Strolling in Beihai Park: Admiring the Beauty of Pailou
Strolling in Beihai Park, Admiring the Beauty of Pailou
Under the warm winter sun, take a walk in Beihai Park—free from summer's noise, filled with winter's tranquility—pausing now and then to truly appreciate the scenery before you. Beihai's pailou will catch your eye, making you stop and gaze in admiration.
Pailou, also called paifang, are unique architectural structures born from Chinese culture, serving as vessels of history and traditional heritage. By number, the densest concentration of pailou in all of China is in Beijing, and within Beijing, nowhere has more than Beihai Park. The pailou here gather the essence of traditional architecture, combining many forms to enhance the park's beauty, complement its garden atmosphere, and create a distinctive landscape poetry.
Beihai Park was originally an imperial garden. On Qionghua Island stand ten wooden pailou of various styles, while the northern shore boasts five glazed pailou, and on the east shore, at the north end of the stone bridge in Haojianjian, there is a stone pailou. All sixteen are imperial garden pailou. (See diagram of pailou parts at the end of this article.)
Imperial garden pailou maintain strict hierarchical differences from folk pailou. Their main characteristic is that the bracket arm openings and pillar diameters follow fixed "modules," with each architectural component made to set dimensions. The "Jicui" (Accumulated Emerald) and "Duiyun" (Piled Clouds) pailou stand at the south and north ends of Yong'an Bridge. They were first built in the Yuan Dynasty, over 700 years ago, and are outstanding representatives among Beihai's sixteen pailou, as well as famous landmarks of Beijing. They were renovated in the eighth year of the Qianlong reign (1743). After the founding of New China, they underwent two major overhauls and two repaintings.
These two bridge pailou are both four-pillar, three-bay, three-eaved structures, with eight diagonal brace poles, topped with green glazed hip-and-gable roofs, symbolizing the lush, verdant scenery of Qionghua Island. Each of the four wooden pillars is set in a blue-white stone base block; the main bay features dougong with three layers of protruding bracket arms and eleven tiers, while the side bays have hanging bracket arms and nine tiers. Their roofs are as exquisite as piled jade. Outside each pailou sits a pair of stone lions facing outwards. The lions outside the north pailou, being close to Yong'an Temple's mountain gate, appear to face inwards—a seemingly unconventional arrangement that actually is not. Like the opening lines of a poem, the two bridge pailou naturally lead visitors from the main entrance into Qionghua Island.
A defining feature of imperial garden pailou is their exquisite painted cloud-dragon decoration, applied strictly according to rank. The emperor styled himself the "True Dragon Son of Heaven," so pailou are carved and painted everywhere with cloud-dragon motifs. Typically, the golden plaque is wreathed in cloud dragons, while large and small carved panels and architraves show dragons playing with pearls. Gold leaf is applied in 'spun gold tracery' or 'golden dragon and imperial seal' paintings. The plaques in the main bays read "Jicui" and "Duiyun," both personally inscribed by Emperor Qianlong, with identical characters on both sides of each plaque. Four single seated golden dragons, eight golden cloud dragons, and precious flower motifs surround the imperial plaques, underscoring the solemnity and majesty of imperial power.
The center of a pailou is called the "main bay," with "side bays" to its left and right. The main bay bears the plaque, while the side bays are fitted with carved panels. Whether large or small, these panels are distinctive to wooden pailou and represent the artistic essence of the structure, most fully displaying its decorative nature. In both wooden and glazed pailou, the carved panels are exquisite works of art. The paintings on the side bays of both pailou are identical: eight golden cloud dragons surround a small carved panel featuring precious flowers.
Imperial garden pailou often use a longmen bracket set (què tì), which serves a decorative role. Though not conspicuous, the bracket set has both load-bearing and ornamental functions. The longmen bracket set adds extra elements to the main body, such as cloud blocks, decorative frame pieces, and triple-cloud brackets. The triple-cloud brackets, installed on the sides of the bracket set in the depth direction, enrich the three-dimensional variation of the form. The brightly colored scrolling-grass motifs on the longmen bracket sets, triple-cloud brackets, and lingzhi fungus ornaments of the main and side bays are striking.
The sturdy, understated blue-white stone base blocks and two iron straps of the wooden pailou columns.
The stone lion in front of the "Jicui" pailou.
The stone lion behind the "Duiyun" pailou.
The "Longguang" pailou is located in front of Pu'an Hall, halfway up Qionghua Island. It is a four-pillar, three-bay, three-eaved wooden pailou.
The plaque in the main bay reads "Longguang" (Dragon Light), exuding the supremacy and authority of imperial power. The reverse side reads "Zizhao" (Purple Illumination)—both in Qianlong's calligraphy. "Longguang" and "Zizhao" signify auspicious omens: Dragon Light refers to the gleam of the Dragon Spring sword, and Purple Illumination to the reflection of purple vapor, allusions drawn from the 'Book of Jin' and 'Biographies of Immortals,' both indicating propitious signs. The architraves are adorned with two cloud dragons, four single seated dragons, brocade patterns, and precious flowers encircling the plaque. The dougong, paintings, and carved panel details are exceptionally refined, fully displaying imperial grandeur.
The side bays (left side bay pictured above, right side bay below) center on a small carved panel of two golden dragons supporting the character for "longevity," with four single seated golden dragons, two cloud dragons, brocade patterns, and golden precious flowers arranged like stars around the moon—the painting is extremely lavish.
Scrolling-grass longmen bracket set, twin triple-cloud brackets, and cloud blocks in the main bay.
Scrolling-grass longmen bracket sets, triple-cloud brackets, and cloud blocks in the side bays.
The base blocks that grip the pillars are structurally and visually not the focal point, but in imperial pailou they borrow motifs from the "Sumeru pedestal," such as string beads and "badama" (Sanskrit for "lotus petal"), with carving so meticulous and superb that it reaches the pinnacle of craftsmanship, thereby displaying the elegance and bearing of imperial architecture. The blue-white stone base blocks of the pailou pillars feature beautifully carved plaintain-leaf patterns, badama, string beads, wish-fulfilling clouds, and iron straps that tighten the base blocks.
Linguang Hall (Linguang means "Buddha's light amid clouds and water") lies at the western foot of Qionghua Island, facing west. It is the western Buddha hall of Yong'an Temple. In front of it, to the north and south, stand two four-pillar, three-bay, three-eaved wooden pailou of identical size, painted patterns, and architectural standard.
The wooden pailou on the south side of Linguang Hall.
The wooden pailou on the north side of Linguang Hall.
These wooden pailou have green glazed tiled roofs, golden precious-flower and brocade-pattern paintings on the architraves, and the main bay (center section) has no plaque; the position for the central carved panel is painted but left blank.
In the side bays to the left and right, brocade patterns and golden precious flowers on the architraves encircle small carved panels.
The blue-white stone base blocks of the pailou pillars display beautifully carved plaintain-leaf patterns, badama, string beads, wish-fulfilling clouds, and iron straps that tighten the base blocks.
The Zhishan Bridge pailou is located at the west end of Zhishan Bridge, near the east gate of Beihai Park (also called Zhishan Gate). The pailou is grand in scale, simple yet elegant, with yellow glazed roof tiles and elaborate, exquisite dougong paintings. It is exceptionally imposing, complementing Zhizhu Hall while setting off the distant white stupa; it is Beihai's most magnificent wooden pailou.
The Zhishan Bridge pailou is a west-facing, four-pillar, three-bay, three-eaved wooden pailou with golden glazed eaves. Built in the 16th year of Qianlong (1751) together with Banyue (Half-Moon) Fortress, its structural form is of the highest rank among ancient pailou nationwide. Unlike other pailou, its design has many unique features. Despite being the most ornate and highest-ranking pailou, neither the main nor side bays bear a plaque.
Under the eaves of the Zhishan Bridge pailou are multiple layers of wish-fulfilling dougong, creating a net-like "cloud-head wish-fulfilling dougong." Below the dougong, a row of hanging flowers is attached to the outer side of the carved panels, delivering a visual impact that is extraordinarily splendid and imposing. If you stand on the Banyue Fortress rampart and look straight at the pailou, the piled layers of wish-fulfilling dougong are deeply impressive. Such multi-layered "cloud-head wish-fulfilling dougong" pailou are extremely rare. (A protective net has now been installed over this exquisite cultural relic for proper conservation.)
Looking straight at the golden glazed roof of Zhishan Bridge pailou from Banyue Fortress.
The large glazed chiwen (dragon's mouth, one of the dragon's nine sons) on either side of the main ridge of the pailou roof, also called "dragon kisses." Legend says that placing two opposite chiwen on the ridges of palaces and temples can prevent fire and ward off evil spirits.
The sloping ridges on the left and right of the pailou roof, also called "branch ridges," are lined with auspicious beasts running from front to back: a man riding a phoenix, dragon, phoenix, lion, and glazed vertical-ridge beast. Below the phoenix rider is the corner-beam animal-head cover.
Beneath the dougong of the main bay, there are five architrave layers sandwiching three carved panels, with eight floral-pendant covers topping the uppermost architrave, and a small central panel of auspicious clouds supporting longevity. Beneath the dougong of the side bays (left side bay pictured above, right side bay below), there are three architrave layers sandwiching one carved panel, with six floral-pendant covers topping the upper architrave. The architraves feature four single seated dragons, two cloud dragons, and brocade patterns encircling a small panel of auspicious beasts. Every architrave, carved panel, and bracket set on the Zhishan Bridge pailou is adorned with patterns of golden dragons with imperial seals and large golden tracery, fully exploiting the pailou's decorative role—the visual effect is breathtaking.
Exquisitely ornate scrolling-grass longmen bracket sets and triple-cloud brackets.
The blue-white stone base blocks of the pailou pillars are carved with beautiful plaintain-leaf patterns, scrolling grass, badama, string beads, wish-fulfilling clouds, and iron straps that tighten the base blocks.
Wooden pailou of the Ming and Qing dynasties all have diagonal brace poles (which serve to resist wind and bear the roof load). Under each pole is a large stone block as a support—the "bracing stone." Pailou with bracing-stone beasts, however, are rare. The Zhishan Bridge pailou faces west; on its west side are two brace poles, and on the east side four. Below each pole crouches a stone-carved mythical beast—six in total—rendered exceptionally lifelike. The two on the west side are flood dragons (picture above); on the east side, the outermost two are stone lions (middle picture), and the inner two are qilin (picture below). These four beasts are arranged symmetrically in space.
Zhizhu Hall and Banyue Fortress lie at the eastern foot of Qionghua Island, facing east opposite Zhishan Bridge. Built in the 16th year of Qianlong (1751), Zhizhu Hall sits on the Banyue Fortress rampart, with golden tiles and red walls, majestic and imposing. It is surrounded by five pailou, laid out with central-axis symmetry in a rare and ingenious configuration among ancient Chinese buildings. Inside, a statue of Manjusri Bodhisattva was originally enshrined.
At the southwest (picture above) and northwest (picture below) entrances to Zhizhu Hall, there are four two-pillar, single-bay, three-eaved wooden pailou (with attached side bays). The two on the west face Zhizhu Hall, acting as a screen between the fortress platform and the hillside behind; the north and south ones serve as entrances to the platform. Together with the fortress wall, they enclose Zhizhu Hall.
These four wooden pailou are identical in size, painted patterns, and architectural standard.
All feature wish-fulfilling dougong. The main bay has no plaque, and the central carved-panel position is left blank.
The essence of the pendant-flower gate lies in the "pendant lotus columns"—one pair in front and one behind the gate posts, with lotus buds about to bloom beneath the column heads. The pendant-flower-gate-style pailou borrows this essence. It does not directly copy the gate but instead places the pendant lotus columns on either side of the pailou pillars. This variation makes the pailou's monotonous form much more interesting. In the left attached bay (picture above), the golden walking dragon's head points right toward the main bay. In the right attached bay (below), the golden walking dragon's head points left toward the main bay.
Haojianjian is located on the east shore within Beihai Park. Ninghe Hall was first built here in the 13th year of Jiajing in the Ming Dynasty (1534). In the 22nd year of Qianlong (1757), it was expanded into a garden-within-a-garden. Inside, winding bridges, pools, rockeries, and covered walkways twist through a tiny space, creating a deep, secluded, and tranquil scene. Ancient pines grow luxuriantly all around, shading the sky and sun—a distinctive atmosphere.
Over the pool in Haojianjian stretches a nine-turn stone bridge with carved balustrades. At the north end stands a delicate, exquisite stone pailou with two pillars and one bay. From its roof ridges and dougong to the drum-shaped bracing stones flanking the pillars, every architectural element is carved with superb skill, bearing rich cultural meaning. It is a highly decorative and ornamental bridgehead pailou.
The pailou bears couplets and plaques on both sides, all in Qianlong's handwriting. The south side reads: "The sun forever bright, the pavilion and terrace fresh and serene; after rain, the flowers and trees delicate and lush." The horizontal plaque says: "Mountain hues and rippling light blend into a painting."
The north side reads: "Upon the fragrant islet, fresh rain makes life brim; pine-peaked, traversed by clouds, a picturesque welcome." The horizontal plaque: "Orchids on the isle, fragrance wafting from the shore."
Exquisitely carved scrolling-grass bracket set and cloud block.
Drum-shaped bracing stone that stabilizes the pailou pillar.
Of the ten extant glazed pailou in Beijing, five are in Beihai Park. Glazed pailou are the highest in rank and most ornate, typically decorated with yellow and green glazed bricks and tiles. Because of their massive form, they are best suited for placement in front of solemn temples.
Xitian Fanjing, also called "Daxitian" (Great Western Heaven), is located on the north shore of Beihai Park. It served as a sutra workshop during the Ming Dynasty and later as a Western Heaven Zen Forest lamasery. Expanded in the 24th year of Qianlong (1759), it was renamed Xitian Fanjing. The "Huazang Jie" glazed pailou stands in front of it—a typical "gate-style" structure. The south side reads "Huazang Jie" (Realm of the Flower Treasury), and the north side "Xumi Chun" (Sumeru Spring), both inscribed by Qianlong. This large, exquisite, colorful glazed pailou is about 13 meters high and roughly 25 meters wide, with three gates, four pillars, and seven eaves. It is an outstanding representative of extant Ming and Qing glazed pailou in Beijing, and the most magnificent and best-preserved glazed pailou in the entire country.
The front white marble plaque bears "Huazang Jie," indicating that passing through this pailou one enters the pure land of Buddhism. The plaque frame is encircled by twelve cloud dragons, signifying the highest status. The flanking precious-flower decorations are also unique, reproducing the style of imperial garden architecture.
The rear white marble plaque reads "Xumi Chun," meaning the sacred land of Buddha where spring pervades—a paradise; entering this temple, one arrives at that paradise.
On either side of the plaques are large "two dragons playing with a pearl" carved panels, with auspicious cloud ornaments further emphasizing the soaring dragons. The dragons' heads on the left panel face outward as the upper position and inward as the lower (left panel pattern above, right panel pattern below). The overall decoration is ingeniously conceived, a work of art excelling nature.
The pillar bases and archways are all finely carved white marble. The pailou integrates doors and walls, with white marble arches around the openings, their elegant shape and delicate carving highlighting the splendor and nobility of imperial garden architecture. The beautiful alternating yellow and green glazed pillars, scrolling-grass bracket sets, lingzhi fungus, and the glazed lotus flowers, plaintain leaves, and auspicious cloud ornaments on the pillars are all extremely gorgeous.
On either side of the archways are carved exquisite Sumeru mountains, with blooming precious flowers bordering the arches. The central doorway is encircled by sixteen precious flowers (above), while the side doorways are encircled by twelve (below).
Within each precious flower on the arches, the stamens are meticulously carved with Buddhist auspicious treasures—the "Eight Auspicious Symbols" (also known as the Eight Treasures): wheel, conch, parasol, canopy, lotus, vase, pair of fish, and endless knot.
- Wheel: the Buddha's teaching turning like a perfect wheel, never ceasing throughout the aeons.
- Conch: the bodhisattva fruit, wondrous sound and auspiciousness.
- Parasol: extending and retracting freely, sheltering all beings.
- Canopy: covering the three thousand realms, purifying all joys.
- Lotus: emerging from the muddy world unstained.
- Vase: perfect wisdom and merit, completely flawless.
- Pair of fish: firm yet lively, overcoming decay and kalpas.
- Endless knot: cyclical and unobstructed, penetrating all understanding.
The white marble Sumeru pedestal of the glazed pailou. The front and side of the pedestal are carved with exquisite, vivid cloud dragons playing with pearls all around.
The stone lions in front of the glazed pailou.
Xiaoxitian (Little Western Heaven) was built in the 33rd year of Qianlong (1768) by Emperor Qianlong to pray for blessings and longevity for his mother, Empress Dowager Xiaosheng. The main building is the "Jile Shijie" (Ultimate Bliss World), the largest square-pavilion-style palace architecture in China. It is surrounded by water on all four sides, with bridges leading to each direction. A glazed pailou stands at each cardinal point, and at the four corners are small square pavilions. The glazed pailou and small pavilions are built against the enclosing wall, forming a courtyard around the Ultimate Bliss World Hall. The overall design is ingenious, resplendent in gold and jade, and majestic.
The four glazed pailou at east, west, south, and north are identical in size, architectural form, and decorative scheme: all are four-pillar, three-bay, seven-eaved glazed pailou.
The glazed pailou on the south side of Xiaoxitian.
The south-facing white marble plaque is framed by six cloud dragons playing with a pearl, inscribed with "Zheng Gong De Shui" (Attaining Merit-Water) in Qianlong's hand. "Attaining" means gaining, and "Merit-Water" represents a state or status; thus it means attaining that status, implying that the emperor's mother, by giving birth to Qianlong, achieved the greatest merit. The north-facing plaque reads "Xian Huanxi Yuan" (Present Garden of Joy), meaning this is the garden of joy right here; whoever comes is happy.
The glazed pailou on the east side of Xiaoxitian.
The east side's white marble plaque, framed by six cloud dragons playing with a pearl, is inscribed "Zhendan Xianglin" (Fragrant Forest of China) by Qianlong. In ancient India, China was called "Zhendan," and "Xianglin" means something like today's "Shangri-La"—saying that China is a realm of beauty, everywhere a paradise or hidden utopia.
The inside of the east-side pailou.
The inside white marble plaque, similarly framed, reads "Shenzhou Baodi" (Treasure Land of China), also by Qianlong. It extols China as a treasure land.
The glazed pailou on the north side of Xiaoxitian.
The north-side plaque, framed by six cloud dragons playing with a pearl, reads "Falun Gaosheng" (Supreme Dharma Wheel) by Qianlong. The Dharma Wheel is another name for the Buddha's teaching; Buddhists believe that Shakyamuni's teaching can extinguish afflictions, just as a wheel-turning monarch's wheel treasure can subdue enemies. As the Dharma does not stay with one person or in one place but turns and passes on like a wheel, it is called the Dharma Wheel. Here it signifies that Buddhism is absolute truth, irrefutable and indestructible. The inside plaque reads "Miaojing Zhuangyan" (Majestic and Sublime Realm), meaning this wonderful realm is supremely dignified and sacred. Such sublime realms are rare in our suffering lives; people, to escape afflictions around them, seek refuge—believing in Buddhism and in such a transcendent realm.
The glazed pailou on the west side of Xiaoxitian.
The west-side plaque, framed by six cloud dragons playing with a pearl, reads "Renshou Puyuan" (Benevolence, Longevity, Universal Affinity) by Qianlong. The meaning: a benevolent person's longevity depends on their physical condition and environment; fate determines one's lot, not entirely by heaven, but also by affinity. Qianlong was saying that his mother the Empress Dowager's long life was a matter of course. The inside plaque reads "Anyang Shidi" (Peaceful Nourishment, Revealing Truth). "Anyang" means those in difficulty receive calm care; "shidi" means listening intently, truth without falsehood—a Buddhist term meaning absolute truth. Overall, it means helping and sheltering the needy and suffering is an eternal truth.
On either side of each glazed pailou's plaques is a large panel of two dragons playing with a pearl. The dragons' heads face outward as the upper position and inward as the lower (left panel above, right panel below).
The glazed pailou's gate consists of three white marble archways forming the entrance (central doorway above, side doorway below). Beside the arches are finely carved Sumeru mountains, with blooming precious flowers encircling the arches. Fourteen flowers surround the central doorway, twelve the side doorways.
The stamens of the precious flowers on the arches are meticulously carved with Buddhist auspicious treasures—the Eight Auspicious Symbols—as well as good luck knots and evergreen.
The front and sides of the gate pedestal are beautifully carved white marble Sumeru pedestals, both above and below adorned with lifelike cloud dragons playing with pearls.
The white marble pillar bases are carved with exquisite plaintain-leaf patterns, scrolling vines, badama (Sanskrit for lotus petal), string beads, and wish-fulfilling clouds. The alternating yellow and green glazed pillars are strikingly gorgeous.
Exquisite yellow-and-white glazed scrolling-grass bracket sets, lingzhi, dougong, and the glazed lotus flowers, plaintain leaves, and auspicious cloud ornaments on the pillars are all exceptionally ornate.
Diagram identifying the parts of a pailou.
