Summer Palace, Beijing, China

The Summer Palace in Beijing is a magnificent masterpiece of Chinese landscape garden design, primarily consisting of Longevity Hill and Kunming Lake.

Originally constructed in 1750 as a luxurious imperial garden for the Qing dynasty emperors to escape the summer heat, it was largely destroyed during wars in the 19th century and subsequently rebuilt. Recognized today as a UNESCO World Heritage site, the park covers an expanse of nearly 300 hectares, where artificial hills and open water are harmoniously integrated with elegant pavilions, halls, temples, and bridges to reflect the aesthetic philosophy of classical Chinese imperial gardens.

At the heart of the palace grounds lies the iconic Long Corridor, a covered walkway spanning over 700 meters that is renowned for its thousands of intricate, hand-painted scenes depicting history, mythology, and nature. Other notable features include the Marble Boat, a stone structure that stands as a testament to Qing architecture, and the Seventeen-Arch Bridge, which offers stunning panoramic views of the water. By seamlessly blending human-made structures with the natural environment, the Summer Palace remains one of the world's finest examples of imperial garden artistry and a vital symbol of Chinese cultural heritage.

Summer Palace Map

Entering the Summer Palace through the East Palace Gate

Hall of Benevolence and Longevity

Hall of Benevolence and Longevity
«Originally named the Palace of Diligent Governance during the Qingyi Garden era and constructed in the fifteenth year of Qianlong's reign (1750), this hall was destroyed by the British and French allied forces in 1860. It was rebuilt in the twelfth year of Guangxu's reign (1886), adopting the name "Hall of Benevolence and Longevity" from the Confucian idea that "a benevolent person enjoys a long life." This hall served as the place where Empress Dowager Cixi and Emperor Guangxu managed state affairs, received congratulations, and met with foreign envoys during their residency in the Summer Palace. It is the main architectural component of the Summer Palace's administrative area.»

Approaching the Hall of Benevolence and Longevity

Bronze Qilin statue in front of the Hall of Benevolence and Longevity
This bronze statue is known as a qilin, a mythical creature in Chinese mythology that is widely regarded as a symbol of good fortune, prosperity, and auspicious omens.

Often referred to as a "Chinese unicorn," the qilin typically combines features of various animals, characterized in this instance by its deer-like antlers, dragon-like head, and a body covered in protective scales. In the context of the Summer Palace, particularly situated in front of the Hall of Benevolence and Longevity, the statue serves as a guardian figure intended to project the power and benevolence of the emperor while attracting positive energy to the imperial residence.
Beyond its symbolic role as a harbinger of peace and noble character, the statue is a significant example of Qing dynasty bronze casting techniques. During the reign of Empress Dowager Cixi, such elaborate bronze sculptures were carefully placed throughout the palace grounds not only for their aesthetic appeal but also to underscore the legitimacy and divine mandate of the imperial rule. The intricate detailing on the scales, mane, and facial features demonstrates the high level of craftsmanship prevalent in imperial workshops, highlighting the blend of artistic mastery and cultural symbolism that defined the architectural environment of the Summer Palace.

Hall of Benevolence and Longevity
The Hall of Benevolence and Longevity, known in Chinese as the Renshou Dian, serves as the primary administrative building within the Summer Palace.

Historically, it functioned as the main audience hall where the Qing dynasty emperors, most notably Empress Dowager Cixi, held court, received foreign dignitaries, and conducted official state affairs. The architecture reflects traditional imperial design, characterized by its imposing structure, intricate wooden carvings, and a grand, elevated platform that emphasizes the majesty and authority of the throne housed within.
Surrounding the hall are several important cultural elements that enhance its symbolic significance, including the prominent bronze qilin sculpture, as well as bronze incense burners and mythical beasts placed to protect the site. The hall's name, which translates to "Benevolence and Longevity," draws inspiration from Confucian philosophy, implying that a benevolent ruler is destined for a long and prosperous reign. Today, the building stands as a major historical landmark, offering visitors insight into the political ceremonies and daily life of the imperial court during its final decades.

Main Door of the Hall of Benevolence and Longevity

Make-Up Pavilion
«Constructed in 1891, this building features a two-story hall facing south and is connected to the Opera House to the north. It served as the backstage area where actors prepared their makeup in those years and has now been converted into an exhibition room.»

Panorama of the Opera House, the Hall of Nourishing Pleasures and the Theater Viewing Gallery

Hall of Nourishing Pleasures
«Built in the Guangxu period, this hall was used by Empress Dowager Cixi to watch operatic performances. At the center stands a huali (rosewood) luohan bed, fitted with cloisonné-enamel insets bearing the "Hundred Birds Paying Homage to the Phoenix" motif, together with a matching freestanding screen.»

Theater Viewing Gallery
«Spanning ten rooms to both the east and west, this gallery was where Empress Dowager Cixi entertained the nobility and high officials with theatrical performances during her stays in the Summer Palace.»

Panorama of the Opera House

The Opera House
«The opera complex, built between 1891 and 1895, comprises a three-story building for opera performances and a two-story building for drama enactment. The performance building is organized into three levels named after the auspicious qualities of Fortune, Prosperity, and Longevity, allowing for simultaneous staging of plays. It also features mechanical devices like revolving stages, windlasses, and high-pressure water apparatuses to create scenes of deities descending to the mortal realm, spirits burrowing into the earth, and water effects. Alongside the Changyin Pavilion of the Forbidden City and the Qingyin Pavilion in the Chengde Summer Resort, Hebei, the Summer Palace Opera House is celebrated as one of the Qing Dynasty's three great theaters, boasting the largest scale among them. Esteemed Qing Dynasty Peking Opera performers, including Yang Xiaolou and Tan Xinpei, graced this venue with performances for Empress Dowager Cixi.»

Hall of Jade Ripples

Hall of Jade Ripples
«Constructed in the fifteenth year of the Qianlong period (1750), the Hall of Jade Ripples was originally a complex featuring passageways in all four cardinal directions. It was destroyed by the Anglo-French allied forces in 1860 and was reconstructed in 1886, serving as Emperor Guangxu's bedchamber within the Summer Palace. Following the failure of the Hundred Days' Reform in 1898, Empress Dowager Cixi ordered the area to be sealed off, turning it into the secluded confinement area for Emperor Guangxu within the Summer Palace.»

Entering the Hall of Jade Ripples

Panorama of the Main Hall of Jade Ripples

The Main Hall of Jade Ripples
«Built in the Qianlong reign and refurbished in the Guangxu period, the hall subsequently served as Emperor Guangxu's bedchamber and a place where he attended to state affairs. At the center stands a zitan throne inlaid with apricot wood, featuring figural and pavilion motifs amid passion-flower and scrolling-foliage patterns, complemented by an imperial desk, a throne screen, hand fans, and other court furnishings.»

Pavilion of Evening Charm

Pavilion of Evening Charm
«Constructed during the Qianlong period of the Qing Dynasty and renovated during the Guangxu period, this two-story pavilion spans three bays in width. Its name is derived from a poem by Tao Yuanming, which describes the beauty of mountain air: "The mountain air is charming at dusk."»

Garden with rock formations

Hall of Joy and Longevity

Hall of Joy and Longevity
«Constructed in the fifteenth year of Emperor Qianlong's reign (1750), the Hall of Joy and Longevity was burned down by the British and French allied forces in 1860 during the Xianfeng era. It was rebuilt in the twelfth year of the Guangxu period (1886) and became the residence of Empress Dowager Cixi within the Summer Palace.»

Hall of Joy and Longevity
The bronze statues of the deer and the crane are iconic features located in front of the Hall of Joy and Longevity (Le Shou Tang) in the Summer Palace.

Both animals hold profound significance in Chinese culture as auspicious symbols of long life and health. In traditional iconography, the deer is often associated with prosperity and longevity, while the crane is revered as a celestial bird that represents wisdom, grace, and an enduring existence. Their placement together, often alongside a bronze vase, forms a sophisticated visual metaphor that emphasizes the wish for a long, tranquil, and prosperous life for the empress who resided there.
Beyond their symbolic meanings, these statues showcase the refined craftsmanship of the Qing dynasty's imperial workshops. Each figure is cast with meticulous detail, capturing the natural posture and elegant forms of the animals while anchoring them on stylized, rocky bases that symbolize longevity. The inclusion of these specific creatures in the imperial garden was a deliberate choice to align the environment with traditional values and aesthetic ideals. By integrating these artistic bronzes into the courtyard, the designers created a harmonious atmosphere that balanced natural beauty with profound cultural aspiration, further enhancing the prestige of this significant imperial residence.

Azure Lingzhi Rock
«This colossal stone, known for its azure hue and moist texture resembling a lingzhi mushroom, was discovered by the Ming Dynasty official Mi Wanzhong in Beijing's Fangshan district. While being transported to Mi's Shao Garden, financial constraints forced its abandonment in the wilderness. Later, Emperor Qianlong of the Qing Dynasty allocated substantial funds to relocate it to its current location, naming it "Azure Lingzhi Rock." It is recognized as the largest ornamental rock in Chinese gardens.»

Kunming Lake

Kunming Lake with the Seventeen Arch Bridge
Kunming Lake serves as the heart of the Summer Palace in Beijing, covering about three-quarters of the entire imperial garden's area.

Originally expanded during the Qing Dynasty to mimic the West Lake in Hangzhou, the lake is a masterpiece of landscape architecture designed to blend natural beauty with human-made structures. It provides a serene, expansive backdrop that reflects the surrounding hills and ornate pavilions, acting as the primary artery for imperial boat travel and scenic enjoyment for the emperors throughout the centuries.
Connecting the eastern shore of the lake to the South Lake Island is the iconic Seventeen Arch Bridge, which stands as the longest bridge in the Summer Palace at 150 meters. Its design is characterized by its gentle curve and elegant, symmetrical spans that appear to gracefully touch the water. The island itself, home to the Hall of Extensive Benefit, is designed to represent the legendary fairyland of Penglai, and the bridge is meticulously adorned with 544 distinct, carved lions along its marble balustrades. During the winter solstice, the setting sun aligns with the bridge’s arches, casting a spectacular golden illumination through every opening, which has become a celebrated photographic phenomenon.

Long Corridor

Long Corridor
The Long Corridor at the Summer Palace is a world-renowned covered walkway that stretches for 728 meters along the northern shore of Kunming Lake.

Built primarily as a sheltered path for Emperor Qianlong and his mother to enjoy the garden scenery regardless of the weather, the structure connects the main living quarters in the east to the rear hill area in the west. Its architectural significance lies in its ingenious integration into the landscape, featuring a series of pavilions and central structures that break up the long, linear path and create a rhythm of open and enclosed spaces.
The corridor is celebrated for its extensive collection of traditional Chinese art, boasting over 14,000 intricate paintings that adorn its crossbeams and ceiling rafters. These decorative paintings depict a vast array of subjects, including scenes from classical Chinese literature, folklore, historical anecdotes, and vivid illustrations of flora, fauna, and landscapes. This impressive artistic display not only serves as a visual gallery of imperial culture but also highlights the meticulous attention to detail and aesthetic harmony that defines Qing Dynasty garden architecture.

Tower of Buddhist Incense

Tower of Buddhist Incense
«The Tower of Buddhist Incense, initially erected during the Qianlong period of the Qing Dynasty, was reconstructed in the Guangxu period after its destruction by the British and French allied forces in 1860. This architectural marvel, standing on a 20-meter-high stone base, reaches a total height of 36.44 meters. It is distinguished by its eight-sided structure with three tiers and four layers of eaves, making it a central figure in the Summer Palace's design. Within, a gold-gilded bronze statue of the Thousand-Handed Guanyin Bodhisattva, standing five meters tall and weighing over 5,000 kilograms, is supported by eight lignum vitae columns. This statue, a significant artifact from the Ming Dynasty's Wanli period, showcases exceptional cultural and artistic value.»A

Tower of Buddhist Incense, seen from southeast
The Tower of Buddhist Incense is the most prominent landmark of the Summer Palace, standing majestically on the southern slope of Longevity Hill.

This three-story, eight-sided tower rises 41 meters high and rests upon a massive, 20-meter-high rectangular stone base. Designed as a focal point for the entire park, its construction was initiated by Emperor Qianlong to serve as a place for paying respects to Buddha, and it dominates the view across Kunming Lake, symbolizing the absolute power and piety of the imperial court.
The architecture of the tower is a testament to sophisticated engineering, as it is constructed primarily of wood without the use of nails, relying instead on complex joinery techniques typical of high-status Qing Dynasty structures. Inside, a bronze statue of the Thousand-Armed Guanyin is housed, reflecting the profound Buddhist influence on the imperial family's spiritual life. The surrounding complex, which includes the Hall of Dispelling Clouds and various surrounding galleries, creates a vertical axis that draws the eye upward, reinforcing the tower's status as the spiritual and aesthetic pinnacle of the imperial garden.

Archway of Cloud and Jade Brilliance
«Originally built in the fifteenth year of the Qianlong reign (1750) and rebuilt during the Guangxu period, this archway features three bays, four pillars, and seven roofs, oriented from south to north. It is adorned with intricate decorative paintings of golden dragons, which are the highest form of palace artistry. The archway marks the starting point of the central axis of Longevity Hill. The south side of the archway is inscribed with "Stars Encircle the North Star," and the north side with "Cloud and Jade Brilliance."»

Entrance to the Buddhist Incense Tower with two bronze lions
Standing guard at the base of the Tower of Buddhist Incense, the two bronze lions serve as potent symbols of imperial authority and protection.

In accordance with traditional Chinese architectural practices, the male lion is positioned on the right and is typically depicted with his right paw resting on an ornate globe, representing his dominion over the world and the stability of the empire. His open-mouthed expression is said to ward off evil spirits and signify his role as a fierce defender of the sacred grounds behind him.
Opposite the male, the female lion stands on the left, identified by her left paw resting gently upon a playful cub. This imagery symbolizes maternal care, fertility, and the flourishing of the imperial lineage, grounding the grandiosity of the palace in the context of dynastic continuity. Together, these bronze guardians—cast with exceptional craftsmanship—exemplify the careful blend of mythological symbolism and artistic mastery that was essential to the design of high-status imperial spaces in Beijing.

Tower of Buddhist Incense, seen from southwest

Clear and Peaceful Boat

Clear and Peaceful Boat
«The Clear and Peaceful Boat, originally named the Stone Boat, was constructed in the 20th year of the Qianlong period (1755). Fashioned from large stones and measuring thirty-six meters in length, it was initially equipped with a traditional Chinese cabin. After its destruction by the British and French allied forces in 1860, it was rebuilt in the 19th year of the Guangxu period (1893) with a Western-style cabin. The renaming to "Clear and Peaceful Boat" reflects the aspiration for tranquility, echoing the phrase "the river is clear and the sea is peaceful."»

Floating Heart Plant Bridge

Floating Heart Plant Bridge
«Constructed during the Qianlong period, the pavilion of the Floating Heart Plant Bridge was restored in the Guangxu period. Its name is inspired by a line from the "Book of Songs": "Among the floating heart plants, picked here and there."»

Imperial Boathouse

Gate Tower of Cloud-Retaining Eaves

Gate Tower of Cloud-Retaining Eaves
«Originally built during the Qianlong period, the Gate Tower of Cloud-Retaining Eaves, also known as the Palace of Pearls, once housed a silver statue of Guan Yu, later looted by the British and French allied forces in 1860. It was remodeled into a pavilion during the Guangxu period, dedicated to Guan Yu, known as Guan Di, the deity of war and righteousness.»

Bridges over the Back Lake