峨眉山位於四川峨眉縣西南。山脈由岷山伸展而出，崗巒叠起，氣勢如虹，蜿蜒三百多里，周圓一千餘里，直逼峨眉縣境。突起三主峯，稱大峨、中峨、小峨，一脈相連。兩山相對如峨眉；又此山狀若雲鬟凝翠、鬒黛遙妝，真如螓首峨眉，細而長，美而豔也，故名。三峨中之中峨，即二峨，古綏山，一名覆篷，上有天池。小峨即三峨，一名鏵刄山，距二峨九里，高半之。大峨周千里，高二百二十里。南北有臺，前即二峨、三峨；然二山俱以大峨得名。峨山在蜀，為最高峻，蓋眾山盤礡而成。李白有詩：「峨眉高出西極天，羅浮直與青冥齊。」宋人有詩云：「蜀山天下奇，三峨壓岷石；誰謂孤劍下，名出嵩華後。」世人尊之為中國佛教四大名山之一也。峨山本普賢菩薩應化之道場也。歷代王臣，悉從事於建設，致使琳宮紺殿，棋布雲巖；草舍茅篷，星羅幽岫。其寺之較著者，有光相寺、聖積寺、伏虎寺、華嚴寺、中峯寺、黑水寺、後牛心寺、萬年寺、靈巖寺等七十餘所；菴、堂、殿、院、閣，更不計其數，蔚為佛國。明代末年，胡菊潭著《譯峨籟》。清康熙十一年（一六七二）蔣超據之，並增益《四川總志》、《峨眉縣志》、《蜀中廣記》等之所載，為編《峨眉山志》。康熙二十六年（一六八七），曹熙衡重加修飾。民國二十三年（一九三四）釋印光重修四大名山志，《峨眉山志》即據蔣超舊志加以訂正。釐為八卷，分門十一：星野圖說、菩薩聖迹、全山形勝、寺菴勝概、感應靈異、歷代高僧、王臣外護、仙隱流寓、古今藝文、動植物産、蔣編志餘。唯多據蔣超舊志為之訂正耳，於有清一代之此山名德及新建寺庵，概不闌入。茲據民國二十三年（一九三四）排印本景印。
Mount Emei is located southwest of Emei County in Sichuan. The mountain range extends from the Min Mountains, with ridges rising one after another in a majestic sweep, winding for over three hundred li and spanning a circumference of about a thousand li, reaching right up to the borders of Emei County. It features three main peaks, known as Greater Emei, Middle Emei, and Lesser Emei, all connected as one continuous range. The two mountains face each other like delicate eyebrows; moreover, the mountain resembles a cloud-like coiffure tinged with emerald green, like distant makeup on dark hair—truly like a cicada's head and fine eyebrows, slender and long, beautiful and radiant—hence its name. Among the three peaks, Middle Emei, also known as Second Emei, was anciently called Sui Mountain, also known as Fupeng, and features a celestial pond on its summit. Lesser Emei, also called Third Emei, is known as Huaren Mountain, located nine li from Second Emei and half its height. Greater Emei spans a circumference of a thousand li and rises to a height of two hundred and twenty li. It has platforms to the north and south, with Second and Third Emei lying to the front; however, both of these mountains derive their fame from Greater Emei. Mount Emei is the loftiest and most precipitous in Sichuan, formed by the convergence of numerous mountains. Li Bai wrote in a poem: "Emei rises above the western sky's edge, Luofu stands level with the azure heavens." A Song dynasty poet wrote: "The mountains of Shu are wondrous under heaven, the three Emei peaks overshadow the Min stones; who would have thought that beneath a solitary sword, fame would emerge after Song and Hua." It is revered as one of the Four Great Sacred Mountains of Chinese Buddhism. Mount Emei is originally the sacred site where Samantabhadra Bodhisattva manifested. Throughout successive dynasties, rulers and officials have dedicated themselves to its construction, resulting in jeweled palaces and azure halls scattered like chess pieces across the cloudy cliffs; thatched huts and hermitages dot the secluded valleys like stars. Among the more notable temples are Guangxiang Temple, Shengji Temple, Fuhu Temple, Huayan Temple, Zhongfeng Temple, Heishui Temple, Hou Niuxin Temple, Wannian Temple, Lingyan Temple, and over seventy others; numerless hermitages, halls, shrines, courtyards, and pavilions flourish, making it a veritable Buddhist realm. In the late Ming dynasty, Hu Jutan authored *Yi E Lai*. In the eleventh year of the Kangxi reign of the Qing dynasty (1672), Jiang Chao drew upon this work and supplemented it with records from *The Comprehensive Gazetteer of Sichuan*, *The Gazetteer of Emei County*, and *Extensive Records of Shu*, compiling the *Gazetteer of Mount Emei*. In the twenty-sixth year of Kangxi (1687), Cao Xiheng revised and embellished it further. In the twenty-third year of the Republic of China (1934), the monk Yin Guang revised the gazetteers of the Four Great Sacred Mountains, with the *Gazetteer of Mount Emei* being corrected based on Jiang Chao's old edition. It was organized into eight volumes, divided into eleven categories: Astrological Charts and Illustrations, Sacred Traces of the Bodhisattva, Scenic Landscape of the Entire Mountain, Overview of Temples and Hermitages, Miraculous Responses, Eminent Monks Through the Ages, Royal and Official Patronage, Immortals, Recluses, and Sojourners, Literary Works Ancient and Modern, Flora and Fauna, and Supplementary Material from Jiang's Compilation. However, it largely relied on Jiang Chao's old edition for corrections, generally excluding notable virtuous figures of the Qing dynasty and newly built temples and hermitages from that period. This edition is reproduced based on the typeset version from the twenty-third year of the Republic of China (1934).