Rediscovering Childhood Joy: Revisiting the Summer Palace, September 2022 (Part 1)
Born in the 1960s, the most joyful events of my school years were the annual spring or autumn outings. At that time, we usually went to parks—mostly those in or just outside the city, like the Summer Palace, Beihai Park, and Zhongshan Park. The news of such a trip would keep me excited for days. My parents prepared bread, biscuits, and other treats for me to bring. Some kids from more struggling families brought a piece of flatbread, or even just a sweet potato or cornbread. Hardly anyone carried water, let alone bottled drinks—it seems such drinks didn't exist back then. We all drank straight from the tap, a practice Beijingers called 'sticking your tail up to sip.' The drinking fountains in the park seemed fancier, with special upward-facing nozzles that produced thinner streams of water. That water tasted sweet and refreshing, far better than today's purified water.
In those days, children played many outdoor games: tipcat, ice sledding, top-spinning (we called it 'whipping the traitor'), marbles, flipping cigarette cards, 'root pulling' with poplar leaf stems, iron hoop rolling, and making crude kites by pasting paper on a frame, among others. Before and after school, we would run wild through the streets and hutong, brimming with happiness. But we rarely went to parks, which is why school-organized excursions held such a special appeal for me. Once inside the park, we children were like a flock of happy birds, chirping nonstop. Although we didn't understand much about the sights and didn't really know how to appreciate them, the novelty, the joy, and the feeling of total freedom are still deeply cherished memories.
As I grew older, saw more of the world, and my living conditions improved, genuine happiness became increasingly rare. I often travel out of town now, but I hardly ever visit Beijing's parks anymore. However, those happy childhood moments are indelible. With distant travel restricted during the pandemic, I decided to explore Beijing's parks thoroughly, to recapture my childhood delight, and to finally make sense of the things I had only vaguely understood before. It has truly been a wonderful thing.
The Summer Palace is quite large (3.09 square kilometers) and consists mainly of two parts: Longevity Hill and Kunming Lake. There is so much to see and do that one could easily spend ten days or even half a month without exhausting it all. My wife and I spent four days (some of them just half days) getting a general impression—though mostly we were walking, strolling, and seeking the feeling of those childhood outings.
Day one: Entered through the New Palace Gate and walked counterclockwise along Kunming Lake, heading north. We passed the Kunlun Stone Tablet, Wenchang Tower, Zhichun Pavilion, Lotus Fragrance Pavilion, Hall of Happiness and Longevity, the Long Corridor, the Cloud-Brilliance Jade-Archway, the Marble Boat, Suyunyan Pass, Half-Wall Bridge, Jiehu Bridge, the West Causeway, Xiuyi Bridge, Pavilion of Expansive Brightness, and the Bronze Ox. In short, we completed one full circuit around the lake.
Day two: Entered again through the New Palace Gate, heading north: Wenchang Tower, Yulan Hall, Yiyun Hall, Renshou Hall, the 'Purple Air from the East' Pass, the Garden of Harmonious Delights, Tiaoyuan Hall, Yinhui Pass, Suzhou Street, Yanqing Shang Lou, the Marble Boat, the Long Corridor, then back past Wenchang Tower, the Seventeen-Arch Bridge, and South Lake Island to the New Palace Gate. This looped around the foot of Longevity Hill.
Day three: In the morning, entered through the West Gate, walked south of Tuancheng Lake, along the West Causeway, Yudai Bridge, the Farming and Weaving Picture area, the western shore road of Tuancheng Lake, and back to the West Gate—essentially a circuit around Tuancheng Lake. In the afternoon, re-entered the West Gate, followed the western shore of West Lake (Kunming Lake's western part), the West Causeway, Liu Bridge, Jingming Tower, and exited through the West Gate.
Day four: Entered through the East Palace Gate, ascended via Paiyun Gate to the Tower of Buddhist Incense. Then climbed the western side of the hill to Zhi Forest, the Sea of Wisdom, and the Four Great Continents, before descending towards the back hill. We walked east past Yinhui Pass and the 'Purple Air from the East' Pass, reached the Garden of Virtue and Harmony, and finally left through the East Palace Gate.
The Summer Palace is so rich in content; truly understanding everything requires an enormous amount of time. Four days are hardly enough. I'll return to explore little by little, deepening my knowledge and updating my impressions.
As an imperial garden of the Qing dynasty, the Summer Palace was modeled after West Lake in Hangzhou, designed around the ancient Chinese myth of 'three fairy mountains on the sea,' and imitated gardens and scenic spots from the Jiangnan region. The West Hills serve as a borrowed background, making the views looking west from the east particularly rich. The park opens at 6 a.m., and with few people around and soft morning light, the viewing conditions are perfect.
Access to the Summer Palace is very convenient, with six gates:
1. East Palace Gate – near Xiyuan. Upon entering, you immediately see Renshou Hall and the Garden of Virtue and Harmony.
2. Wenchangyuan Gate – just south of the East Palace Gate. Inside lies Wenchang Courtyard, Wenchang Tower, and Zhichun Pavilion.
3. North Palace Gate – opposite the Party School of the CPC Central Committee.
4. New Palace Gate – further south of Wenchangyuan Gate, aligned with New Palace Gate Road. From here, you see the Seventeen-Arch Bridge and the Bronze Ox.
5. South Ruyi Gate – in the southeastern corner of the Summer Palace. Upon entering, Xiuyi Bridge is in view, near the West Causeway.
6. West Gate – in the southwest of West Lake, near Changguan Hall and the West Causeway.
7. North Ruyi Gate – in the northwest corner, west of the North Palace Gate, close to Half-Wall Bridge.
Transport links to the Summer Palace are extensive, whether by bus or car.
Parking lots are available at the East Palace Gate, New Palace Gate, North Palace Gate, and West Gate, but spaces can be tight during holidays—public transport is recommended.
Many bus routes stop at the Summer Palace, Metro Line 4 has a Beigongmen Station, and the western suburban light-rail train stops at Summer Palace West Gate.
Because of the pandemic, we chose to drive for safety. We mostly traveled before 6 a.m. or around three or four in the afternoon to avoid peak traffic. The parking lots at New Palace Gate and West Gate are large and not far from the entrances.
For ease of narration, I'll recount the visits in chronological order.
Day one, entering by the New Palace Gate.
The New Palace Gate was built in the 17th year of the Guangxu reign (1891) for the convenience of the emperor and empress dowager.
Inside, I first saw a four-column, three-tier archway facing east. The east-facing plaque reads 'Yan Xu,' meaning 'Welcoming the Rising Sun.' 'Yan' means to lead in, to greet, to invite.
The west-facing plaque reads 'Shu Yun,' which can be understood as 'Unfolding the Cloudscape,' where 'Shu' means to unfurl or display.
Past the Shu Yun archway, I reached the East Causeway. By the lake stands a pavilion housing a Kunlun Stone Tablet, called the East Causeway Kunlun Stone Tablet. There are three such tablets in the Summer Palace: this one, plus one in the Farming and Weaving Picture area and one at Xiuyi Bridge. This tablet is inscribed on all four sides with poems by the Qianlong Emperor. Due to long weathering, the characters have become blurred. In the past, you could touch the stone, but now protective fences and a pavilion have been added.
On the railing is a transcription of the eastern side's poem:
'The West Causeway today is still the East Causeway, how can names and images ever be fixed? Spreading the lake's radiance a thousand hectares of blue, guarding near wall shadows one neat line. Piercing ripples new life sends forth fragrant angelica, treading waves unmindful wild ducks rise. The abandoned ground between causeway and wall I cherished, channeling water to plant rice I watch the continuous plots.'
Approaching the lake, the sky wasn't perfectly clear; a thin mist veiled the water. The Seventeen-Arch Bridge lay still, as if draped in a light gauze.
Longevity Hill seemed to have just awakened from sleep, appearing slightly unreal.
Walking north along the eastern shore, I gazed out. Kunming Lake was a mirror. The northern and western shores unfolded with rolling hills, faint pagoda silhouettes, pavilions and towers rising high, bridges and galleries resting on the waves.
The scenery shifted with every step, the views revolving around me.
South Lake Island peeked into view.
Looking far west from the East Causeway, I could see two pagodas—those of Jade Spring Hill, cleverly 'borrowed' as background scenery for the Summer Palace. On Jade Spring Hill's southern peak stands an octagonal seven-story pagoda called Yufeng Pagoda. On the northern peak is a Vajra Throne pagoda named Miaogao Pagoda, which Beijingers call 'Awl Pagoda.' The two pagodas echo each other from north to south, making a charming scene within the palace's landscape.
The pagodas are actually clearer when photographed from the West Causeway or the Two Hills Park west of the Summer Palace.
A few mandarin ducks swam by, breaking the water's calm and instantly injecting life into Kunming Lake.
As I walked further north, the view opened wider. The Seventeen-Arch Bridge, South Lake Island, and the West Causeway merged into a single vista, with distant hills and close reflections—simply breathtaking.
Willows trailed along the shore, white clouds drifted overhead, and Longevity Hill drew closer; the Tower of Buddhist Incense became more and more real.
Wenchang Tower at the northern end of the East Causeway is the largest of the Summer Palace's six gate-tower structures. Built in the 15th year of the Qianlong reign (1750), it was burned down by Anglo-French forces in 1860 and rebuilt during the Guangxu period.
A traditional ritual building, Wenchang Tower is dedicated to the deity in charge of literary achievement and official success, ensuring a thriving cultural atmosphere. Together with Suyunyan, which honors the god of war on the lake's west side, they symbolize 'civil and military support.' Visiting Wenchang Tower requires a separate ticket.
Passing through the Wenchang Tower gate and crossing a wooden bridge, I arrived at Zhichun Pavilion (Knowing Spring Pavilion).
The original structure dates from the 25th year of the Qianlong reign. The island was completely surrounded by water, cut off from the shore. When it was rebuilt in the 19th year of the Guangxu reign, a flat bridge was added on the eastern side so Empress Dowager Cixi could visit the island more easily, connecting the former island to the East Causeway. Legend says the name 'Knowing Spring' comes from a Song dynasty poem: 'Spring river warms, ducks are first to know.' Every year, Kunming Lake's ice thawed starting from this spot, hence the name.
Zhichun Pavilion is the best vantage point for a panoramic view of the Summer Palace. Standing on this tiny island, you can take in Longevity Hill and the Tower of Buddhist Incense to the north, the long causeway, Jade Spring Hill, and the West Hills to the west, the Seventeen-Arch Bridge and South Lake Island to the south, and Wenchang Tower on the eastern shore—all in one sweeping glance.
From Zhichun Pavilion, the views of the Seventeen-Arch Bridge, Jade Spring Hill, Longevity Hill, the Tower of Buddhist Incense, the Shuimu Ziqin (Water and Trees Embracing) dock, and Duiou Boathouse are superb.
Shuimu Ziqin is a landing pier. The Shuimu Ziqin Hall serves as the gatehouse of the Hall of Happiness and Longevity; its southern facade faces Kunming Lake, with a blue-stone balustraded dock in front—where Empress Dowager Cixi embarked and disembarked when traveling by water. In front of the hall stands a more than two-zhang-tall lamp post with a semi-circular top, known as the 'Sea-Probing Divine Lantern,' on which gas lamps could be hung to light up Cixi's evening garden strolls.
Heading north past Zhichun Pavilion, there is a cluster of waterside buildings—Lotus Fragrance Pavilion, Yulan Hall, Rixi Jia Lou (Sunset Beauty Tower), Shuimu Ziqin—which, together with Zhichun Pavilion, form an embracing, cove-like harbor.
The Hall of Happiness and Longevity (Leshou Tang) was once Cixi's residence. The name 'Leshou' comes from the Analects, Book Six (Yong Ye), quoting Confucius: 'The wise delight in water; the benevolent delight in mountains. The wise are active; the benevolent are tranquil. The wise are joyful; the benevolent enjoy long life.' The plaque was handwritten by the Guangxu Emperor.
On either side of the hall symmetrically stand copper statues of a spotted deer, a crane, and a large vase—homophones in Chinese for 'universal peace' (liu he tai ping). The courtyard is planted with magnolias, crabapple trees, and peonies, symbolic of 'wealth and rank in the jade hall' (yu tang fu gui).
The copper sculptures are exquisitely cast, with clear reign marks; the plum-blossom pattern on the deer is distinctly visible.
Copper vats stand on both sides. These were filled with water for firefighting, and the stone bases have openings where charcoal fires could be placed in winter to prevent ice from forming.
In the courtyard of the Hall of Happiness and Longevity, behind the Shuimu Ziqin Hall, lies a large, strikingly beautiful stone, like a screen, bearing the Qianlong Emperor's inscription: 'Blue Fungus Peak' (Qingzhixiu).
The stone has an interesting story. It is said to come from Fangshan in Beijing. The Ming-dynasty official Mi Wanzhong first discovered it and spared no expense to transport it home. Given the lack of machinery, moving such a huge object required first building a road, then waiting for winter to pour water and freeze ice, so it could be dragged by men and animals over the ice. But halfway, Mi Wanzhong had exhausted his entire fortune, and the stone was abandoned by the roadside—earning it the nickname 'the Fortune-Squandering Rock.'
During the Qianlong reign, the emperor passed Liangxiang on a sacrificial trip, saw this beautiful stone, and ordered it moved to the Hall of Happiness and Longevity. Unexpectedly, the stone was so big that the courtyard gate had to be dismantled. The empress dowager considered it an ill omen and forbade the emperor from bringing it in. Then the minister Liu Yong (Liu Luoguo) intervened to smooth things over, saying the huge rock resembled the shape of a lingzhi fungus—symbolizing longevity and a bountiful harvest—and that placing it in front of the hall would add auspiciousness to the imperial family. Only then was the stone finally allowed into the courtyard and given the inscription 'Qingzhixiu'.
That's why people rarely take photos with this stone, and tour guides may warn visitors. Of course, if you see it as an auspicious symbol, then it doesn't really matter.
West of the Hall of Happiness and Longevity, past the Inviting-Moon Gate, one enters the Long Corridor.
On the northern shore of Kunming Lake, the Long Corridor stretches from the Inviting-Moon Gate in the east to the Shizhang Pavilion in the west, passing Paiyun Gate in the middle. It is 728 meters long and served as Empress Dowager Cixi's imperial covered walkway. In 1990, it was recognized as the world's longest painted gallery, noted for its unique architecture and rich, colorful paintings.
Four double-eaved, octagonal, pointed pavilions—Liu Jia, Ji Lan, Qiu Shui, and Qing Yao—are symmetrically placed along both sides of the corridor, symbolizing the four seasons.
The Long Corridor is not just a sheltered viewing walkway; it is an art gallery. The painted decorations on its beams and ceilings are truly exceptional: over 14,000 individual paintings.
These paintings depict human stories, auspicious beasts, flowers, and birds, all vivid and exquisite. To study them closely would likely take several days.
The Long Corridor is a treasure trove of art, where architecture, aesthetics, calligraphy, and painting are on full display. It deserves to be savored slowly.
On the northern side of the corridor, a small bridge and a secluded courtyard offer quiet retreats amidst the bustle, full of charm.
This place is called Yangyun Xuan, a structure from the Qianlong period. It was used as a resting place for consorts, titled ladies, and princesses who accompanied Cixi to the garden during the Guangxu reign. Cixi's female painter Miao Sujun once lived here. It is no longer open to the public. The gate of Yangyun Xuan is shaped like a bell, with nine treasure vases atop its double roof. Inscribed above the gate is a stone plaque reading 'Swimming through Clouds, Leaping through the Mist.' Outside, a couplet handwritten by the Qianlong Emperor is carved into stone: 'Beyond the sky, the Milky Way winds amid smoke and ripples; within the clouds, emerald hues open to fragrant rain and light drizzles.' In front of the hall lies a lotus pond, commonly called the Gourd Lake, spanned by a single-arch white marble bridge.
To the south, white marble balustrades stand like sentinels, steadfastly guarding their posts.
The central point of the Long Corridor—and the axis of Longevity Hill—is Paiyun Gate (Cloud-Dispelling Gate). This is the entrance for ascending the hill to the Tower of Buddhist Incense; a separate ticket is required.
Paiyun Gate stands at the middle of the southern slope of Longevity Hill. The sequence of Paiyun Gate, Paiyun Hall, Dehui Hall, the Tower of Buddhist Incense, and the Sea of Wisdom steps upward one after another, forming the most magnificent architectural ensemble in the Summer Palace. The resplendent towers and halls showcase unparalleled imperial grandeur.
In front of Paiyun Gate, two lively, finely cast bronze lions stand to the left and right—male on the left, female on the right—fierce and majestic.
South of Paiyun Gate, on the northern shore of Kunming Lake, stands the Cloud-Brilliance Jade-Archway.
This archway serves as the starting point of the architectural axis of Longevity Hill's front slope. Nestled between hill and water, it visually draws the hill close and links it to the lake. The arch is a three-bay, four-pillar, seven-eave structure, topped with yellow glazed tiles and decorated with golden dragon and 'hexi' colored paintings, radiating nobility and grace.
The name 'Cloud-Brilliance Jade' suggests a world where palaces and colorful clouds shine together. The south-facing plaque reads 'Stars Encircling the Jade Pivot,' meaning a realm of immortals guarded by circling stars.
The golden dragon carvings on the archway are exquisite, symbolizing honor while also being precious works of art.
In front of Paiyun Gate, flanking both sides, are ten Taihu stones and two tiger-skin rocks, known as the Twelve Zodiac Stones.
Since Paiyun Hall was where Cixi celebrated her birthdays and received kowtows from her descendants and officials, legend has it that Li Lianying, her chief eunuch, flattered Cixi by bringing these twelve stones from the Garden of Exhilarating Spring and arranging them outside Paiyun Gate. They were meant to symbolize that all people under heaven were offering birthday congratulations to the Old Buddha. After all, every Chinese person falls under one of the twelve zodiac signs—a truly masterful piece of flattery.
If you come to the Summer Palace, be sure to examine these rocks closely and see which zodiac animal each resembles. There's no standard answer; whatever you see is fine.
Yuzhao Pavilion stands in the western section of the Long Corridor, between Qiushui Pavilion and Qingyao Pavilion. It offers a sweeping view of Kunming Lake's beauty and is an especially superb spot for gazing at Jade Spring Hill and its pagoda peak. The name Yuzhao comes from the poem 'Yu Zao' in the 'Minor Odes of the Kingdom' section of the Book of Songs, which describes the relationship between fish and waterweed, extending to that between subject and ruler: the subject relies on the ruler as fish rely on waterweed. By naming it thus, the Qianlong Emperor subtly expressed his desire for shared joy with the people and a peaceful, prosperous country.
The painted decorations inside Yuzhao Pavilion are exceptionally beautiful and diverse.
Jade Spring Hill seems almost within reach.
Directly opposite Yuzhao Pavilion, connected by a corridor, stands a three-story octagonal tower called 'The Pavilion Where Mountain and Lake Scenery Merge into One.' It is another prime viewing spot on the front side of Longevity Hill.
The plaque was inscribed by the Qianlong Emperor, with the style 'black lacquer ground, incised gold characters.' This building dates from the Qingyi Garden era; it was renovated by Cixi and the old plaque was refurbished and re-hung during the Guangxu period.
Climbing the tower, one can gaze out at Kunming Lake, the West Causeway, Jade Spring Hill, and the West Hills—lake and mountain scenery merging into a single, magnificent vista.
Continuing west, I reached the Tingli Guan (Listening to Orioles Hall).
Originally a small theater for Cixi, it later became an imperial-style restaurant. Built during the Qianlong reign, it was burned by Anglo-French forces in 1860 and rebuilt in 1892, thereafter becoming a place where Cixi often enjoyed operas and music.
As a renowned time-honored brand, Listening to Orioles Hall is one of the few restaurants in China that serves the complete 'Man-Han Banquet.' It has been designated for hosting top central leaders and foreign dignitaries, having received over a hundred heads of state, including Queen Elizabeth II.
As for whether ordinary tourists can dine there, from what I know, they currently only offer a set menu at 168 yuan per person. I can't speak for the quality since I haven't tried it.
At the western end of the Long Corridor lies the corner of Kunming Lake, the Shifang (Marble Boat) cruise dock. From here, I turned north.
The Summer Palace has a wide variety of boats, with different types at different docks and, accordingly, different prices.
The Wenchang Tower electric boat dock, Yulan Hall pedal boat dock, and Bafang Pavilion small boat dock all offer rowboats and pedal boats. The ferry routes use electric painted pleasure boats, and the lotus-viewing route also features sculled boats.
The Marble Boat is one of the most iconic waterside structures in the Summer Palace. As a child, when I climbed onto it, the boat seemed huge and its bow very high. Perhaps for conservation, the Marble Boat has been closed to visitors for some time. Today, it still looks imposing and beautiful, though no longer as gigantic as I remembered.
Built in the 20th year of the Qianlong reign, the hull was carved from giant stone blocks, originally featuring a Chinese-style cabin. Burned in 1860, it was rebuilt in the 19th year of the Guangxu reign when Cixi diverted military funds to remodel it with a Western-style cabin, naming it the Qingyan Boat (Boat of Clear Waters and Calm Seas). The top is decorated with brick carvings, the deck is tiled with patterned bricks, and the windows are fitted with colored glass. By building a great 'stone boat' on Kunming Lake, Qianlong was not only expressing his love for boat-like pavilions but also using the ancient adage 'water can carry a boat but also overturn it' to admonish future generations to heed the people's will and maintain clean governance, while also implying that the Qing dynasty stood as solid as a rock.
The Marble Boat is also an excellent place from which to admire the Summer Palace's beauty, combining the atmosphere of pavilions and pleasure boats, stirring up many memories.
Just north of the Marble Boat, I came to the Xing Bridge.
Built in the 23rd year of the Qianlong reign, the Xing Bridge was a favorite of the emperor and is regarded as the most exquisitely crafted pavilion bridge in the Summer Palace.
Its name is said to come from the Book of Songs: 'Long and short the floating water-plants, left and right we trail them. Graceful and fair the young lady, waking and sleeping we seek her.' Naming the bridge after a poem gives it an elegant, refined grace.
The bridge is topped with a wooden square pavilion, double-eaved with carved beams and painted rafters, remarkably fine and full of charm—a masterpiece of bridge architecture.
It is a three-arch stone bridge with granite bases. The cutwaters between the arches are prism-shaped, their tops carved into bracket-structures, and each is crowned with a stone lion—majestic, rustic, endearingly clumsy, and marvelously executed.
At both ends of the Xing Bridge stand towering free-standing archways. The plaques on all sides bear inscriptions by the Qianlong Emperor. On the eastern arch: 'Verdant Luxuriance' and 'Fragrant Fragrance.' On the western arch: 'Misty Islet' and 'Cloudy Crag.' These perfectly match the surrounding scenery, displaying the emperor's literary flair and leisurely bent.
The archways' wooden components, ridge beasts, carvings, painted decorations, and inscriptions are all exceptionally fine, radiating imperial splendor.
The Xing Bridge spans Wanzi Creek at the boundary between the front and rear lakes of Kunming. To its west stand the Five-Sages Temple, Yingxu Tower, Chenghuai Pavilion, and other structures. The winding riverbank leads all the way to Water Street, at the end of which stands Suyunyan Pass.
Suyunyan Pass, commonly called the Guandi Temple, is on the western side of Longevity Hill, also known as the Shell Gate. Built in the 18th year of the Qianlong reign, it faces south, with an arched gate in the center leading north and south. The gate tower has crenellations, and stone ramps flank both sides. Suyunyan is the gateway into the garden from the west, paired with Wenchang Tower in the east—one civil, one military—symbolizing the balance of cultural and martial virtue.
Passing through Suyunyan's gate and heading north, I saw a semi-circular stone arch bridge—Half-Wall Bridge—spanning Back Brook. This is a structure from the Qingyi Garden period. The arch is tall, allowing imperial pleasure boats to pass underneath, and connects the north-south imperial road, serving as a pedestrian passage to the western parts of Longevity Hill. The stone steps are visibly worn and uneven; likely, the bridge may soon be closed to visitors for preservation.
Beside Half-Wall Bridge lies another, gentler stone crossing—the Double-Wood Bridge. Rumor has it that this was built during the Cultural Revolution for Lin Biao to drive through more conveniently, and it has remained ever since, creating the present scene of two bridges standing side by side.
Jiehu Bridge marks the boundary between the inner and outer sections of Kunming Lake and Back Brook, and is the northernmost bridge on the West Causeway. In the Qingyi Garden era, this bridge was called Liu Bridge, while the Liu Bridge at the southern end of the West Causeway was called Jiehu Bridge. When the Summer Palace was rebuilt, the two names were swapped.
'A long causeway stretches east to west, the first of six bridges dividing inner and outer lakes.' Jiehu Bridge is the first of the Six Bridges of the West Causeway. Crossing it, I entered the West Causeway.
The Summer Palace was modeled on Hangzhou's West Lake, and its West Causeway corresponds to West Lake's Su Causeway. The Su Causeway has six bridges; the West Causeway also has six. The Su Causeway is lined with willows; the West Causeway is, too—with even nineteen original willows still standing resolutely along its scenic route. The difference is that Su Causeway is straight, while the West Causeway meanders gracefully.
Looking at Longevity Hill from the West Causeway offers a different view. The morning light is slightly backlit; the afternoon is more suitable.
Bin Feng Bridge features a rectangular pavilion with a double-eaved, four-slope roof. Its name comes from the poem 'July' in the 'Bin Feng' section of the Book of Songs, depicting agricultural life, sericulture, and daily work during the Western Zhou dynasty. This harmonizes perfectly with the nearby Farming and Weaving Picture area—a landscape of water, fields, men tilling, and women weaving. The bridge is also connected to a tributary of the North Long River (Jade River), allowing Jade River water to flow under it into Kunming Lake.
Outside the West Causeway stretch vast lotus ponds. Although the peak bloom had passed, a few blossoms still struggled heroically on, looking all the more noble and vibrant.
A mandarin duck rested on a tree by the pond. I'd only ever seen ducks on the water before; a duck up a tree was a first for me—another unique Summer Palace sight.
Yudai (Jade Belt) Bridge is the only stone arch bridge among the Six Bridges of the West Causeway, built in the Qianlong period and renovated in the Guangxu period. Shaped like a jade belt, its semi-circular arch and reflection together form a perfect full moon. The pillar shadows and balustrades ripple on the water's silky surface, a deeply evocative scene.
It is said that the Qianlong Emperor passed under this bridge every time he traveled to the West Hills. Two couplets he wrote still remain at the bridgehead. On the east side: 'A snail-dainty trace on a flat mirror of bright moon, a rainbow light rising a hundred feet across a crystal curtain.' On the west side: 'The land reaches Yingzhou, the Starry River near in the sky; the scenery is as Penglai, palace towers many by the water.' These lines reveal Qianlong's deep fondness for this bridge and this landscape.
The entire bridge, including its parapets, is built from bluish-white stone and white marble. The carvings on the railings are vivid and lifelike, displaying the craftsmen's supreme skill.
Another look at Longevity Hill.
The West Causeway divides Kunming Lake into inner and outer lakes; the outer lake has a special lotus-viewing route.
Jingqiao (Mirror Bridge) was originally built by Qianlong and rebuilt under Guangxu. Its name is taken from Tang poet Li Bai's line: 'Two rivers enclose a bright mirror, twin bridges descend from a rainbow.'
The view of the twin pagodas of Jade Spring Hill from here is quite good.
Lianqiao (White Silk Bridge), built in the Qianlong era and rebuilt in the Guangxu era, has a square, pointed pavilion on top. It's arguably the best spot for lotus-viewing and also for enjoying the beauty of Jade Spring Hill.
The views of Longevity Hill and Jade Spring Hill from this point are especially fine.
Jingming Tower stands between Lianqiao and Liuqiao, composed of a main building and two annexes. Its architectural form derives from a Yuan-dynasty painting of a lotus pavilion for summer retreat, and its name alludes to Fan Zhongyan's 'Memorial to Yueyang Tower': 'In spring, the scene is warm and bright, the waves are tranquil.' Parts of it were under renovation during my visit.
Does the Taihu rock between the buildings resemble a vigorously straining bull?
Jingming Tower is a superior spot for a panoramic view of the Summer Palace—unobstructed in every direction.
Looking west: the shadow of Jade Peak Pagoda.
Looking north: the scent of Buddhist incense drifting from afar.
Looking east: bridges and islands linked together.
Looking south: Xiuyi Bridge swaying gracefully.
The southernmost bridge on the West Causeway is Liuqiao (Willow Bridge). Originally from the Qianlong period and rebuilt in Guangxu, its name comes from Bai Juyi's poem: 'On Willow Bridge, when clear, there is catkin drift.' It is also a covered bridge, with a pavilion of double-eaved gable-and-hip roof with a yuanbao (shoe-shaped gold ingot) ridge.
Walking the West Causeway is a journey of constantly changing scenery: every step reveals a new view, shifting as you move, always transforming, indescribably beautiful. I couldn't help marveling at the wisdom and skill of the ancient garden-builders—so exquisite as to be breathtaking.
At the end of the West Causeway lies the Jingmi Diversion Canal (the Long River). Turning left, I rounded Xiuyi Bridge to reach the eastern shore.
Xiuyi Bridge is located at the junction of Kunming Lake and the Long River, where the East Causeway meets the West Causeway. During the Qing dynasty, the imperial family often boarded boats at Yihong Hall or Leshan Garden outside Xizhimen and sailed along the Long River, entering Kunming Lake under Xiuyi Bridge. To accommodate such boat traffic, the bridge was built as a tall single-arch span; Beijingers habitually call it 'Hunchback Bridge.'
Walking along the East Causeway, the scenery shifted again. The Six Bridges of the West Causeway and Jingming Tower now became the background, lake and hills weaving together in graceful harmony.
South Lake Island drew nearer; the Seventeen-Arch Bridge was already before my eyes.
Pavilion of Expansive Brightness. Located at the eastern end of the Seventeen-Arch Bridge, this pavilion stretches out with poised, steady grandeur. It complements the bridge and South Lake Island perfectly in space, a seamless match.
I approached the Seventeen-Arch Bridge.
Built on the model of the famous Lugou Bridge, this bridge was constructed during the Qianlong reign. Linking South Lake Island in the west with the Pavilion of Expansive Brightness in the east, it soars across the vast blue waves, connecting the earthly world with the immortal isle of Penglai. It is the largest bridge in the Summer Palace.
Why were seventeen arches chosen? Because counting from either end toward the largest central arch gives exactly '9'—the supreme yang number and the most auspicious digit for feudal emperors. Hence, the bridge was built with 17 arches.
On the bridge's railings, 544 stone lions of various sizes and poses are carved—59 more than on Lugou Bridge. Some mothers embrace their cubs, some frolic, some give chase, and others gaze serenely at the scenery. All are wonderfully true to life, lively and amusing.
At each end of the bridge stand two mythical beasts, vividly fierce and animated.
On the north side of the bridge's eastern end, a Bronze Ox rests on a stone plinth, looking perfectly at ease and life-like. Engraved across its back and belly, in seal script, is a four-character-meter prose poem specially composed by the Qianlong Emperor.
Past the Bronze Ox, I returned to the New Palace Gate, ending a day of exploration.
