Few men ever reach this far into the silence

On the surface, the Tao is impractical, illogical

Original Painting
Cold Mountain Silence
Available

I made my home at cold mountain long ago,
and the years flow by like water in a stream.
unhurried, I wander among trees and rivers,
resting in the simple presence of things.

Few men ever reach this far into the silence,
where white clouds gather and drift without care.
a bed of soft grass welcomes my body,
the wide blue sky lays its quilt across me.With a stone for a pillow, i close my eyes,
content to let heaven and earth turn as they will.
- Han Shan, The hermit of Cold Mountain.
Heron Dance translation
. . .

More than a thousand years ago, during China’s Tang Dynasty, a solitary figure disappeared into the wilds of Tiantai Mountain in southeastern Zhejiang province. His name was Han Shan—literally, “Cold Mountain.” Whether this was his true name or one he adopted, no one can say for certain. What we do know comes almost entirely from his poems: fragments scratched on rock faces, written on bamboo, or left on scraps of paper that monks and wanderers later gathered.

He made his home in caves and crude huts on the slopes of Tiantai. Winters there were harsh; his poems speak of thin clothing, a grass mat for bedding, and a stone used as a pillow. Yet he writes not of bitterness but of freedom: the white clouds drifting overhead, the blue sky as his quilt, and the vastness of earth and heaven unfolding around him.

In this wilderness, Han Shan found companions who were as eccentric as himself. Shide, a kitchen worker from the nearby Guoqing Temple, became his close friend. The two would laugh together, tease monks and scholars, and scribble verses that blended humor with deep wisdom. Another hermit, Fenggan, roamed the same mountains with his pet tiger, adding to the legends that grew around them. In time, Han Shan, Shide, and Fenggan were remembered as a trio of wandering sages—half-mad, half-enlightened, and wholly free.

Han Shan’s poetry carries the voices of Buddhism, Daoism, and Confucianism, yet it never reads like doctrine. Instead, his verses are spare, plainspoken, sometimes playful. He mocks greedy officials and hypocritical monks. He laments human folly and attachment. But above all, he praises the serenity of nature: drifting clouds, flowing water, the changing seasons. For Han Shan, “Cold Mountain” was not only the place where he lived, but also a state of mind—a refuge of clarity and detachment from worldly concerns.

Centuries later, his words traveled far beyond Tiantai. Zen monks in Japan revered him as an emblem of the enlightened hermit, laughing on the margins of society. In the twentieth century, his poems inspired Western writers like Gary Snyder and Jack Kerouac, who saw in Han Shan a kindred spirit of freedom and rebellion.

Han Shan remains a ghostly figure: no fixed dates, no reliable biography. What survives are his poems—more than 300 of them—testimonies of a man who walked away from the world and found peace in the mountains. In his verses, heaven and earth go on changing, but the poet lies content, head on a stone, watching the clouds drift by.

. . .

To read on the Heron Dance website, visit here.