Tracing the footsteps of our heroic martyrs to embody the Qilu spirit, and carrying forward the red lineage to forge the soul of national rejuvenation.

　　Shandong Province boasts a long history and a rich cultural heritage, earning it the reputation of “a land of myriad mountains, rivers, and talented scholars in Jiangnan, and a land of one mountain, one spring, and one sage in Shandong.” This time around, Shandong’s red tourism is inseparable from these three “ones”: “one mountain” refers to Mount Tai, the foremost of China’s Five Great Mountains; “one spring” denotes the Baotu Spring; and “one sage” is none other than Confucius, the founder of Confucianism.
　　Our first stop was Jinan. “The Luo River springs forth—unparalleled under heaven; from level ground bursts forth the White Jade Lake.” Jinan is known as the “City of Springs” not only for its 72 celebrated springs, but also for its 800 springs of various sizes. Among them, the most famous is Baotu Spring, hailed as “the Number One Spring in the World.” The name “Baotu” means leaping and surging; framed by rugged rocks and lush trees, its waters are crystal‑clear, maintained at a constant temperature year round. Three distinct springs gush day and night, their sound like distant thunder. Standing amidst this spectacle, one cannot help but feel awe‑inspiring grandeur.
　　Moreover, Baotu Spring is a cultural symbol of Jinan, having attracted countless scholars and poets throughout the ages to visit and compose verses. The Li Qingzhao Memorial Hall stands on the banks of Shuyu Spring, where we gain insight into the life and works of this great lyricist, and experience her talent and charm.
Moreover, Jinan’s reputation as the “City of Springs” is inseparable from Daming Lake, long celebrated as the “Pearl of the Spring City.” Nestled within this bustling metropolis, Daming Lake is a rare natural oasis, renowned alongside Baotu Spring and Qianfo Mountain as one of Jinan’s three great scenic treasures. On its tranquil waters, misty ripples shimmer beneath verdant trees that seem to veil the sky, while lotus blossoms catch the sun amid the emerald waves, creating a scene of exquisite beauty. Within the park, pavilions, terraces, and elegant structures are gracefully set among winding paths and covered corridors, their surroundings graced by the inscriptions of literati. Among these, the couplet penned by Liu Fenggao of the Qing dynasty—“Lotus on four sides, willows on three; half the city is mountains, half is lake”—is especially cherished and widely admired.
　　Afterward, we arrived at the two main destinations of this red‑tourism itinerary: the Jinan Campaign Memorial Hall and the Liberation Pavilion. “Love the Party and the army, rely on the people, be brave and tenacious, and dare to win”—this is the invaluable legacy the Jinan Campaign has left for future generations. The liberation of Jinan holds a position of great significance and exerted profound influence in the history of our Party, our armed forces, and the People’s Republic of China. The memorial hall comprises two main sections: the exhibition halls and the panoramic painting gallery. The exhibition halls span two floors and are divided into eight thematic sections, including “The Struggle Between Peace and War Amidst the Smoke of Battle in Qilu,” “Masterful Strategy, Aiming Straight for Jinan,” and “A Strategic Decisive Battle, Marching to Triumph.” As we entered the Jinan Campaign Memorial Hall, we listened attentively to the docent’s explanations, carefully examined the displayed photographs and texts, and revisited those heroic years when revolutionary predecessors bravely forged ahead amid smoke and flames, gaining a deep appreciation for the pride and glory that the red heritage has bestowed upon this city. Later, at the entrance of the memorial hall, Secretary Yao led all party members in reaffirming their oath of admission. “I voluntarily join the Communist Party of China…”—the solemn pledge rang out with unwavering resolve, powerfully expressing each member’s commitment to loyalty to the Party and to dedicating their lives to its cause.
　　The Liberation Pavilion stands at the eastern end of Heihuquan Road in Lixia District, Jinan, and is a provincial-level cultural relic protection site. The pavilion itself rises 24.1 meters high, with a total height of 34.1 meters including its pedestal, covering an area of 1,637.2 square meters and boasting a floor space of 617.2 square meters. On the east side of the pedestal, set flush against the wall, stands the Monument to the Revolutionary Martyrs of the Battle of Liberating Jinan, inscribed with the names of 3,764 martyrs who heroically gave their lives during that campaign.
　　Our second stop was Taian. Named after Mount Tai, the city carries the auspicious meaning of “national peace and people’s well-being.” A visit to Taian would be incomplete without climbing Mount Tai. As the “First of the Five Great Mountains,” Mount Tai stands as one of the enduring symbols of the Chinese nation, inextricably linked to the very essence of Chinese civilization. Yang Xin, a professor of aesthetics at Peking University, has called Mount Tai “the soul of Huaxia.” From afar, Mount Tai rises abruptly from the earth, ascending with majestic grandeur. As you make your way upward, your eyes are met with cliffside inscriptions that seem to merge seamlessly with the mountain itself—characters etched into the rock, some delicate and graceful, others bold and vigorous, some archaic and simple, others light and flowing. Among them, the most famous is undoubtedly the “Supreme among the Five Mountains” stone tablet, situated along the essential route from the summit of Mount Tai to the Jade Emperor Peak. First mentioned in Shi Jie’s poem “Mount Tai,” which reads: “All mountains know the height of the supreme peak; among the five great mountains, none rivals its dignity.” By emphasizing both the sheer scale of Mount Tai and its long-standing presence, Shi Jie bestowed upon it the title of “Supreme among the Five Mountains.” Once you reach the summit, gazing out over the rolling, imposing landscape, you cannot help but feel the sentiment captured in the line: “I shall ascend to the highest peak, and look down upon all the lesser mountains.”
　　After leaving Mount Tai, we made our way to the Dai Temple. Nestled at the foot of the mountain, the Dai Temple is a shrine dedicated to the God of Mount Tai and one of the largest surviving ancient imperial temples in China where emperors once offered sacrifices to this deity. Some say that the existence of Mount Tai itself gave rise to the Dai Temple; thus, the two are inseparable. The temple complex is grand and imposing, possessing immense historical, artistic, and cultural significance. As we strolled through its serene grounds, we savored every brick and tile, and amid the weight of history, we came to appreciate the myriad charms of this remarkable site.
　　Our third stop was Qufu. The city’s worldwide renown is inextricably linked to the name of Confucius. Qufu’s Confucius Mansion, Temple, and Cemetery—collectively known as the “Three Confucian Sites”—stand as enduring symbols of China’s reverence for Confucius and its veneration of Confucianism throughout the ages. As we explore these three landmarks, every brick and tile bears the weight of a thousand years of history, while each leaf and blossom exudes the subtle charm of Chinese culture.
　　As you enter the scenic area, the first sight that greets you is the outer gate of the Confucius Temple, known as the “Wanren Palace Wall,” which also served as the main southern gate of Qufu County during the Ming and Qing dynasties. Stepping inside, the path is paved with gray stone slabs, and under the sun, the red walls and golden tiles gleam brilliantly, as if you’ve passed through a tunnel of time and returned to an era when ritual and music flourished. The first gateway of the Confucius Temple is the Jinsheng Yuzhen Archway. The four characters “Jinsheng Yuzhen” come from Mencius: “Confucius is called the one who has brought together all the great achievements. To gather the great—this is like the sound of gold resounding and the jade vibrating.” Originally, “Jinsheng Yuzhen” referred to a perfectly harmonious musical piece, symbolizing how Confucius’s thought embodies the culmination of the wisdom of ancient sages and worthy predecessors—like a flawless melody, perfect from beginning to end, supremely virtuous and beautiful. Continuing onward, the broad, level plaza before the Great Perfection Hall is laid with gray stone, and the lively voices of students reciting their lessons seem to still echo in your ears. Looking up, the plaque above the Great Perfection Hall shines brightly, while the statue of Confucius sits within, his countenance kind yet solemn, inspiring deep reverence. Arriving at the Confucius Mansion, one can almost sense the atmosphere of ancient aristocratic life; this venerable residence has witnessed the enduring prosperity and flourishing of Confucius’s descendants. Above the mansion’s entrance hangs a golden plaque inscribed with the words “Sacred Residence,” flanked by a couplet penned by Ji Xiaolan: “With the nation sharing peace and prosperity, noble rank and honor grace this grand estate,” and “Together with heaven, growing old in wisdom and virtue—such is the sacred family of the sage.” If you look closely, you’ll notice that each line contains a character written in a particularly distinctive style: in the upper line, the top stroke of the character for “prosperity” is missing, signifying that the wealth and honor of the Confucius Mansion are passed down through generations without end; in the lower line, the final stroke of the character for “literature” breaks through the “sun” radical, reaching toward the heavens, symbolizing that Confucius’s teachings and the Confucian family’s writings can resonate throughout the world.
　　Upon entering the inner residence, one finds a screen door adorned with an animal resembling a qilin—its head like a dragon, its body that of a qilin, its tail that of a lion, and its hooves like those of a cow. This is the legendary “qian tan,” or “dog‑greed.” In ancient times, the qian tan was the embodiment of insatiable greed, ever voracious and never satisfied. By having this image painted along the principal passage leading from the outer to the inner residence, the Duke of Yansheng sought to remind himself and his descendants never to succumb to boundless avarice.
　　The final stop at the “Three Confucian Sites” is the Konglin, an ancient burial ground that serves as the final resting place of Confucius and his descendants. As you stroll through the forest, rows of towering, verdant ancient trees stand tall and majestic, their branches luxuriant and leaves abundant, as if they were the guardians of this sacred site. Sunlight filters through the gaps in the foliage, casting dappled patterns on the ground and lending the cemetery an air of mystery and solemnity. Along the paths, neatly arranged tombstones and stone beasts stand in quiet vigil; standing here, one feels a profound resonance with those who came before, sensing the deep affection for family and for culture that has endured through the ages.