Among the Chinese religious traditions, it is particularly Daoism that pays a strong attention to and presents a detailed account of the features of heavenly paradises, called differently as Realms of Immortals (xianjing 仙 境 ), Cave-Heavens (dongtian 洞 天 ), Blessed Lands (fudi 福 地 ), or Blessed Gardens (futing 福 庭 ). The Medieval Daoist tradition, as a development of the seminal Classical teachings, clearly made a distinction between earthly forms of the paradises manifested in sacred mountains, and their true forms (zhenxing 真 形 ) which are their heavenly counterparts. This paper tries to depict those traditional accounts that give more attention to archetypal geography, and tries to illustrate general characteristics of the paradises. Nevertheless, our special concern is focused on the heavenly paradise of Kunlun (崑 崙 ), designated as the Center of the Universe (di zhi zhongdi 地 之 中 地 ), Pillar of Heaven (tianzhu 天 柱 ), the Gate of Heaven (change 閶 闔 ), Turning Axil of Heaven and Earth (tiandi genniu 天 地 根 紐 ), and Dao’ s Yinform (daoyixing 道 陰 形 ). These paradises are above all the settlements of Daoist immortals. The ancient Chinese character of xian (仙 , immortal) itself depict a man in connection with three mountains which are explicitly the Three Mountainous Islands (sandao 三 島 ) in the celestial Eastern Ocean. The three mountains of the mentioned Chinese character are also depicted in the character shan (山 ) meaning mountain, since celestial paradises are indeed regarded as archetypes of the mountains on Earth. Mountain is the most important axial symbol in connection with the heavenly paradises, making them spiritual centers of the world, at least in a relative sense, and the places where Heaven and Earth meet each other. Mountains show also hierarchy of levels of the existence. Possessing a hierarchical order is a general feature of these paradises, considered whether in their totality or a particular paradise alone, such as Kunlun having three levels of Cold-wind Garden, Hanged Garden, and the place of Great Lord (taidi 太 帝 ). In spite of all of the images borrowed from terrestrial order, the traditional Daoist texts never forget to insist upon the celestial nature of the paradises to which those images symbolically are referred. In the midst of these symbols, water always plays an important role. Both the abundance of lifegiving waters in Kunlun— Yellow Waters (huangshui 黃 水 ) or the Elixir Water (danshui 丹 水 ) coiling around the mountain in three layers— and the celestial covering ocean itself at the northwest of which the paradise is placed, in relation to the terrestrial order, have the corresponding function in the subtle state that the state of Water-veiled Immersion (hunlun 混 淪 ; as a designation of the metaphysical One or the Being) has in relation to the whole universe, that is, their being principal in relation to the successive orders of manifestation. At the same time, the Turquoise Lake (yaochi 瑤 池 ) in Kunlun, under supervision of a great deity called Golden Mother (jinmu 金 母 ) or Queen Mother of the West (xiwangmu 西 王 母 ), significantly represents a water of making immortals and not that of creation of beings. Many deities, immortals, sages and emperors in different eras like Yu the Great (dayu大 禹 ), Yellow Emperor (huangdi 黃 帝 ), Shun (舜 ), Mu of Zhou (zhoumuwang 周 穆 王 ), Wu of Han (hanwudi 漢 武 帝 ) and many others have mystically travelled to Kunlun in order to be instructed in Daoist gnosis and blessed with immortality and heavenly mandate (tianming 天 命 ) at the hand of Queen Mother of the West. This blessing is differently symbolized in, participating in conversation with Queen Mother, drinking life-giving waters or consuming the famous Peaches of Immortality (xiantao 仙 桃 ) which are the essence of Heaven and Earth absorbed and cultivated in the Trees of No-Death (busi shu 不 死 樹 ), so that, the consumer can instantly position himself in the center of the cosmos and achieve the state of being a true son of Heaven and Earth, round, soft, and flexible outside, angular, strong, and firm inside, just like the fruit. Between the numerical symbols, it is number nine (or a multiplication of it, like 36 or 72) that is always present when there is a discussion of celestial lands. This number, cognate with geometrical symbol of circle according to the Chinese cosmology, represents Heaven, the pure Yang, as in contrast, number six is a symbol of Earth, the pure Yin. This is why forms borrowed from the terrestrial order are imaged in their perfect state. The trees are extraordinarily tall; the lights are radiated not from the forms or incarnations of the sun or moon, but from the source of their subtle substance (jinggen 精 根 ); plants grow there, not the ordinary ones, but the spiritual plants (shencao 神 草 ) and jade fungi (yuzhi 玉 芝 ); and the shape of even angular things tends to be circular and curved. Getting far from terrestriality is the first concept that comes to mind represented in all these images. Along with angelology, the study of heavenly paradises is an inseparable part of the Daoist teachings, which has not yet found its major place in the current studies of the tradition. A cause of that can be division of Daoism to non-existent traditions fancifully named as philosophical, religious, martial, mystical, magical, etc. Without study of the Daoist celestial lands, one cannot gain a whole, non-subjectivist image of the tradition.