A Journey Connecting Two Cities — 7-Day, 6-Night Free and Easy Trip to Hangzhou & Nanjing in July 2020
In the summer of 2020, as the COVID-19 pandemic began to stabilize, the travel urges suppressed for half a year desperately needed an outlet. Not daring to venture too far, I chose from within the Jiangsu-Zhejiang-Shanghai zone, and eventually settled on Hangzhou and Nanjing. These two cities lie to the south and north of Shanghai respectively, one in Zhejiang, the other in Jiangsu, in opposite directions — running counter to my usual style of circling nearby spots. But back then, I was quite set on visiting both. I had been to Hangzhou more than once, yet the Hangzhou I saw in my friends’ social media posts always looked like an entirely different city compared to my own experiences. So I was eager to explore those offbeat, brilliant places and experience a different Hangzhou. As for Nanjing, I was nostalgic for the autumn of 2019 — the Ming Xiaoling Mausoleum and the sycamore-lined avenue in front of Meiling Palace. I kept wanting a chance to relive that. So I didn’t care about north and south; I just forced a “Hangzhou–Nanjing” connection. After all, both are within the Jiangsu-Zhejiang-Shanghai express delivery zone, so neither was too far away. Hop on a high-speed train and you’re there directly.
The beauty of traveling within this zone is that high-speed trains are both fast and cheap. The three train tickets for the three of us (Shanghai–Hangzhou, Hangzhou–Nanjing, Nanjing–Shanghai) totaled less than 1,000 RMB. Six nights of hotels came to just over 3,000 RMB, all booked at Atour Hotel branches: Atour Hangzhou West Lake Hefang Street and Atour Nanjing Zhongshan Ling Scenic Area. Both were in bustling, convenient locations with easy access. Add meals, local transport, and admission fees (not much, since we mostly avoided popular attractions, and some were even free), and the whole trip cost around 7,500 RMB.
Day 1 Shanghai – Hangzhou – Wushan Scenic Area
It was a muggy, sweltering summer day. Shortly after checking in at the hotel, it started to rain, and the rain grew heavier. Right near the hotel, there was a little restaurant called Fang Laoda Noodle House, which seemed very popular. Drawn by its buzz, we headed there for lunch.
This is a small noodle shop bursting with everyday vitality. People lined up at the entrance, braving wind and rain, unwilling to leave; inside, the cooks were busy amidst smoke and fire, woks and spatulas flying.
It was summer vacation plus a weekend, so the wait started at one hour. For people to be willing to queue that long, the food had to have something special. Look at the two photos below: one bowl of ban chuan, one bowl of pian er chuan (Hangzhou locals like to call noodles “chuan”). The toppings were heaped on so generously you could barely see the noodles underneath. The flavors were fresh and fragrant — a true delight for the taste buds.
After eating our fill, it was time to explore some offbeat spots.
Wushan, because there was a temple to Wu Zixu on the mountain in ancient times, is also known as Xushan or Wushan. Later, “Wu” was mistransliterated as “Wu,” giving the mountain its current name. That’s one theory on the origin of Wushan.
“Wushan Heavenly Wind” is one of the New Ten Scenes of West Lake. Located southeast of the lake, it’s 94 meters high, with elegant scenery, peculiar rocks, clear springs, and beautiful caves. On the hill stands Chenghuang Pavilion, towering into the clouds, imposing and grand. Wushan isn’t tall, but it’s the only mountain within the city proper of Hangzhou, undulating, stretching for miles, extending into the urban area. To the south rushes the mighty Qiantang River; to the north shines the bright West Lake; to the east was once the imperial street and royal road of the Southern Song capital, lined with vermilion gates and magnificent residences, leading straight to the imperial palace. To the north, the road leading to Orioles Singing in the Willows — Hefang Street — was crowded with shops and stores, row upon row, a bustling display of silks and jewels piled at the foot of Wushan. Climbing up to enjoy the view, you have the lake on your left and the river on your right, streets in front and markets behind. The beauty of Hangzhou rushes into your eyes, allowing you to take in the panorama of river, mountain, lake, and city. That’s how “Wushan Heavenly Wind” got its name.
The southeastern end of Wushan is Ziyang Mountain, with craggy rocks jutting up from the ground. At the summit of Ziyang Mountain stands a massive octagonal pavilion with a pointed roof, double eaves, sixteen pillars, and two stories. Inside, a spiral staircase leads up for distant views. To the north, you overlook the green hills and blue waters of West Lake; to the south, the Qiantang River flows mightily eastward. The view is vast and rich, hence it’s called “Jianghu Huiguan Pavilion” (Pavilion of Confluence of River and Lake).
The City God Temple, built in palace style, was once the largest temple on Wushan. In old times, the temple was filled with ancient trees reaching for the sky, creating a deep, solemn atmosphere that inspired awe. People even changed the mountain’s name to Chenghuang Mountain (City God Mountain) because of it. Today, on the high platform of the temple ruins, the Chenghuang Pavilion rises with its dougong brackets and flying eaves, like a celestial pavilion on a fairy mountain, adding a new, eye-catching landmark to the peak of Wushan. The pavilion is 41.6 meters high, with a floor area of 3,789 square meters. It’s a seven-story imitation ancient pavilion, incorporating the ornate architectural styles of the Yuan and Ming dynasties. Its flying eaves and upturned corners, soaring into the air like a phoenix spreading its wings, evoke the image of “dragons and phoenixes dancing toward Qiantang.” Climb the pavilion for a bird’s-eye view of Hangzhou.
Actually, what I wanted was the third picture, but I didn’t get to photograph Chenghuang Pavilion at night. I had to use an image from Baidu instead.
Hangzhou is a renowned paradise on earth, yet Wushan remains quiet and understated, a scene of transcendent, tranquil beauty. Indeed, in stark contrast to the crowded West Lake sights, Wushan is relatively unfamiliar even to those who know Hangzhou well. The upside of being unfamiliar is fewer visitors, but there are tons of mosquitoes! Be sure to protect yourself against them — wear long sleeves and long pants!
Day 2 Liuhe Pagoda – Meijiawu – Yunqi Bamboo Path
Liuhe Pagoda, named after the Buddhist concept of “Six Harmonies,” is also called Liuhe Pagoda. It occupies 890 square meters and is 59.89 meters tall. The inner core is a seven-story brick-and-stone structure. The outer wooden gallery with its pavilion-style eaves has eight sides and thirteen tiers. Each tier has niches on both sides of the corridor, and the inside is connected by a spiral staircase. The third-tier pedestal is carved with flowers, birds, beasts, fairies, and various patterns.
The pagoda’s design is exquisite and its structure ingenious. The outer shape is octagonal, and each tier of eaves extends out, with the width decreasing as you go up. The eaves are bright, the undersides dark, the contrast sharp. From the corners of each tier hang 104 iron bells.
Liuhe Pagoda is solemn and majestic, poised and graceful. From afar, it seems to rise from the earth and pierce the sky. It’s the most important Song Dynasty building in ancient Hangzhou. The Qing Emperor Qianlong inscribed plaques for each story.
Climbing the pagoda, you can gaze far out over the Qiantang River:
At noon, we had a hearty meal at Waipo Renjia:
In the afternoon, we first went to Meijiawu, an area full of tea plantations, undulating with the hills, stretching over ten li along both sides of Meiling Road — known as “Ten-Li Plum Valley.” Surrounded by green mountains, layers of tea bushes, and a boundless verdant view, it’s just a bit far from the city center. With Big Brother Zhao leading the way, we took the bus, got off, and strolled along Meiling Road, stopping now and then to take photos, burning off all the calories from lunch at Waipo Renjia.
According to Big Brother Zhao’s itinerary, after Meijiawu, our next destination was Yunqi Bamboo Path.
Yunqi Bamboo Path is one of the New Ten Scenes of West Lake. It begins at Sanju Pavilion. Walking through the stone archway beside the pavilion, tall, straight bamboo towers into the clouds, like old friends lining up to welcome guests. The old bamboo is deep green, the new bamboo fresh green. Looking ahead, it’s a dense, endless mass. Yunqi Bamboo Path has always been known for its coolness and tranquility. Visiting in midsummer lets you fully appreciate its lush greenery, coolness, silence, and elegance. Walking along the forested path, it’s like swimming through a sea of bamboo. Green shade connects to green shade, coolness enfolds coolness. When the mountain breeze rises, occasionally sunlight filters through gaps in the leaves, dancing light spots reflecting off your clothes, turning them green and dispelling all heat and bother.
Baidu describes Yunqi Bamboo Path beautifully, but my two travel companions held me back. They refused to enter when we reached the entrance, claiming it was too late in the day, too remote, and entering then would just be feeding mosquitoes — better to head back to the city early. I blame myself for not being firm enough and letting them sweet-talk me out of it! I had to make do at the gate, pretending I’d gone inside.
Day 3 Yuhu Bay – Guo’s Garden – Dinner at Lagerstroemia Hall, West Lake State Guesthouse
Historical records note that the winding waters of Chishan form Yuhu Bay. Restored in 2003, the Yuhu Bay scenic area is bordered by Yanggong Causeway to the east, Santaishan Road to the west, Santai Mengji Scenic Area and Wuguitan Scenic Area to the north, and Hupao Road to the south. The lake surface opens and closes, the shoreline twists and turns gracefully. Within the area, historic sites like Huang Gongwang’s former residence, Xianxian Hall, Huangmie Tower Waterside Pavilion, Martial Champion Archway, and Jihong Bridge have been restored, forming the area’s natural and cultural environment.
These mountains, this water, these long corridors — so soothing:
Guo’s Garden is not far from Yuhu Bay. It’s one of Hangzhou’s classical gardens and is now a protected cultural relic of Zhejiang Province. Located beside Yanggong Causeway, adjacent to “Breeze-Ruffled Lotus at Quyuan Garden,” one of the Ten Scenes of West Lake, it was originally called “Duanyou Villa,” built in 1907 (the 33rd year of the Guangxu reign, Qing Dynasty). Its first owner was Hangzhou merchant Song Duanfu. During the Republic of China era, it was sold to a Mr. Guo of Fenyang origin, and renamed “Fenyang Villa,” commonly known as Guo’s Garden.
Guo’s Garden is hailed as “the crown of West Lake classical gardens” and is the only fully preserved private garden in Hangzhou. The estate covers 9,788 square meters, with nearly 3,000 square meters of water and a total building area of 1,629 square meters. The layout is elegant and charming. Pavilions and terraces are built along the lake, there is a boat dock, and a pond serves as the centerpiece, its winding waters connecting to West Lake. Beside it are piled lake-stone rockeries, delicate and transparent. Inside, the “Jingsu Pavilion” faces Su Causeway directly, offering views of the outer lake. Because of its refined elegance, Guo’s Garden is praised by landscape architects as “the most anciently charming among West Lake’s waterside gardens.”
The garden is divided into two parts: “Jingbiji” (a place for quiet residence) and “Jingkaitian” (a place for leisurely strolls), separated by the “Liangyi Xuan” pavilion. The former is for living and receiving guests, the latter for walking and enjoying the scenery. The owner channeled West Lake water into the garden, creating a lake within the garden called Su Pond — shaped like a mirror, “one mirror opens the sky.” With water, everything gains spirit and beauty. Winding corridors encircle the water, stacked rocks reflect in it, flowers and trees cluster around it. Small bridges connect across the water, green lotuses float quietly on its surface. The waters and trees are exquisitely beautiful, the towers radiant. Windows hold spring waters, blinds frame picturesque scenes.
As a famous example of Jiangnan private gardens, the greatest architectural feature of Guo’s Garden is its adeptness at “borrowing scenery.” The scenery of West Lake’s hills and waters is superb. Buildings around the lake can all “borrow” it; the challenge is how to do so harmoniously, exquisitely, with spirit and interest. Guo’s Garden is considered the ultimate in this respect, thus earning the reputation in Hangzhou of “a garden that embodies the essence of spring and autumn.” Though the garden is small, its world is vast. Gaze around, and scenes shift before your cup, pictures present themselves to your eyes. A stroke of pavilion and terrace becomes a composition; ink laid on wood and stone becomes delight. Small bridges, flowing water, winding shores, clear waves. Stand facing the breeze, look across the lake — in the distance, city walls line the shore, Su Causeway stretches like a dark belt. Pass through pavilions, step over stone stools, climb the steps, and mount the pavilion built atop the rockery. Lean by the window and look up — your heart opens wide; surrounding mountains and the ring of lake views are fully in sight. With green hills behind, embracing West Lake, this tiny plot doesn’t feel small; hidden in a corner, it doesn’t feel lonely. That’s what makes Guo’s Garden extraordinary. Thus, despite its modest size, it’s a favorite spot for wedding photography. During our brief visit, we spotted several bridal couples here and there.
Oh, and jumping on the bandwagon — riding the wind, inviting the moon, just like those sisters:
For dinner that day, we aimed for the long-coveted Lagerstroemia Hall at the West Lake State Guesthouse. Long renowned, it confidently doesn’t take reservations — you go early, queue, and get a number. Since the restaurant is inside the State Guesthouse, hotel guests have an advantage over casual visitors like us. So even though we entered during the public opening hours, we weren’t seated in the first batch. No matter — the Guesthouse itself is a garden-style hotel, and the waiting time was perfect for me to wander around and soak in the scenery of this “No. 1 Garden on West Lake.”
The former Liu Manor, now the Hangzhou West Lake State Guesthouse, sits on the west side of West Lake, facing the lake on three sides and backed by hills on one. The garden covers 360,000 square meters. Praised for its scenic beauty, exquisite architecture, and elegant furnishings, it’s crowned the No. 1 Garden on West Lake.
The Water Bamboo Residence, built in the late 19th century, has long since lost its original glamour. Today’s garden layout and buildings were redesigned and reconstructed in the 1950s by renowned landscape expert and architect Dai Nianci, then massively renovated and expanded in the late 1990s at the turn of the century. Pavilions, terraces, towers, small bridges, waterside pavilions, winding corridors, slender bamboos, ancient trees, curious rocks — everywhere you look is a scene. Staying here, you can enjoy peach blossoms in spring, lotus in summer, osmanthus in autumn, and pine in winter, plus the tranquil delight of bamboo winds by the window and lotus breezes by the bed. Gaze eastward, and ten li of lake unfold before your eyes.
At the entrance of Lagerstroemia Hall, a casual shot turns into a scenic picture:
Lagerstroemia Hall’s signature dishes: Dongpo braised pork, West Lake vinegar fish, and Hupao spring water matsutake rice are exceptional. Ham, bamboo shoots, and peas, and sizzling oil eel shreds are also delicious.
Day 4 Hangzhou – Nanjing – Yuejiang Tower
This day ended our Hangzhou itinerary. We took a high-speed train to Nanjing and arrived at Yuejiang Tower in the evening.
Yuejiang Tower stands on the summit of Lion Mountain in Gulou District, Nanjing, beside the Yangtze River. In 1374 (the 7th year of the Hongwu reign, Ming Dynasty), Emperor Zhu Yuanzhang, to celebrate his great achievements, climbed Lion Mountain to enjoy the spectacular Yangtze scenery and issued an edict to build a tower there as an eternal symbol for posterity, even personally composing a 2,000-word “Record of Yuejiang Tower.” Zhu Yuanzhang attached great importance to its construction, choosing the site, planning, and naming it himself. However, unexpectedly, just as work was about to begin, he issued another edict: Stop! As for the reasons, later generations have had many theories. One holds that construction was halted due to an unusual celestial phenomenon. This comes from Zhu Yuanzhang’s “Another Record of Yuejiang Tower.” The phenomenon was the appearance of sunspots. Zhu Yuanzhang believed it was a warning from heaven not to rush. Ancient people deeply dreaded sunspots, seeing them as an omen of “a subject eclipsing the ruler,” portending chaos and natural disasters. Although Zhu Yuanzhang’s tower remained unbuilt, it didn’t stop it from gaining fame thanks to the “Record of Yuejiang Tower” by early Ming writer Song Lian, ranking it among China’s top ten historical and cultural towers.
It wasn’t until 1997 that the Nanjing government, responding to calls from all walks of life, finally began constructing Yuejiang Tower. Completed and opened to the public in 2001, it ended the history of “a record but no tower.”
Today’s Yuejiang Tower is L-shaped, its main wing facing north, the secondary wing facing west, with both offering views of the Yangtze. The main building rises at the corner where the two wings meet, 52 meters tall, with a total floor area of about 5,000 square meters. The roofs of the two wings step down in tiers of hip-and-gable style, their ridges interlocking like dog teeth, undulating and varied. The roofs are covered in golden glazed tiles with green accents and borders, brilliantly colored. The exterior, with its green tiles, red pillars, and colorful panels, exhibits the distinct classical imperial grandeur typical of Ming Dynasty royal architecture.
In fact, Yuejiang Tower isn’t a traditional timber structure but reinforced concrete, yet it still exudes refined beauty and majestic momentum. More intriguingly, while it looks four stories from outside, it actually has seven inside, three of which are visible only internally.
The name “Yuejiang” implies climbing high to enjoy the view. This is precisely the best spot to admire the Yangtze. The river flows from Wuhu south to north, then turns east at Nanjing’s Xiaguan. This bend allows Yuejiang Tower to command a sweeping view of both riverbanks. Ascend the tower and gaze far; the vast river panorama is boundless, refreshing the spirit. Look back over the city, and Nanjing unfolds before your eyes. At night, Yuejiang Tower, sparkling and translucent, is a superb place to enjoy the river’s glittering lights and the city’s beauty.
Unfortunately, the weather didn’t cooperate that day — mist shrouded the river and bridge, so Yuejiang Tower couldn’t “yue” (view) the river.
Day 5 Ming Xiaoling Mausoleum – Nanjing Museum
Both sights today were heavyweight, and both were free. Most public museums in China offer free admission — everyone knows that; Nanjing Museum is no exception. As for Ming Xiaoling, being free required meeting one condition, which I’ll explain below.
Ming Xiaoling Mausoleum lies at the southern foot of Purple Mountain, under Dulongfu and Wanfo Peak, in Xuanwu District, Nanjing. Bordered by Sun Yat-sen Mausoleum to the east and Meihua Mountain to the south, within the Zhongshan Scenic Area, it’s the joint burial tomb of Ming founder Zhu Yuanzhang and Empress Ma. Empress Ma’s posthumous title was “Xiaoci Gao Huanghou,” and because the dynasty ruled with filial piety, it’s called “Xiaoling” (Filial Mausoleum). Covering over 1.7 million square meters, it’s one of China’s largest imperial tombs.
Construction began in 1381 (the 14th year of Hongwu) employing over 100,000 soldiers and craftsmen, lasting 25 years, and was completed in 1405 (the 3rd year of Yongle). Following the Tang-Song tradition of “relying on mountains as tombs,” it also introduced a new design of changing square tombs into circular mounds. Harmonizing humanity and nature, it achieved a perfect state of unity between heaven and man, becoming an outstanding example of integrating traditional Chinese architectural art, culture, and environmental aesthetics.
As the foremost of China’s Ming and Qing imperial tombs, Ming Xiaoling represents the highest achievement in early Ming architecture and stone carving art. It directly influenced the layout of over 20 imperial tombs across more than 500 years in both dynasties, located subsequently in Beijing, Hubei, Liaoning, Hebei, etc., all built following the regulations and models of Ming Xiaoling in Nanjing. Thus, it holds a special place in the history of Chinese imperial tombs and is known as the “First Ming-Qing Imperial Tomb.”
Ming Xiaoling is set in a picturesque environment of mountains and waters, with undulating hills and embracing waters, where human and natural landscapes blend seamlessly. The mausoleum is massive, its layout strict. The construction stretches 2.62 kilometers from the Dismounting Archway to Baocheng. The main tomb buildings were originally enclosed by red walls with a perimeter of 2.25 kilometers.
After over 600 years of vicissitudes, the wooden structures of many buildings are gone, but the overall layout remains grand. The main structures in the area include Square City, Ming Tower, Bao City, and the Mound, with stone structures like the Dismounting Archway, Great Golden Gate, Shengong Shengde Stele, and the Spirit Way (including the Stone Animal Road and Wengzhong Road) — all Ming Dynasty remnants that preserve the authenticity of the original architecture and spatial integrity.
Ming Xiaoling’s Spirit Way is unforgettable. The first time I visited Nanjing long ago, what stuck in my memory most was the Spirit Way. Ever since, each return to Nanjing has meant walking it again.
About 100 meters northwest from Square City, crossing the Imperial River, you enter the Spirit Way. The greatest feature of this way is its perfect harmony with the terrain. Unlike traditional straight spirit ways of previous dynasties, it’s designed entirely according to the mountain’s contours, winding and undulating, curving around Meihua Mountain (where Sun Quan’s tomb of the Three Kingdoms period lies) in the shape of the Big Dipper. Stone statues are placed at the transitions to control space and create a solemn atmosphere. The statues rest on complete Six Dynasties bricks, preventing sinking for 600 years. Ming Xiaoling’s Spirit Way is the only curved one among Chinese imperial tombs, highlighting its pioneering status. Its stone statues are also the largest and most distinctive set among Ming tombs.
The Spirit Way stretches from east to northwest, flanked by six types of stone animals in pairs: lions, xiezhi, camels, elephants, qilin, and horses — two kneeling and two standing for each type, totaling 12 pairs (24 pieces). These reflect imperial ritual requirements and carry symbolic meanings: lions, king of beasts, display imperial majesty and ward off evil; xiezhi, a mythical one-horned, lion-bodied creature with green fur, is honest and can distinguish right from wrong; camels symbolize the deserts and tropics, showing the vastness of the empire; elephants, the giants among beasts, with their sturdy legs as firm as rocks, represent the stability of the realm; qilin, the foremost of the “Four Auspicious Spirits” (turtle, dragon, phoenix), are benevolent beasts covered in scales that tread on no living grass and eat no living thing, symbolizing a virtuous ruler, auspiciousness, and light; horses were vital mounts for emperors in their military campaigns to unify the land.
Among the six, the elephant is the largest, weighing up to 80 tons. To transport these massive statues, clever ancients chose winter, sprinkling water on the roads to freeze them, then used thick bamboo and wood as rollers, pushing them along manually. This section, 615 meters long, is now commonly called Stone Animal Road.
At the end of Stone Animal Road, the Spirit Way turns due north to Lingxing Gate, 250 meters long. This section features stone pillars and stone figures. The two pillars are hexagonal, 6.6 meters tall, carved with cloud and dragon patterns. Usually, such pillars are placed at the very front of the spirit way, but Ming Xiaoling’s are oddly placed in the middle — a Zhu Yuanzhang quirk. After the pillars stand four pairs of wengzhong (stone figures), two pairs of civil officials and two of military officers, facing each other, eight in total, 3.18 meters tall, dignified and loyal guardians of the tomb.
All the stone statues along the Spirit Way are carved from single blocks, focusing on spiritual resemblance rather than exact likeness, with a rugged, vigorous, simple style of extraordinary presence. Symmetrically arranged along both sides, spanning over 800 meters north to south, they form a mighty procession, making the imperial tomb even more hallowed, solemn, and awe-inspiring.
The stone statues on the Spirit Way, paired in eternal gaze; six hundred years, just the blink of an eye.
The avenue from the Spirit Way to the tomb palace is also worth wildly praising, especially in autumn when maples are red and ginkgoes golden, a riot of colors. Pulling out photos from our autumn visit in 2019 — if only the weather had smiled a bit more:
Square City is a massive structure in front of the tomb mound, built externally with giant stone blocks, 75.26 meters east-west, 30.94 meters north-south, 16.25 meters high at the front, 8.13 meters at the back, with a sumeru pedestal at the base. In the middle is an arched gate leading to a circular tunnel. Climb the 54 steps through the tunnel, and right ahead is the south wall of the mound, built with 13 courses of stone. Follow the paths left and right up Square City to reach Ming Tower.
Ming Tower, atop Square City, has a double-eave hip roof covered in yellow glazed tiles, 39.45 meters east-west, 18.47 meters north-south. It has three arched doors on the south face and one on each of the other three sides, each door studded with nine rows of nine nails, symbolizing the supreme imperial rank. North of Square City and Ming Tower lies the mound, roughly 400 meters in diameter, also called Baocheng — the burial chamber of Zhu Yuanzhang and Empress Ma.
(Photo from autumn 2019 climbing Ming Tower)
The most remarkable thing about Ming Xiaoling is that its underground tomb remains intact — no successful robbery in history. Its preservation is due to special anti-theft measures, historical circumstances, and its location.
Exploration revealed that Dulongfu, where the tomb sits, is itself a solid stone hill. Some imperial tombs are dug from top down, then sealed; but Ming Xiaoling was tunneled horizontally into the mountain, hollowing out a chamber. This horizontal method, though laborious, is extremely secure. Without explosives, ancient grave robbers couldn’t dig down from the top. The horizontal design left the tomb passage as the only way in. To conceal it, craftsmen went to great lengths. Through precise magnetic surveys, archaeologists found the passage is not in the center but off to one side — an unconventional design that foiled many robbers.
Additionally, under the thick mound cover, archaeologists found a deep layer of smooth cobblestones. Cobblestones should be in low gullies; their presence atop Dulongfu could only mean they were deliberately placed. They allow rainwater to quickly drain into the mound’s drainage system and, more importantly, prevent theft. This is similar to the ancient “quicksand” method: when a robber digs a hole, cobblestones roll in from all sides to fill it, which is why even traces of attempted theft are hard to find.
Another key reason Ming Xiaoling escaped theft is its proximity to Nanjing city. Any disturbance would immediately alert the city, making prolonged digging impossible and forcing robbers to retreat empty-handed.
Though Ming Xiaoling employed three effective measures, it might not have withstood warlords with heavy troops and explosives like the Dongling grave robber Sun Dianying. Fortunately, history smiled on it. Despite Nanjing’s repeated wartime devastation after the Ming, every new regime invariably protected the tomb. After the Qing dynasty was established, safeguarding Ming Xiaoling effectively quelled anti-Qing sentiment in the Jiangnan region. Emperors Kangxi and Qianlong always visited to pay homage during their southern tours; Kangxi even erected a stele praising Zhu Yuanzhang’s rule as surpassing Tang and Song. Hong Xiuquan and Sun Yat-sen, on founding their regimes in Nanjing, also first paid respects at Ming Xiaoling to show their resolve to overthrow the Qing and restore China.
Thank goodness — Ming Xiaoling was neither destroyed by war nor plundered by thieves. That we can still admire and venerate it today is truly a great fortune for China!
Now, the secret to visiting Ming Xiaoling for free: arrive early! Staff start checking tickets at the main entrances at 6:30 am, but before that, the gates are unmanned and open. So, if you go early enough and enter before 6:30, you can stroll leisurely around the vast mausoleum for free until you’ve had your fill. We’d already used this trick during our 2019 autumn trip. That time, Big Brother Zhao and I set out at 5:30 am, took a taxi from Nanjing South Railway Station to the mausoleum entrance before dawn. It was still dark when we slipped in — all was silent, the moon still hanging in the treetops:
Fumbling in the dark to the classic photo spot on Stone Animal Road, we found photography enthusiasts even earlier than us, already set up with their gear waiting for daylight. In the dim light, we could barely make out the silhouettes of two elephants:
This time, we pulled the same old trick, revisiting a familiar place. Thanks to booking a hotel near the scenic area, we didn’t have to get up quite so early. Comparing photos from roughly the same spot on the two trips:
You can see, while autumn Ming Xiaoling is already beautiful, the summer version, moistened by rain, seems to have an added air of dense rain and deep vegetation — which I rather prefer.
Exiting Ming Xiaoling and walking along Lingyuan Road, the lush green was a feast for the eyes.
I quite like a certain saying: “Because of one tree, you remember a city. The tree is the wutong (phoenix tree), the city is Nanjing.”
Here, a correction is needed: the street tree Nanjing people have proudly called “French wutong” for years is neither wutong nor from France. What Nanjing folks generally call “fatong” actually includes three species of the Platanus genus (sycamore/plane tree): Platanus occidentalis (American sycamore), Platanus × acerifolia (London plane), and Platanus orientalis (Oriental plane). Most are London planes, with very few American ones; true Oriental planes are said to have vanished from Nanjing. Wutong, on the other hand, is Firmiana simplex, a tree native to China. Because sycamore leaves resemble wutong, early importers assumed they were the same. Compared to wutong, sycamores have thicker trunks, broader crowns, larger leaves, and better shading — earning them the title “king of street trees.”
So, the saying should really be: “Because of one tree, you remember a city. The tree is the plane tree, the city is Nanjing.”
This long avenue of plane trees is like a green corridor, winding through the Zhongshan Scenic Area and passing right by the famous Meiling Palace gate.
Using heaven and earth as his canvas to build Meiling Palace for his beloved wife — Chiang Kai-shek’s move was a classic example of doting on one’s spouse:
Summer tree shade vs. autumn tree shade
Summer rain lotus vs. summer clear lotus
The second stop was Nanjing Museum.
China has countless museums, but the three most famous are the Palace Museum in Beijing, Nanjing Museum, and the National Palace Museum in Taipei.
Why is Nanjing Museum one of China’s top three? Check out its impressive history and credentials: Nanjing Museum, abbreviated as Nanbo, traces back to the National Central Museum proposed by Cai Yuanpei and others in 1933 (the 22nd year of the Republic of China). It’s China’s earliest established museum and the first large comprehensive museum built with state funding. Now, it’s a large comprehensive national-level museum, one of the first batch of National First-Class Museums, one of the first museums jointly built by central and local governments as national-level museums, a national AAAA tourist attraction, a key national cultural relic protection unit, and a 20th-century architectural heritage site. As of 2018, its collection numbered 432,768 pieces/sets, with 371,032 precious artifacts — ranking second nationally in precious artifacts, next only to the Palace Museum.
Walking through the museum, you’ll understand what profound richness is — every single thing gets the same expression (jaw dropping):
The piece of honor naturally goes to the star treasure of the museum — the Hongwu underglaze red “three friends of winter” plum vase. This Ming Dynasty ceramic was unearthed from a Ming tomb at Xianglong Mountain, Dongshanqiao, Jiangning District, Nanjing. It’s a national treasure, the only surviving Hongwu underglaze red plum vase with an intact lid. The vase is elegantly shaped, complete and flawless. The “three friends of winter” — pine, bamboo, and plum — symbolize noble, steadfast aspirations. Underglaze red porcelain features rich, magnificent, pure and vivid colors. Its production requires exacting conditions and difficult firing techniques, making it extremely precious.
Day 6 Love Tunnel – Niushou Mountain
The internet-famous Love Tunnel was something else. My human GPS, Big Brother Zhao, following the navigation app, led me to a desolate stretch of railway. A long section was still under construction, forcing us to trudge through muddy wet earth, ruining my white sneakers in the process. Weeds grew everywhere, mosquitoes ran rampant.
My inner monologue while snapping those deceptive photos was: “So hot, so hot, so hot — hurry up and finish so I can go; so itchy, so itchy, so itchy — never doing this again.”
The day’s highlight was Niushou Mountain.
Niushou Mountain belongs to the western extension of the Ningzhen Hills, 248 meters high. Its name comes from its twin peaks facing each other like ox horns. It’s also a famous Chinese Buddhist mountain with deep cultural heritage, the founding and birthplace of the Niutou Chan sect. For over a thousand years from the Liang Dynasty to the Ming, it was a gathering place for monks and scholars. The scenery is delightful; every spring, Nanjing residents would flock here for outings. With cherry blossoms in full bloom, it was dazzling, hence the name “Spring Niushou.”
The Buddha’s Crown Palace sits on the western peak, built over a historic mine pit, with a total floor area of about 136,000 square meters. Together with the Buddha’s Crown Pagoda, it forms a new western peak landscape, echoing the eastern peak, re-creating the grand scene of Niushou’s “twin peaks, twin towers.” The palace is dedicated to the worship of the Buddha’s parietal bone relic. Externally, it consists of a large dome and a small dome, symbolizing external and internal offerings. The large dome, shaped like the Buddha’s robe covering the small dome, represents the Buddha’s boundless blessing. The small dome’s lower part is a lotus throne, the upper part a mani jewel — together creating the sacred image of “a lotus holding a treasure.”
Inside, the above-ground part is the Chan Zen Grand View, and the underground part is the underground palace. The Grand View, 112 meters north-south and 62 meters east-west, with an internal height of about 41 meters, spans three above-ground floors. The oval space covers over 6,000 square meters, using yellow, white, and gray as its base tones to create a landscape of mountains and waters, allowing visitors to experience Chan as they move. It consists of three sections: the Chan-inspired gardens of the Buddha’s birth and enlightenment, and the central Lotus theater, depicting the Buddha’s life. The ceiling is the Sala Dome, patterned after the sala tree branches under which the Buddha entered nirvana. The dome uses fully covered light-transmitting film and lighting to create scenes of the first morning light, blazing midday sun, sunset clouds, and moonlight. In the center, a full copper-cast reclining Buddha statue, 7.5 meters long, surfaced to imitate white marble, rotates slowly 360 degrees, expressing the Buddha’s serene, tranquil state of nirvana.
On the lowest level, the most sacred underground palace enshrines the Buddha’s parietal bone relic. The replica stupa housing it is studded with the Buddhist “seven treasures” — gold, crystal, lapis lazuli, etc. — and incorporates dozens of traditional crafts like bronze casting, gilding, filigree enamel, sculpture, and chasing, enhanced by laser projections, making it breathtakingly exquisite. The palace’s opulence was simply dazzling.
After several days of muggy heat and rain, blue skies and white clouds finally deigned to show up:
Big silly: “You took so many, aren’t you satisfied with any?”
Me: A look of royal disdain.
Little silly: Steps in to right a wrong.
Me: “Yes, yes, yes, that’s exactly what I wanted!”
The little photographer makes a grand entrance — showering flowers, showering flowers:
Day 7 Nanjing – Shanghai
This time in Nanjing, I forgot to photograph the food. Allow the photos from the previous autumn trip as compensation.
Duck blood vermicelli soup — not a single duck can swim alive across the Qinhuai River:
Qixia Temple vegetarian noodles — I just want some tranquility:
Hengxin Desserts + snacks, lunch and afternoon tea all in one:
Well fed and content, it was time to head home.
