Tables and chairs for teadrinking

These years, I have paid special attention to the teahouses of various places bo
th within and without Sichuan Province, which I have visited either on business
or as a tourist. And naturally, I have made a comparison between them in an atte
mpt to find the difference of the teahouse of my hometown from those in other pl
aces. Actually, in as early as 60-70 years ago, Li Jiren, a writer of Chengdu, i
n talking about the differences of the teahouses in Chengdu and Chongqing, expla
ined the distinctive humanistic customs of the two places through comparing the
tables and chairs used in their respective teahouses. In Chongqing, which has be
en known for its lofty mountains and perilous waters, people are usually active
and have a hot temper, and their teahouses are often equipped with high square t
ables and high benches as they have in their homes, just a look and one will fee
l a sense of speechless forbid: The place is provided only for teadrinking and se
eking comfort and timekilling are not. allowed! Chengdu is quiet different. Peopl
e there are famous for their laziness, they are used to seeking comfort everywher
e . Therefore, Chengdu people sit to drink at the teahouse for the same reason as
the Chongqing people do, but they like to sit on low bamboo
chairs and at low tables-the chairs are
not necessarily made of bamboo, but are
derived from bamboo chairs--short and
with back, in which one can sit in a half-lying way.. Whenever you sit in it, yo
u
will have a feeling of ease and comfort both physically and mentally. What you l
ack is only a long sigh of relief.
Talking about the chairs and tables in the teahouse , they are also different fr
om place to place in Sichuan. What the teahouse in Chengdu use are small square
tables and armed bamboo chairs with back, neither too high nor too low. Sitting
in the chair, the drinker need not raise the body but only stretch his hands a l
ittle and he can get the tea-cup from the table. The teahouses in Meishan, Lesha
n and other places south of Chengdu also use small square tables, but shorter an
d armless bamboo chairs. Sitting long in this kind of chairs, one will feel tire
d and sleepy and has to stand up to stretch oneself a little. East of Chengdu, i
n the hilly regions, the teahouses use similar tables and chairs as Chongqing, w
hich are not very comfortable. There are teahouses by the side of big rivers, wh
ich use sling chairs (something like the folding stools). For example, teahouses
are provided on some docks for tourists and merchants to rest or to wait for th
e boats. It is good to sleep on this kind of sling chairs but inconvenient and t
iring for tea-drinking because you have to raise their body to get the tea-cup
Covered Teacups
In regard to the tea sets, each place has its peculiarities. For instance, in Fu
jian and Guangdong, people drink mainly red tea and half-fermented tea and the t
ea sets are mainly made of sand pottery, which
300
of scale. It was not until the middle Qing Dynasty that jasmine tea began to be
produced on a large scale in Suzhou and sold to various places in the country. I
n the past, the flower tea was chiefly sold in the north and up to date people i
n Beijing have still kept the habit of drinking flower tea. But due to climatic
and geographical reasons, tea is mostly produced in the south and northerners ar
e difficult to have fresh green tea because of problems of storage and transport
ation. Tea leaves, once picked without timely consumption, will gradually become
stale and rid of their fresh smell. If they are baked into flower tea with the
fragrance of the flower pressing down the stale smell, the tea will keep the sce
nt of the flower and at the same time not lose the flavor of tea leaves when tra
nsported and sold in the remote north. Probably, the northerners likeness to drin
k flower tea is formed from this. Strangely enough, Sichuan people living in a t
raditional teagrowing region where many good green teas are produced have a spec
ial love for flower tea. Maybe it is also derived from the tradition of the origi
nal pleasure of the ancient people!
River water fragrant tea
The ancient people said: Tea-set is the father of tea? water is its mother. They a

lso said: The fragrance of the fine tea is . brought about by water, and without
water it is no way to talk about tea. (Comments on Tea by Xu Cishu) It can be see
n that one should have fine water in addition to
fine tea leaves and fine tea-sets before you can make good tea. In fact, that an
cient people attached great importance to water was not completely because it co
uld make good tea, but more importantly because they regarded water as the sourc
e of life and because there was the way in water. Zhuang Zi said in his The Way of
Heaven: Water, when it is still can reflect clearly man s brows and beards becaus
e it forms a plane surface so that the master carpenter can take it as a yardsti
ck. Water can show its clearness. Why cannot human spirit? Water is something hav
ing spirit. So, fine tea leaves with fine water can be drunk by the soul. Empero
r Qian Long was said to be good at drinking tea. He asked to use the water from
the Jade Spring to make tea. Cao Xueqing as a half bannerman described in his Re
d Mansion Dreams that Miao Yu of the Longcui Nunnery even boiled the snow water
taken from the plums and hidden underground for 5 years to make tea. From this w
e can see how important the water is to tea-making!
In the Tang Dynasty, Lu Yu summarized in his Tea Scriptures the criteria for tea
-use water; To make tea, it is best to use mountain water, secondly river water a
nd lastly well water.
By mountain water it is meant the crystal-clear water from the mountain springs,
which is not at all polluted by human activities, and can be characterized by s
uch five words as clear, living, light, sweet and cool. The river water, though
flowing, can not be immune to human and animal pollutions on the banks. Therefor
e, If river water is used, get
302
equipment and quality tea-water and tea-sets, but especially by whether it had a
n outstanding waiter. Though only a hired ordinary worker in the teahouse, the w
aiter played a role far more important than the boss of the teahouse. He contact
ed directly with the customers, welcoming them and seeing them off, making tea a
nd pouring
water into their tea-cups----all this being
managed by the waiter alone. To speak more seriously, the waiter was the very fac
e and brand of the teahouse.
First of all, the skill of the master waiter in the teahouse of Sichuan was uniq
ue in the world. It was a kind of technique or art in the line attained by these
masters in their long-term practice. I once had the honor to see the excellent
performances of tea-filling by the two masters Fang Zhongyu and Wu Dengfang in C
hengdu, which were really fascinating. Take Master Fang Zhongyu for example. He
was nearly 70. In scores of years career as a waiter in the teahouse , he acquire
d a set of masterly skill. 50 years ago, he won the second place in a teafilling
skill competition held in Chengdu at the age of 20, and later showed his profici
ency in a TV film Special Skill of China shot by CCTV, displaying this unique skil
l of Sichuan s teahouse to the world. Master Wu Dengfang, though already highly r
eputed far and wide and having students all over China, did not resign from his
post as a waiter and still worked in the Heming (Crane-Chanting) .Tea House in t
he People s Park of Chengdu. Because of his deep love for the teahouse , I often
went to the teahouse for a cup of tea, and gradually became a good
friend of his. Whenever friends came to see me from afar, I always took them to
the Heming Tea House to have a feel of the scene of Sichuan s teahouse. At this t
ime, Master Wu was bound to show his prowess 0 He was seen carrying a shining co
pper tea fettle in one hand and a pile of tea-cups (about 20 sets) in the other
and in a minute, after a spell of bang, bang, bang , tea-saucers were spread on th
e table with each right in front of one of us, then he put the cups filled with
tea leaves in the saucers one after the another, and with the left hand placing
the tea-covers against the side of each tea-cup and the right hand waving up and
down the teakettle to give forth a spray of water like a thread falling down fr
om above into the tea-cups without a drop splashed out of the
cup, followed by a crack ----he hooked
each of the tea-covers onto the tea-cup it
leaned against---all moves were done in

one breath so smoothly that everyone of us could not help cheering with applause
s and I felt especially honored .
However, this is only a start for one to understand the cultural characteristics
of Sichuan s teahouse and the excellent skills of the master tea waiters through
this unique line in Sichuan.
Lanyuan Teahouse
There was a teahouse near my working unit. Due to its location in the famous flo
wer market in the Xinkai Street of Chengdu, it was named Lanyuan (Orchid Garden)
teahouse. Originally the teahouse was not big, covering about 20 square
304
and friendship. As a kind of courtesy, of course, you did not need to pay actual
ly unless out of special relationship or other purposes; and Glasses as a waiter w
as very considerate and knew whose offer he should receive and never made any mi
stake in this connection. For some years I was so occupied by trivial affairs th
at I seldom came to drink at Lanyuan teahouse. And mostly due to need of market
economy, the hundred square meters of business area in front of the teahouse wer
e occupied by the preliminary wooden business houses built by the government whi
ch were rented to the dog-cat traders and the teahouse retreated to the back of
the business house, the space being reduced and leaving a passage not up to 2 me
ters wide in between. In spite of this, every time I passed by, I could hear tha
t warm and familiar calling of Glasses : Chen Jin, come and have a cup of tea! or It s
ghostly that you are always busy! Anyway, you have to spare some time to come ov
er for a drink. The calling of Glasses always brought some warmth to my state of mi
nd which was daily becoming cold, indifferent, impulsive and irritable, giving m
e a moment of peacefulness.
Chatting about "Dragon Gate Formation"
Fu Chongju of the late Qing Dynasty described in his General Review of Chengdu t
he habits and character of the Chengdu people: gather and talk in the teahouses a
nd love to spread rumors. Spread rumors was not necessarily true, but
gather and talk was really the case, not only in Chengdu but in all Sichuan. Tea-d
rinkers sitting in the teahouse , while drinking to moisten their throat, would
like to chat about everything they knew pleasantly, and sometimes waving their h
ands and trampling their feet when in high spirit. They called this chatting Blowin
g the Shell or Talking about the Dragon Gate Formation which was called Speaking of
Big Mountains in the north. According to the earliest explanation, the dragon Gat
e Formation referred to the battle array deployed in ancient battle fields. In t
he past the tale-teller among the common folk in Sichuan often related the stori
es of Xue Rengui in his East Expeditions in the teahouse, whose battle formation
s were variable and complicated, and his stories were very interesting and impre
ssive. Therefore, Sichuan people generally called story-telling Talking about the
Dragon Gate Formation , which was later extended to all kinds of leisurely chatt
ing. Through this kind of chatting, people increased their knowledge, exchanged
messages and feelings and thus enhanced mutual friendship. From this, it could b
e seen that the teahouse was also a place to succeed cultural traditions. Guo Mo
ruo, the famous man of letters of Sichuan once summarized his profound cultural
foundation as being laid in the Dragon Gate Formation and the teahouses of his hom
etown. That was not without some reasons. And the living habit of loving to gath
er and chat of the Sichuan people was one of the important elements contributing
to the development and prosperity of the local teahouses.
306
thing for teahouse used as a place for get-togethers, job-recommendation or matc
hmaking service. In the past, teahouse was even used as a judgment place for dis
putes, being a real Mediation Station for Civil Disputes practicing the function o
f a court without being a court.
Drinking
DisputeSolving Tea
In history, old China was a country ruled by man. All the land under heaven belon
gs to the king; all officials managing the land are but the subordinates of the
king. The so-called law of the king was not a legal law but the centralized express
ion of will of the feudal monarch. In practical life, Li (reasonableness-a doctrin

e of a Confucian School of ideologist philosS|)hy advanced by Zhu Xi of the Song

Dynasty) as the core of the Confucian rites and moral values was the only measu
rement to judge the acts and behaviors of the people and criterion to maintain s
ocial stability and human relations. There are many Chinese idiomatic phrases co
nnected with Li such as A reasonable man is bold and straightforward , Have no reason
left with which to justify oneself ,
It stands to reason that. , Convince
people by reasoning , With justice on your side you can go anywhere . From this one
can see that in old China, Li was more important than law in the mind of the peop
le and that was a universal social and cultural phenomenon. Sichuan, situated in
the far remote southwest part of China with closed traffic often gave
people a feeling of far from the rule of the emperor , and Sichuan people who were
used to a leisurely and carefree way of life paid scarce attention to the limit
of the law of the king and had a set of rules of behaviors for themselves. Especia
lly, during the period of warlord separatist regimes and warfighting when Lord Zh
ang came today and General Li came tomorrow, people did not know which rules to
follow since the government changed frequently. For this reason, an unwritten ru
le was gradually formed in the daily life of the Sichuan people: Whenever any di
spute occurred among the people, they would not resort to the government or the
court (they could not afford the law suit expense), but rather to a mediator who
was of noble character and high prestige in the neighborhood for judgment in th
e teahouse (which was called set teacups among the common folk) as described by a
proverb: A tea-table has four legs and you are let go if you have reasons. About
this Li Jiren once explained: If you have disputes with others and want to make
clear who is wrong and who is right, but you don t like go the court, or, as a pr
eliminary step for lawsuit, you can invite some people (the more, the better) (y
our opposite will do the same) to the teahouse. If one side is stronger than the
other, the problem will be easy to solve and the judgment is also easy to make:
After a heated quarrel of the two sides, the mediator will make a compromise be
tween them, and then give the weaker
side some scolding-----meaning he or she
is wrong, but not necessary to apologize.
308
and acrobatic players were learned in various classics and history. It can be see
n that these folk artists all had a profound cultural foundation. In the Qing Dy
nasty, the rap art in Sichuan gained greater development, promoted by the immigr
ation culture. The integration of the local culture with the rich and colorful p
erforming styles brought in from outside the province gradually brought about ma
ny artistic forms imbued with profound local colorings of Sichuan like Sichuan Q
ing Yin (a type of ballad-singing), Yang Qin (dulcimer), Zhu Qin ( a kind of bam
boo musical instrument), Ping Shu (Story-telling), Xiang Shu (a kind of comic st
ory-telling), Jin Qian Ban (a kind of comic clapper talk), Lian Hua Lao (a kind
of comic ballad singing), Che Deng (a kind of lantern dancing and singing), and
Hua Gu (flower-drum opera)
.... Liudui Shanren described in his poem
Jincheng (City of Brocade) to the Melody of Zhuzhici the prosperity of the folk
art in Chengdu in the Jiaqing years of the Ming Dynasty: Balladsinging and dulcime
rplaying competitions are well-known, and acrobatic performances are seen everyw
here all over the city of cotton-rose (Chengdu); there are also Huai Shu (a kind
of storytelling) and Lian Hua Lao, but Weeping at Deep Night by Liao Er is most l
oved by all. In the past the social status of the folk artists was very low. Usua
lly they did not have fixed performing places of their own. They would either pe
rform anywhere according to the situation or give roaming performances. Their li
ving conditions were unstable and intricate similar to the story they were playi
ng. The teahouse was their
main spot to perform. This was because there they could satisfy the spiritual an
d cultural needs of the tea-drinkers on the one hand and on the other, it was be
cause the contents and forms they performed were derived from among the common f
olk and were closely connected with the life of the people s masses, thus welcome
d by them. Many folk artists gradually got famous for their outstanding style in

their long-term practice and performances and the teahouse established special
stage for them, such as the master dulcimer-player of Chengdu Li Decai in the te
ahouse of the Journalists Association, the master Zhu Qin-player Jia Shusn (calle
d Jia the Blind ) in the Jinchun teahouse , plus the Zhiyin Shuchang teahouse and
the Quanxiangju teahouse in North Dajin Street and the
Linqing teahouse in the Kejia Lane------all were good places specialized for storylistening. The teahouse attracted cust
omers with the performance of the folk artists to increase income and the surplu
s would be the payment to the artists. .
Roles to
drink overtime tea
If the teahouse and the tea-drinkers were said to be the two sides mutually
dependent and indispensable---the teahouse
existed on the tea-drinker and the tea-drinker used the teahouse to realize thei
r life values, then there was another category
of people inseparable from the teahouse-those using the teahouse as their place to seek a livelihood, who were small ped
dlers or craftsmen to provide various services for
310
ideas of Confucianism, Buddhism and Taoism running through its whole process of
development. Especially those cultural men and scholars who posed themselves as
leading the course of development of the Chinese tea culture took tea-drinking a
s an artistic activity to show their elegance and learning, to give sustenance f
or their sentiments and to express their individualities. In this way, to seek,
create and appreciate elegance purposely naturally became the spiritual substance
sought after by traditional tea culture. There appeared in the history of tea-dr
inking such phenomena as tea-division , tea-competition and gongfu tea , all of which
were not but expressions of habit of those men of letters and their seeking of e
legance and interest. And the highly exaggerated poems of the literary circles i
n various generations written in praise of tea embodied all the more their ideal
of life to seek peacefulness in mind and live aloof from worldly affairs. In th
is connection, relatively typical were the 13 appropriate acts and the 7 forbidden
acts in tea-drinking as summed up by Feng Zhengqing of the Ming Dynasty in his No
tes on Tea-Drinking. These methods, reasons or rules were all explained around el
egance , whose spiritual contents were similar to the 4 rules (namely, harmony , peace
, clearness and tranquility ) advocated by the Japanese way of tea. However, pursuit
of elegance and interest , though running through the course of development of Ch
inese tea culture, could not include the entire traditional tea culture into the
category of the elegance culture . In the history of
tea-drinking, tea-drinking for the purpose of elegance and interest was only one o
f the numerous ways for drinking tea. When tea-drinking became a daily necessity
for the common people from the prestige of a few bigwigs and men of letters and
acquired a worldly tendency, the teahouse was a reasonable product of this tend
ency. If the criteria of the elegant culture were followed, tea-drinking would be
aimed at playing with life embodied by the word appreciation . So, it was affirmed it
is important to drink tea with fewer people, for more people will make bigger n
oise and the elegant interest will be lost , and it is divine to drink alone; it i
s better for two drinking together? it is interesting for three to four? commonp
lace for five to six? and it is bestowing favors for seven
to eight people to drink together...........
(Ming Dynasty, Tea Records) Accordingly, the more people drinking together, the
less the spirit inherent in tea-drinking was appreciated. However, the teahouse
was actually a place for mass drinking and needed a busy human atmosphere. It wa
s certain that the boss would not be able to sustain his or her business if the
customers were too few and the teahouse would lose its attraction without a busy
atmosphere. Therefore, both the manager and the customers would hope that the m
ore drinkers, the better. Naturally, more people would make a bigger noise and l
ose the so-called elegant interest , thus departing from the drinking way for the
purpose of tranquility and elegance as advocated by elegant culture . Therefore, we co
uld not but include teahouse as an

312
Broadly, the way of tea-drinking can cover all the human behaviors included in t
he teaculture, but he way of tea-drinking we talk about belongs to its narrow sense
, falling into the category of tea-drinking culture. In a word, the way of tea-dr
inking is the reason, method and the norms to be followed in teadrinking----a com
plete set of procedures
summarized and endowed with particular cultural contents along with people s know
ledge of tea and the popularization of tea-drinking in people s daily life. The C
hinese way of tea-drinking has always been imbued with Chinese traditional cultura
l spirit, but given different local characteristics by different regions and dif
ferent nationalities according to their different living habits and customs, thu
s formulating numerous schools and different forms of expression from east to we
st and from north to south. Tea-drinking procedure in Sichuan has both followed
the spirit of the way of tea-drinking of the Chinese traditional tea-culture and s
tuck to the established folklores of Sichuan and the inherent hobbies of the Sic
huan people. Therefore, in order to understand the way of tea-drinking in. Sichuan
, one must place it in the broad background of Chinese tea-culture and in the sp
ecific background of Sichuan s local culture to observe it and to analyze it. As
described above, the comfortable bamboo chairs and square tables, the three-piec
ed tea-set rich in humanistic content, the deeply-loved and fragrant jasmine flo
wers, the filtered water in the sand pot and the tiger-shaped stove, the copper
tea-kettle as well as the
wonderful tea-filling skill of the masterly waiters in the teahouse , have all e
mbodied the unique way of tea-drinking of Sichuan s teahouse and impressed deeply w
ith the marks of its local culture.
An "indifferent" place
Objectively speaking, in the past most people who came to the teahouse were not
for the purpose of drinking tea. What they were interested in was the atmosphere
of the teahouse and its special social function,
political, economical, and cultural....
Although the tea-drinking procedure---the way of tea-drinking of Sichuan s teahouse had clear local coloring, the key to
understand the teahouse in Sichuan as a complete cultural form was not the tea i
tself. In another word, whether to introduce or to understand Sichuan s teahouse,
one had not to overstick to tea-drinking itself because the customers of the tea
house were very casual about tea-drinking, indifferent to whether it was noisy o
r dirty and any tea would do to them so long as it was cheap. This indifferent a
ttitude resulted in the subordinate and non-main-stream position of the teahouse
of Sichuan in China s tea-drinking history. In spite of this, to say in the word
s of the Sichuan people, when they drank tea in the teahouse everything was indi
fferent, regardless of its being the main current or non-main current \ This indiffe
rence undoubtedly explained some of the personality of the Sichuan people and rev
ealed the cultural characteristic of Sichuan s teahouse 314
Picture index
P002 Chengdu Zhonghe Town 1989 P006 Chengdu Nanfu Street 1989 P012 Leshan Suji T
own 1995 P015 Pujiang Xilai Town 1993 P016 Hejiang Yaoba Town 2005 P018 Chengdu
Huzhu Road 1996 P021 Chengdu Zhonghe Town 1985 P022-1 Chengdu Huapu Road 1992 P0
22-2 Hejiang Yaoba Town 1996 P022-3 Qianwei Luocheng Town 2001 P023-1 Qianwei Lu
ocheng Town 1990 P023-2 Chengdu Manjushri Monastery 1989 P023-3 Guang an Gu Coun
ty 2003 P024 Ya an Mengding Mountain 2000 P027 E mei Jingshui Village 2001 P029
Meishan Ruifeng Town 2005 P030 Dayi Tang Town 2003 P032 Qianwei Luocheng Town 20
02 P034 Chengdu Jinzi Street 1993 P035-1 Chengdu Qingshiqiao 1989 P035-2 Chengdu
Wangjiaguai Street 1994 P035-3 Hongya Mucheng Town 2001 P036 Jintang Huaikou To
wn 1993 P038 Chengdu Cuqiao Town 1988 P041 Xindu Tianhui Town 1986 P043 Pengzhou
Chengguan District 2002 P044-1 Chengdu Baojia Alley 1992 P044-2 Chengdu People
s Park 1992 P044-3 Chengdu Back Wenmiao Street 1990 P044-4 Chengdu Xinkai Street
1996 P045 Pixian Hongguang Town 1989 P046 Jintang Huaikou Town 1993 P048 Chengd
u Zhonghe Town 1985 P051 Bazhong Enyang Town 1999 P052 Leshan Xiba Town 1993 P05
3-1 Yibin Li Village 2000 P053-2 Qianwei Luocheng Town 1988 P053-3 Chengdu Xinka

i Street 1988 P053-4 Qianwei Luocheng Town 1993 P054 Zigong Xianshi Town 2002 P0
56 Chengdu Xinkai Street 1989 P059 Chengdu Jiuyan Bridge 1985 P060 Chengdu Zhiji
shi Street 1988 P061-1 Chengdu Junping Street 1984 P061-2 Chengdu People s Park
1990 P061-3 Pengshan Guanyin Town 1990 P061-4 Guang an Xiaoxi Town 2008 P062 Che
ngdu Xiaonan Street 1985 P064 Chengdu Huanglongxi Town 1984 P067 Chengdu Xinkai
Street 1990 P069 Zigong Da an District 1995 P071 Qianwei Luocheng Town 1986 P072
Chengdu Shuijing Street 1985 P074-1 Yibin Shuidong Gate 1992 P074-2 Chengdu Xin
kai Street 1991 P074-3 Longchang Yunding Village 1994 P075 Chengdu Zhonghe Town
1989 P076 Leshan Xiba Town 1992 P079 Leshan Xiba Town 1992
P080-1 Pujiang Xilai Town 1995
P080-2 Shuangliu Peng Town 2005
P081-1 Wenjiang Yushi Town 1993
P081-2 Leshan Xiba Town 1993
P082 Chengdu Zhonghe Town 1992
P084 Chengdu Zhonghe Town 1992
P087 Chengdu Damianpu Town 1991
P089 Bazhong Enyang Town 1994
P091 Chengdu Huaxiba Village 1985
P092 Chengdu Zhongxing Town 1989
P093-1 Chengdu Manjushri Monastery 1989
P093-2 Chengdu Damianpu Town 1991
P093-3 Chengdu People s Park 1990
P094 Chengdu Supo Bridge 1998
P096 Chengdu Xinkai Street 1990
P099 Chengdu Xinkai Street 1990
P101 Chengdu Xinkai Street 1990
P103 Chengdu Xinkai Street 1990
PI04-1 Chengdu Xinkai Street 1990
PI04-2 Chengdu Xinkai Street 1991
P104-3 Chengdu Xinkai Street 1990
PI04-4 Chengdu Xinkai Street 1993
PI05 Chengdu Xinkai Street 1989
P106 Chengdu Xinkai Street 1991
P107-1 Chengdu Xinkai Street 1986
PI07-2 Chengdu Xinkai Street 1990
P107-3 Chengdu Xinkai Street 1985
P108 Chengdu Huapu Road 1988
PI 10 Chengdu Manjushri Monastery 1992
PI 13 Wenjiang Tashui Town 1994
PI 15 Chengdu Huapu Road 1986
PI 16 Chengdu People s Park 1992
PI 17-1 Yibin Shuidong Gate 1991
PI 17-2 Chengdu Zhonghe Town 1989
PI 17-3 Chengdu Zhuangyuan Street 1988
PI 18 Chengdu Riverside Road 1988
P120 Jintang Chengxiang Town 1993
PI23 Pengzhou Mengyang Town 2005
P124 Chengdu Cuqiao Town 1989
P125-1 Chengdu People s Park 1990
PI25-2 Chengdu Shenxianshu Street 1994
P125-3 Hejiang Yaoba Town 1996
PI26 Leshan Xiba Town 1990
PI29 Leshan Xiba Town 1990
PI30-1 Chengdu Tongren Road 1993
PI30-2 Chengdu Xinkai Street 1990
PI30-3 Chengdu Baiguolin Area 1989
PI30-4 Chengdu Thatched Cottage Road North 2001
PI31 Chengdu Qingshiqiao 1999
PI32 Leshan Xiba Town 1990
PI34-1 Leshan Xiba Town 1990

PI34-2 Leshan Xiba Town 1990

PI34-3 Chengdu Huanglongxi Town 1988
P134-4 Chengdu Huanglongxi Town 1985
PI35-1 Leshan Xiba Town 1990
PI35-2 Meishan Ruifeng Town 2005
PI36 Chengdu Songxian Bridge 1984
PI39 Chengdu Xinkai Street 1988
P141 Chengdu Huaxiba Village 1993
PI43 Chengdu Nanfu Street 1989
PI44 Chengdu Xinkai Street 1989
P146 Chengdu Nanfu Street 1989
P149 Chengdu Nanfu Street 1989