This is an essay about an album made by a Chinese literati painter, Huang Yi (1744- 1801), to commemorate his visit to ancient monuments of the Mount Tai in Shandong Province. Huang Yi belongs to a group of Zhejiang 浙江 artists whose devotion to painting ran parallel to their devotion to seal-carving. The son of Huang Shugu 黃樹穀, a skilled calligrapher who harbored an interest in hydraulic engineering, Huang Yi was put in charge as subprefect 同知, of the operation of the Grand Canal in Jining 濟寧, Shandong. An avid epigrapher and amateur archaeologist, Huang Yi took advantage of his appointments and began his wide-ranging travels to visit and discover ancient steles, including the carved stones unearthed at Wuliang Shrines 武梁祠, and to collect rubbings of their inscriptions. During his ascent of the sacred Mountain Tai from seventh January to fifth February in 1797 Huang Yi wrote a dairy entitled Visit to the Relics on Mt. Tai (岱巖訪古日記 daiyan fanggu riji) and five month later produced an album with twenty-four leaves entitled Visit to the Stone Stele on Mt. Tai (岱麓訪碑圖冊 dailu fangbei tuce) illustrating the twenty four places he has visited in 1797. The diary details where Huang visited, what he examined, purchased, and with whom he worked, consulted and traveled. It became the source for his postscripts to the album leaves. Huang depicted twenty four scenes in which the historical stone stele or stone engravings are located such as Dragon-Grotto 龍洞 or Ridge of the Engraved Stone Sutra 石 經峪. The location he represented are all religious and confucian sites including Shrine for Confucius 孔子廟 and Shrine for Mencius 孟子廟 or Buddhist Tempel of Miraculous Rocks 靈巖寺. Unlike the diary, the pictures are scene-oriented and either condense explorations of different days into one scene or divide a single days adventure in to two or three scenes. The way he chosen to represent these monuments – using ink on paper with the calligraphic brush strokes known as Ni-Huang Style - is familiar in the traditional literati painting. Huang Yi might have kept his diary to himself, but he showed his painting to his friends. After finishing the album he immediately sent it to Weng Fanggang 翁方綱 in Beijing, a learned scholar with great enthusiasm for ancients texts. Huang Yi showed the album also to Sun Xingyan 孫星衍, Sun inscribed the title of the album with huge seal script and left a short inscription on the album. Each leaf of the album contains postscript of Huang Yi in which the historical background of the spot and the archaeological meanings of the stele are detailed described. Chinese art historian Shang Guoqiang 單國强 called this composite of image and text, pictures and their corresponding postscripts which contain both visual and textual evidence of journey as ‘a new style of the chinese real landscape 實景山水新樣式’.