A comprehensive travel guide to the Mengkte Ancient Trail, featuring ticket information, road conditions, photography spots, and essential tips to ensure a worry-free journey!

by Me (a person who moved posts from Xiaohongshu to my blog)
Let me tell you the story. This July, I drove from the county seat of Zhao Su headed west, took over an hour on paved roads, then bounced on gravel roads for forty minutes, parked the car, climbed a small slope, and looked up to be mesmerized by Muzart: a massive gray-white wall topped with leftover snow, stretching across the grasslands, like a scene straight out of a Miyazaki drawing. That day, to catch the sunrise, I squeezed into my sleeping bag at four in the morning, dozed off for twenty minutes, then rolled out of bed, braving the faint light to hike up to the viewing platform. My phone said the altitude was about 3560 meters. Just a couple of minutes after standing there, my fingers were numbing from the cold—summer nights are around seven or eight degrees, not to mention the wind pouring down my collar.
4:49 AM The sky first showed a dirty pink, like a palette with uncooked vermilion;
5:03 AM A beam of golden light suddenly sliced down from the left ridge, instantly dividing the entire mountain into light and shadow;
5:07 AM The rocky walls below the snowline were dyed a clear honey color, as if someone had quietly spilled golden paint.
I was holding my Canon 70-200mm and completely forgot to press the shutter, just staring at the layers of weathered textures being illuminated by the morning light, like dynamic rock paintings flipping in front of my eyes.

Lens: 70-200 mm f/2.8, on a tripod the whole time
Focus: Manual focus to the snowline, then slightly back (the snow is a highlight, and auto-focus can go haywire)
Mode: M mode, f/8, ISO 100, single exposure from 1/60 to 1/125 nonstop testing
Exposure Compensation: -0.3 to -0.7, to avoid blowing out the golden mountain
I took a set in both portrait and landscape formats, cropping out the dried grass in portrait, which highlighted the layers. After that, I quickly switched to a wide-angle lens for a panoramic shot to wrap it up as a “been here” photo.

| Time Period | Light Direction | Mountain Color | Best Position | Shot Characteristics |
|---|---|---|---|---|
| Sunrise (05:00–07:00) | Diagonal from the left | Gold → Orange → White | Far left of the viewing platform | Most defined layers, highlights in gold, shadows in blue |
| Morning (07:00–10:00) | Soft light from the front | Grayish-white | Move forward about twenty meters | Clear textures, great for close-up details |
| Evening (17:00–19:00) | Backlight | Silhouette + Gold edges | Center of the viewing platform | Great for silhouettes and preparing for star trails |
My personal favorite is the ten minutes of backlit sunset. When the sun dips behind the mountains, the edges get this orange “flame” effect, and the ground sheep turn into little black dots. Just placing the subject at any intersection in the grid can get a great shot.

As I was leaving, I casually took a wide shot with my 24 mm lens to post on social media, and a friend DM’d me asking “Did you add CG?” I just tossed him the original shot parameters. He replied with a bunch of “???” emojis—turns out, the mountain just comes with its own filter, no editing needed.
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