25] Let’s look at the scroll. Hmm, could
[17:27] people who "lie flat" achieve something
[17:29] like this?
[17:30] The universe.
[17:33] Only by "lying flat" could such
[17:35] achievements emerge, right? Take a look
[17:40] .
[17:40] This is "Flowers blooming in ten
[17:42] thousand..."...
[17:43] nations, spring. "
[17:44] Flowers blooming in ten thousand
[17:45] nations in spring," oh.
[17:47] Flowers blooming in ten thousand
[17:49] nations. So, when you mentioned the "
[18:06] universe" and I lazily thought of "
[18:09] lying flat," it suddenly occurred to me
[18:11] —Master, let me ask you: what do you,
[18:13] as a monk and bhikshu, think of this
[18:16] modern trend among young people known
[18:18] as "lying flat"? Is it reliable?
[18:24] This concept is not reliable. It sounds
[18:27] a bit...
[18:29] Hmm.
[18:29] It feels a bit negative and passive.
[18:32] Hmm.
[18:32] Actually, I think "lying flat" is a
[18:34] response to the intense "rat race" of
[18:37] today's society.
[18:38] Right? I don't want to compete, I just
[18:40] want to lie flat.
[18:41] Isn't that right? It’s a form of
[18:42] resistance.
[18:43] It’s actually a form of struggle as
[18:45] well.
[18:45] Right.
[18:46] But how many people can truly "lie flat
[18:48] " today?
[18:49] Right. They can't actually lie flat;
[18:52] they are just giving themselves time
[18:54] and space to think. What can I actually
[18:57] do? What is it that I really want to do
[18:59] ? How should I really go about it?
[19:02] Figuring things out before taking
[19:04] action is what I think about every day.
[19:08] These questions you raised are perhaps
[19:10] what trouble everyone in their twenties
[19:11] or thirties; I actually think about
[19:13] these issues constantly.
[19:16] Do you want to just give up?
[19:18] Actually, I don't want to give up; I
[19:20] still feel like this is an age where I
[19:21] should be striving and working hard.
[19:24] But as the Master said, I can't answer
[19:25] these questions for myself yet. I have
[19:30] to answer them during the process of
[19:31] exploration and effort, which is why I
[19:33] feel anxious along the way. That's why
[19:36] sometimes...
[19:37] What is your anxiety right now?
[19:38] For example, what exactly should I do?
[19:41] Why am I doing this? Is this the right
[19:43] fit for me? Things like that. And other
[19:44] questions of that nature. Questions
[19:46] about my career, my lifestyle, my
[19:48] pursuits, and so on. Do you doubt what
[19:51] you are doing right now?
[19:52] Well, I am firm in the present moment,
[19:54] but as for the future, it's all unknown
[19:56] , and I'm uncertain.
[19:57] I think that's very normal.
[19:58] Mm.
[19:59] In fact, everyone feels anxious about
[20:01] the future.
[20:02] Mm.
[20:03] Because the future is truly unknowable.
[20:05] If you had a knowable future, that
[20:07] would be terrifying.
[20:08] Yes, it would.
[20:09] Right? And another thing is, if you try
[20:11] to force certainty upon an unknowable
[20:13] future, what does that lead to? It
[20:14] leads to anxiety. Right?
[20:16] Yes, the need for certainty. Exactly,
[20:18] that is anxiety. All anxiety is the
[20:21] attempt to impose certainty onto the
[20:22] uncertainty of the future.
[20:24] Yes.
[20:24] Demanding too much from the outcome.
[20:27] But to do things well, shouldn't you
[20:29] have a goal in mind and strive to
[20:30] achieve it?
[20:33] But you must know what conditions are
[20:35] required to achieve that goal.
[20:37] Exploration, awareness,
[20:39] and resources.
[20:40] For example, let's say I am...well, she
[20:42] is a girl. If she insists on performing
[20:44] a male martial arts role in an opera.
[20:46] Mm.
[20:47] She can't do it, right? Her inherent
[20:48] conditions aren't there; this is what
[20:50] we call "Yuan"(karmic conditions). No,
[20:52] it won't work from the very start. "
[20:54] Yuan" as in karmic connection.
[20:55] It means that for you to accomplish
[20:57] something,
[20:58] it is actually the conditions that help
[20:59] you succeed.
[21:01] It’s about your ability.
[21:03] Ability is just one part of those
[21:05] conditions, along with other resources.
[21:07] Like whether you can meet a good
[21:09] teacher.
[21:10] Whether you can get into a good school.
[21:11] Your own conditions are the "internal
[21:13] causes," while external factors are "
[21:15] external conditions." When causes and
[21:16] conditions align, the task is
[21:18] accomplished.
[21:18] If it doesn't work out, don't blame
[21:20] yourself too harshly.
[21:21] Because even if you put in 100%effort,
[21:24] you have only satisfied one condition.
[21:26] Right.
[21:27] But for something to happen, it might
[21:28] require a hundred conditions to be met.
[21:31] Even though in life, we have very few
[21:33] opportunities to steer the direction
[21:34] ourselves.
[21:36] Mm-hmm.
[21:36] When you were small, a little baby, you
[21:38] couldn't do what you wanted. Your
[21:40] mother held you to feed you; later, in
[21:42] kindergarten or school, you were
[21:44] managed by teachers, right?
[21:45] After you grow up and find a job,
[21:47] you're managed by your boss; once you
[21:49] start a family, you're managed by your
[21:51] wife and kids. So, human beings are
[21:53] always in a state of, what's the word,
[21:55] being constrained. On the surface, you
[21:57] are walking or driving on the road, but
[21:59] there are many hands on the steering
[22:01] wheel. You might have one hand, or half
[22:04] a hand, or sometimes no hands of your
[22:06] own on it at all. The so-called freedom
[22:08] is to have the steering wheel in your
[22:10] own hands.
[22:11] Right.
[22:12] Is that possible?
[22:13] Huh?
[22:13] Is it possible?
[22:14] It is possible.
[22:15] Really?
[22:17] Don't you, don't you feel annoyed?
[22:19] Well, annoyance is just a form of
[22:21] trouble. It’s like a cloud in the sky
[22:23] .
[22:24] Mm.
[22:25] It’s here today, and gone tomorrow.
[22:28] Mm.
[22:28] Can you be annoyed for 24 hours
[22:30] straight?
[22:31] I can't.
[22:31] It’s just an emotion.
[22:33] Exactly, every emotion that rises must
[22:35] also fall. Therefore, life and death
[22:37] are in impermanence; troubles are in
[22:39] impermanence, and joy is also in
[22:40] impermanence. Once you realize
[22:42] impermanence, you understand that
[22:44] trouble is transient, and you realize
[22:46] that joy is also transient. So, when
[22:48] you're troubled, you won't be bothered
[22:50] by the trouble; when you're happy, you
[22:52] won't get carried away.
[22:54] But can human desire really be
[22:55] eliminated?
[22:57] It can.
[22:58] How do you eliminate it?
[23:00] It’s not about eliminating it; you
[23:02] just need to remove one thing. As long
[23:06] as there is no "self," there is no
[23:08] trouble.
[23:09] I remember a philosopher or a writer, I
[23:11] forget who. He said he discovered that
[23:14] many of his troubles came from the fact
[23:16] that he was constantly thinking about
[23:18] his own thoughts during that time. It
[23:20] was just thinking about himself too
[23:21] much.
[23:22] Russell?
[23:23] Russell.
[23:23] Yes.
[23:24] He found that when you shift your focus
[23:26] away from yourself and toward the
[23:28] outside world, there really aren't that
[23:29] many things you can't let go of. So, in
[23:33] ancient times, the standard for a sage
[23:35] was to see if the person had an "ego."
[23:38] Ah, when your "self" fades and you
[23:40] become more public-minded—being
[23:42] selfless, holding the world as a public
[23:44] domain—that is a worthy person. If
[23:46] you can completely sever the "self,"
[23:49] that is a sage. Buddhism evaluates it
[23:51] the same way.
[23:52] Ah.
[23:53] The difference between a worthy person
[23:55] and a sage is...
[23:56] It’s the degree to which the "self"
[23:58] is reduced. A worthy person is...
[23:59] Having a "self" but also having others;
[24:01] that’s a worthy person. Ah, being
[24:03] completely selfless, that’s a sage.
[24:07] Is that what they mean by the phrase "
[24:08] in the world, yet above it"? And
[24:11] another phrase, "worldly yet innocent."
[24:14] I once saw a description of what a
[24:16] great state of mind for a modern person
[24:18] should be like. You have seen
[24:20] everything and know everything, yet you
[24:22] do not become that
[24:24] so-called worldly person. You are
[24:26] sophisticated, yet you actually retain
[24:28] some innocence deep inside.
[24:29] Mm-hmm,
[24:31] pure at heart,
[24:32] while being in harmony with secular
[24:34] society.
[24:35] Yes.
[24:35] How do you monastics view the "
[24:37] Buddha-style" trend that everyone is
[24:39] talking about lately? What do you think
[24:41] is the biggest difference between their
[24:43] version of "Buddha-style" and what you
[24:44] pursue?
[24:45] It's a difference of just one word. A
[24:47] difference of one word. We call it "
[24:49] going with the flow"(suiyuan), they
[24:51] call it "whatever"(suibian). Hey,
[24:53] that’s very interesting. Right? Many
[24:55] people today say "Buddha-style" means
[24:57] going with the flow.
[24:58] They treat it as "whatever," but what
[25:00] we call "Buddha-style" is actually
[25:02] different.
[25:02] We call it going with the flow.
[25:04] Going with the flow; so, our visit to
[25:06] you today, Master, is also fate.
[25:08] It’s fate that we saw so many stones,
[25:11] and the whole journey leading here.
[25:14] I truly wanted to say, where can one
[25:16] find the Ling Mountain? It's said that
[25:20] Ling Mountain is only in one's heart.
[25:23] Today we made a trip to Ling Mountain.
[25:25] Coming up here, I am grateful for the
[25:27] Master’s guidance. For us worldly
[25:30] people, it's like visiting a temple and
[25:32] meeting a monk.
[25:33] Stealing half a day of leisure from a
[25:35] busy life.
[25:37] Look, this is also fate. Thank you,
[25:43] Master Niansheng. Built in the ninth
[26:15] year of the Yongzheng reign, this was
[26:17] originally a famous site for viewing
[26:19] stones in the Jiangnan region, one of
[26:21] the 18 scenes of the West Lake.
[26:25] Cloud-Greeting Peak (Zhouyun Feng),
[26:27] preserved for descendants.
[26:28] Turn right.
[26:29] Turn right. Oh, wow! A courtyard for a
[26:31] famous stone, can you imagine? They
[26:34] built a whole courtyard just for this
[26:36] famous stone. Oh!
[26:40] Cloud-Greeting Peak. Its shape
[26:49] resembles drifting clouds, with
[26:51] textures like rolling waves; it is
[26:53] elegant and looks completely natural.
[26:57] Oh my, Cloud-Greeting Peak, I have
[26:59] finally found you. Oh my god. I have
[27:06] finally seen it; I hadn't before. If
[27:15] this is Ying stone, it must have
[27:17] originated from the Yingde area in
[27:18] Guangdong.
[27:22] But how can it look as if it were
[27:23] carved?
[27:24] Well, yes, the form...
[27:26] This is a natural wonder. Stones
[27:29] between heaven and earth may have some
[27:31] human craftsmanship, but
[27:32] it’s likely carved in accordance with
[27:34] its natural shape. Yes, exactly. As the
[27:37] Chinese say, when you apply human
[27:39] craftsmanship, it should look as if it
[27:41] were untouched, right?
[27:45] Chinese people love to name stones
[27:47] after clouds,
[27:49] because they say stones are the roots
[27:51] of clouds. Look, how should, how should
[27:53] you appreciate this? The description
[27:56] already tells you, it’s shaped like a
[27:58] cloud, the ripples are like waves, look
[28:00] at these wrinkles, right? Just like
[28:03] water ripples, just like waves.
[28:06] Right? The form is graceful and elegant
[28:08] , look how slender it is, so delicate,
[28:10] look. Look, it's just like the figures
[28:14] of you two beauties, but the most
[28:16] important thing is that it’s moist,
[28:18] especially since it rained today, you
[28:20] can really feel the stone's texture,
[28:22] see this texture? This moist quality,
[28:25] look, especially with the rain.
[28:27] Brother Tao has already immersed
[28:29] himself in this ornamental stone.
[28:33] We need to visit one. This time we’re
[28:45] going to visit the four great stones of
[28:46] Jiangnan.
[28:48] It seems like everywhere we go in
[28:50] Hangzhou, it's related to stones,
[28:52] everywhere is related to stones.
[28:55] Because I’m being influenced by my
[28:56] own personal hobbies.
[28:58] Right, right, right, once we take a
[29:01] photo, it’s ours. Take a photo and
[29:03] it’s ours. Oh, I think Hangzhou is
[29:06] just wonderful.
[29:07] Suzhou, is it the one at Suzhou
[29:09] Lingering Garden?
[29:10] Cloud-Capped Peak.
[29:11] It seems like Shanghai, Shanghai Yu
[29:12] Garden has one, Shanghai...
[29:14] Jade Dragon,
[29:14] Jade Exquisite, right.
[29:16] Right, and there’s also the
[29:17] Auspicious Cloud Peak in Suzhou.
[29:18] And the fourth one is this Wrinkled
[29:20] Cloud Peak here in Hangzhou, but
[29:22] Only this one is Ying stone, if I
[29:23] recall correctly.
[29:24] Yes, the others are Taihu stones.
[29:27] Only this one is Ying. This
[29:32] I really want to make a mini version to
[29:34] take home.
[29:34] It would definitely look good, making a
[29:36] small one would definitely look good.
[29:37] Hey, let’s look at it from a distance
[29:39] .
[29:39] Actually, I think it’s so beautiful
[29:41] from afar.
[29:41] Is it beautiful?
[29:42] Oh, it’s just...
[29:43] The feeling of it standing against the
[29:44] sky from a distance is really beautiful
[29:46] .
[29:48] Yes, just imagine these holes...both
[29:50] rigid and graceful. It truly is strange
[29:56] , steep, and exquisite. Oh, it’s so
[30:08] beautiful, I can't take my eyes off it,
[30:10] oh my.
[30:19] Brother Tao, are you dying to take it
[30:21] home?
[30:22] Hmm.
[30:24] Are you dying to take it...
[30:25] I’d be willing to be a dowry for it.
[30:28] Pale and moist, so beautiful, so
[30:30] beautiful. Hey, you photographers can
[30:32] shoot it from every angle, I think in
[30:34] this dim light if you light it up, let
[30:36] me tell you, lighting it up might look
[30:38] even better than in the daytime, both
[30:40] of you step aside, don't film us
[30:42] anymore, just film this stone.
[30:44] Just light up this stone. Hey, light up
[30:46] this stone.
[30:47] At this moment, we are not important.
[30:49] Right, right, right, not important at
[30:51] all. Oh, look, look at this, for this
[30:53] ornamental stone, you have to light it
[30:54] up, I'm telling you, it’s even
[30:56] prettier than in the daytime. Can you
[30:58] feel it? This is Jiangnan. We’ve
[31:00] finally seen a Jiangnan garden. Do you
[31:03] know, this is the first piece we've
[31:04] seen? On this trip, we need to find all
[31:07] four.
[31:08] He’s looking for the real thing.
[31:10] It’s so beautiful.
[31:11] Stone. "
[31:12] The Story of the Stone.""
[31:13] The Story of the Stone"—that’s Jia
[31:15] Baoyu.
[31:15] You’re the fake Baoyu. I’m more
[31:17] like fake Laoyu. I’ve seen the other
[31:20] three famous stones before.
[31:22] Right, this is the only one I’ve
[31:24] never seen.
[31:24] So this helps your dream come true,
[31:26] seeing the third one.
[31:27] Yes, it really helped my dream come
[31:29] true. You know what? There are benefits
[31:31] to making more shows. Great, this is
[31:33] great. Alright, we can’t just stay
[31:35] here forever. Thanks for your hard work
[31:36] , everyone. Let’s go, let’s go. Oh
[31:38] my.
[31:39] You really are obsessed with stones.
[31:40] So good, it’s so good. I love it, I
[31:43] love it. I can’t bear to leave. Oh,
[31:45] it’s been a while, but I...
[31:46] If you want to stay, you stay here.
[31:48] We’ll head out, and you stay.
[31:50] Let’s go, let’s go.
[31:51] Okay.
[31:52] Bye-bye, my dear.
[31:53] Bye-bye, bye-bye.
[31:55] How do you know it’s a female? Maybe
[31:57] it’s a male.
[31:58] Alright, fine.
[31:59] Its soul.
[32:00] Alright, we’re heading off, big
[32:02] brother.
[32:02] Brother.
[32:03] Look, the vibe is totally different now
[32:05] , isn't it?
[32:05] Big brother is gone.
[32:07] My dear, hearing that, I still feel
[32:09] like a big brother.
[32:11] I will come to see you again. Bye-bye.
