Qiao Garden, the First Garden East of the Huai River

★Travel Location: Qiao Garden, Taizhou

I rarely choose group tours, but when I visited Taizhou before, the so-called Fengcheng River Scenic Area had not yet been built, and I’ve never been particularly interested in such newly constructed attractions.

Just then, I saw a one-day tour itinerary posted in a group chat. So I picked a free day and went with a friend to scout it out, to see if it was worth returning to later.

We got off the bus right across from Qiao Garden. To the side, there was a small scenic spot—a tiny bridge and a compact landscape. Although the bridge had no water, it still conveyed a sense of meaning.

Qiao Garden in Taizhou has long been known as the finest garden east of the Huai River, so the outer wall was engraved with the words “First Garden East of the Huai Left” (Huai Zuo Di Yi Ming Yuan). The garden’s predecessor was the former residence of Chen Yuan of the Ming Dynasty. During the Wanli period of the Ming Dynasty, his grandson Chen Yingfang built a garden adjacent to the house, naming it Rishe Garden (Rishe Yuan), inspired by a line from Tao Qian’s poem: “I visit the garden daily, and it brings me joy,” implying that every day in the garden one could find delight. During the Kangxi era of the Qing Dynasty, it passed to the Tian family; during the Yongzheng era, it was transferred to Gao Fengzhu, who renamed it Sanfeng Garden. In the Xianfeng era, Wu Wenci renamed it Zhe Garden. Later, it came into the possession of Qiao Songnian, and thus it became known as Qiao Garden.

Qiao Songnian was the highest-ranking official among the garden’s successive owners. He served consecutively as Salt Transport Commissioner of Lianghuai, promoted to Nanjing Governor, Governor of Anhui, Governor of Shaanxi, and Director-General of the Hedong Yellow River. After his death, the Qing court posthumously awarded him the title of Junior Guardian of the Heir Apparent. When he purchased the garden, it was called Zhe Garden, but Qiao Songnian, then on the rise in his official career, naturally disliked this name, so he reverted it to Sanfeng Garden. Nowadays, the name Qiao Garden has become fixed.

The Qiao Garden we see today was extensively renovated in 1990. Although it basically retains the style of a Ming Dynasty garden, it is essentially a Jiangnan-style garden. In 2010, the garden was expanded and opened to the public. No wonder I had never seen Qiao Garden as a scenic spot when I visited Taizhou before.

One big advantage of following a guide is that you don’t have to prepare an itinerary in advance. But the downside is a bustling crowd—probably because travel agencies’ route plans are very similar, so every place seems overcrowded. I couldn’t help but admire Taizhou’s tourism marketing; this reconstructed garden actually attracts so many visitors, though from my detached observation, most appeared to be tour groups.

We entered from the west gate. Right at the entrance, we saw a small pond surrounded by rockeries, with a stone wall on the opposite bank. Nestled among the bamboo grove was a uniquely characteristic building of Qiao Garden: the Two-Part Bamboo House (Er Fen Zhu Wu). The entire building was crafted from bamboo—ingeniously designed. Bamboo strips were trimmed into walls, and bamboo poles halved into tiles. Doors and windows were also made of bamboo, making the whole structure an enlarged bamboo artifact. With a small bridge and flowing water outside and bamboo groves surrounding it, the place felt very serene and secluded.

The name “Two-Part Bamboo House” comes from the fact that the house divides the bamboo grove into two parts, and a wall to the west of the bamboo house further splits the house itself into two. The two “one into two” combined gave rise to the name—truly an ingenious idea.

Beside the bamboo house was a rockery made of Taihu stones, with a building called All-Green Mountain Lodge (Jie Lü Shan Fang) on top. Passing through the Northwestern Stone Forest Bypath (Shi Lin Bie Jing), we arrived at a grand building—this was where Qiao Garden greeted guests. The threshold was very high, indicating the owner’s once-exalted status. In the side rooms were displays of the garden’s history, with a strong emphasis on the successive owners, especially Qiao Songnian and his deeds.

Walking across a green carpet on one side, through lattice windows, the guide pointed out that the guesthouse outside the wall was once of very high standard, where important political figures stayed. However, Mr. Mei Lanfang, a native of Taizhou, declined to stay there out of modesty, and instead lodged in a pavilion within Qiao Garden.

Only after passing through this bamboo-shaded path did we truly enter Qiao Garden. On a stone carving in front of the bamboo grove were the words “Rishe Garden” (Rishe Yuan).

Our group all climbed the rockery, and when we turned around, the view opened up again. Once we reached the open space at the foot of the rockery, the guide asked us to look at the three stalagmites on the rockery—this was probably the most splendid part of the entire Qiao Garden. Below the Cloud-Pocket Cave (Nang Yun Dong), lake stones were piled up, and brick walls were built above. But to be honest, this art of piling rockeries was not particularly distinctive.

The Counting Fish Pavilion (Shu Yu Ting) had hexagonal brick carvings on all sides: one side showed carp, and the other five showed goldfish. Ancient people loved the phrase “abundance year after year” (nian nian you yu). I remember as a child, the New Year’s Eve dinner always included a carp dish as an auspicious token. Leaning on the railing and looking down, we could clearly count the swimming fish in the pond. Opposite, against the wall, stood a half-pavilion called the Resting Mountain Half Pavilion (Xie Shan Ban Ting).

Across from the rockery, the Mountain Sound Thatched Hall (Shan Xiang Cao Tang), with its blue bricks and black tiles, was perhaps the largest building in Qiao Garden. Though the upturned eaves and corners were not exceptionally distinctive, the angles of the upturns blended northern and southern architectural styles—falling between the gentle slopes of the north and the soaring curves of the south, appearing neither flat nor steep. It is said to be the most typical architectural feature of Taizhou.

On the opposite wall was a piece of Taihu stone, which the first owner Chen Yingfang had acquired by chance. The characteristics of Taihu stone—leakiness, transparency, wrinkles, and slenderness—were fully displayed on this stone. It bore a beautiful name: “Lady Looking at Mirror” (Mei Nu Zhao Jing), resembling a lady admiring herself in a mirror. However, there were two opinions about where the lady’s head exactly was; both views seemed plausible.

Across from the lake stone was a large areca stone. It was said that sitting beside this stone platform for reading and painting could greatly enhance inspiration. According to legend, when General Secretary Hu Jintao was a child, he studied here and finished his homework before going home.

The Laiqing Hall (Lai Qing Tang) faced south, with two courtyards front and back separated by a small courtyard. This was where the garden owner entertained guests. On the east and west sides, there were courtyard walls and garden gates connecting to the main and secondary scenic areas.

Following a small path through the garden gate, we saw a three-story pavilion called the Pine Whistle Pavilion (Song Chui Ge). It was once the tallest building in Taizhou, with three stories, but could not be climbed.

The Gengji Hall (Geng Ji Tang) was built on a high platform. It is said that there was once a well with sweet water, hence the name. The building itself was not large, but because of its elevated position, it appeared quite imposing. Its upturned eaves and corners, winding corridors, and lattice windows, along with the elegant ridge, were all pleasing to the eye.

Turning right from Gengji Hall, the guide particularly introduced this modest building. Although called the Nest Pavilion (Yin Chao Ting), it was actually a small loft. The name derived from a large tree planted beside the pavilion, on which birds nested all year round. In 1956, the renowned Peking Opera master Mei Lanfang was invited to perform in his hometown for a benefit, and he stayed here. The room was very small—barely fitting a tiny bed, a desk, and a cabinet—demonstrating Mei Lanfang’s low-key character.

After passing the rockery, we reached the back garden. The guide gave us some free time, so everyone dispersed.

The Coming Green Pavilion (Lai Qing Ge) was three stories high, and its height caught my attention immediately. As soon as free time began, I headed straight for it. Indeed, it was climbable, though the windows were tightly shut, so we could only glimpse the panorama of Qiao Garden through the glass.

Looking out from the pavilion windows, the ginkgo trees outside were tall and straight. The pavilions, terraces, and towers around Yixin Lake were exquisite and elegant, with a few yellow leaves among the lush greenery. The roof of the Coming Green Pavilion featured a resplendent design of two dragons playing with a pearl, with golden dragons on a black background.

After descending the pavilion, we strolled along the lake, surrounded by various structures. The Wengui Boat (Wen Gui Fang) was a boat-shaped building, with the bow moored in Yixin Lake and the cabin set on the shore. From the cabin or the bow, one could enjoy the waterscape and feel the natural beauty of the lake and hills.

Opposite stood the Banana Rain Pavilion (Jiao Yu Xuan), which was reconstructed. The plantain leaves beside it were lush green. Unfortunately, there was no rain today; otherwise, we could have truly heard the sound of raindrops on plantains. To the south, a pebble path featured colored stones forming a pattern of goldfish playing in water, symbolizing good fortune, longevity, and abundant blessings—the wish for “gold and jade fill the hall.”

Heading north from Banana Rain Pavilion, we arrived at the Noon Rhyme Pavilion (Wu Yun Xuan), where the garden owner used to play the zither and chant poetry. The area around Yixin Lake was not large, but it was ingeniously compact. Although there were many buildings, they did not feel cluttered.

We walked all the way to the west gate entrance. After discussing with the staff, we stepped out to see the west main gate, which we had missed earlier while following the guide, and then came back in.

Gathering at the south gate, we exited. On the wall was a character “福” (fortune), known as the “Number One Fortune under Heaven.” This character was composed of many auspicious patterns: a vase, a duster, a vermilion bird, coral, auspicious clouds, bats, ruyi, ancient coins, and more, forming the large word “福.”

Outside the gate was a memorial archway. One side read “Rishe Garden,” and the other side read “Sanfeng Scenic Realm.” We boarded the bus beyond the archway and headed to the next attraction.

When will autumn come to the moonlit blossoms of Guangling?

How many times have wind and frost seen the Sea-View Tower?

Water gently encircles the Phoenix City, serene and calm,

My restless ambition awaits a clear and gentle day.

The Entrance and the Two-Part Bamboo House

Laiqing Hall and the Nest Pavilion, etc.