How Prosperous Was Chang'an, the Tang Dynasty's Imperial Capital?
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Xi'an is not only one of China's Four Great Ancient Capitals but also ranks among the world's four major historical and cultural cities (the other three being Rome, Italy; Athens, Greece; and Cairo, Egypt). This is because most of the dynasties that can serve as Chinese cultural icons established their capitals in Xi'an: the ritual-focused Zhou, the unifying Qin, the pioneering Han, the magnificent Tang that commanded respect from all quarters...
The scholar Ji Xianlin once said: "In terms of status as ancient capitals, Luoyang is the root, Xi'an is the trunk, and Beijing is the crown."
Not as ancient as Luoyang, nor as prominent as Beijing, yet Xi'an is a city that draws travelers from all over the world. We call ourselves "Han people" because the glorious Han Dynasty instilled immense confidence in the nation; even today, foreigners still call us "Tang people" because the Tang Dynasty's prestige spread far and wide, echoing through millennia.
Carrying a longing to return to the Tang Dynasty, I came to Xi'an.
In reality, Chang'an during the Tang period was not a city that never slept. Like most ancient capitals, it had a strict curfew system.
From 1st watch 3rd quarter (around 8 p.m.) until the following day's 5th watch 3rd quarter (around 4 a.m.) was Chang'an's curfew time. Except for special circumstances such as illness, childbirth, or funerals, commoners were not allowed to appear on the streets. If caught, they would be punished with fifty heavy lashes according to the law!
So, during ordinary nights in Chang'an, it was a scene where "drums along the six streets stilled pedestrians' steps, the nine thoroughfares empty under the moon's lonely glow."
However, during the Shangyuan Festival (Lantern Festival), the curfew was temporarily lifted. At night, Chang'an would be adorned with lanterns and colorful decorations, bustling with carriages and horses, foreign merchants and Han traders, entertainers and various shows. It truly was a sight where "east winds set countless lanterns glowing like flowers" and "three hundred court ladies danced with linked sleeves." Commoners all took to the streets to admire the lanterns, as described: "A thousand doors unlocked, ten thousand lanterns shining, mid-first month stirred the imperial capital."
Tang Dynasty commoners could only revel like this once a year during the Shangyuan Festival, but today's Grand Tang Dynasty Ever-Bright City in Xi'an stages the prosperity of the "Golden Age" every single day. Time and space intertwine in a stream of brilliant lights, making one dream of returning to the Tang Dynasty.
In Tang Dynasty paintings displayed in museums, one can see people playing polo, watching foreign dances, listening to court music, and enjoying various entertainments—a rich and colorful recreational life. The performances in the Ever-Bright City—such as roly-poly dolls, marionettes, and painted-screen girls—are equally dazzling and endlessly entertaining.
Both sides of the streets in the Grand Tang Dynasty Ever-Bright City are lined with Tang-style buildings. Cultural venues like the Xi'an Concert Hall, Shaanxi Opera House, and Xi'an Art Museum are arranged in sequence, resplendent with brilliant lights, magnificent and dazzling.
In the middle of the street, you'll periodically see gorgeously shaped art installations, colorful and eye-catching.
There are also scenes with darker, cooler tones, both romantic and artistic.
Whether romantic and profound or splendid and majestic, all reflect the glorious Tang Dynasty's inclusiveness and pluralistic coexistence. And those who forged this flourishing era were none other than the governance of Zhenguan initiated by Emperor Taizong Li Shimin—a ruler for the ages—and the subsequent Kaiyuan Flourishing Age.
At the center of the Ever-Bright City's Zhenguan Plaza, a grand group sculpture is imposing: Li Shimin sits majestically astride a tall steed, reins in hand, poised to spur his horse forward, full of spirited vigor. Around him below are a 24-person honor guard of trumpeters, flag bearers, and drummers, closely followed by civil and military officials.
This is the landmark sculpture of the Grand Tang Dynasty Ever-Bright City—the Zhenguan Monument. The front face of the monument is carved with the four characters "Governance of Zhenguan," and the back lists important political records of the Zhenguan era.
The Kaiyuan Square, symbolizing the Kaiyuan Flourishing Age, is located at the southern end of the Ever-Bright City. Here stands another group sculpture titled "Kaiyuan Flourishing Age," flanked by eight coiling dragon pillars symbolizing the four directions, four poles, four surroundings, and four seas—meaning unimpeded access. On the central pedestal is a sculpture of Emperor Xuanzong Li Longji, the architect of the Kaiyuan era, standing before an enormous circular dragon-screen, radiating imperial majesty. The group also includes courtiers and foreign envoys of the Kaiyuan period, as well as figurines playing various instruments, presenting a joyful atmosphere of Tang commoners living peacefully and prosperously.
At night, Kaiyuan Square hosts a grand performance called "Return to Chang'an," showcasing both the prosperity of the Tang Dynasty and the customs of Xi'an, drawing countless spectators.
The prosperous age nurtured a flourishing culture. In the Tang Dynasty, from emperors and prime ministers down to reclusive scholars, everyone was a master of literature. Needless to mention the eternally celebrated Li Bai and Du Fu; Emperor Taizong Li Shimin, Prime Minister Liu Rengui, and others were all versatile talents capable of governing with the pen and securing the realm on horseback.
While campaigning on all fronts in the early Tang, Li Shimin also established the Hongwen Institute to recruit the empire's finest cultural talents, an initiative emulated by later generations. His grandson Li Xian led the compilation of the Annotated Book of the Later Han, which remains of immense historical value today.
In the early and high Tang, where both civil and martial virtues were equally emphasized, a galaxy of literary masters emerged. One of the Four Eminences of the Early Tang, Luo Binwang, wrote a Proclamation Against Wu Zhao on Behalf of Xu Jingye, cursing Wu Zetian viciously. Yet, the literary brilliance was so dazzling that while Wu was furious, she also greatly admired Luo, sighing: "Such great talent left to languish among commoners—this is the fault of the prime minister!"
(Poets group sculpture in the Ever-Bright City)
(Floating Li Bai)
Adjacent to the north side of the Ever-Bright City lies Da Ci'en Temple, where the famous Giant Wild Goose Pagoda stands. This pagoda was commissioned by the Tang Dynasty monk Xuanzang to house the scriptures and Buddha statues he brought back from India.
(Da Ci'en Temple)
In the third year of the Zhenguan era (629 AD), Xuanzang set out on a westward journey of fifty thousand li to India. He studied at Nalanda Monastery under the master Śīlabhadra, then traveled across various Indian regions. Over seventeen years, he thoroughly studied the various doctrines of both Mahayana and Hinayana Buddhism, engaging in debates with scholars and gaining renown across India. Upon his return, he translated Buddhist scriptures at Da Ci'en Temple, producing 75 volumes in total, and also founded the Consciousness-Only (Vijñapti-mātra) school of Buddhism.
(Sculpture of Xuanzang with the Giant Wild Goose Pagoda behind him)
Xuanzang chronicled his journey to the West in the Great Tang Records on the Western Regions. One of the Four Great Classical Novels, Journey to the West, used this text as a primary reference.
Besides Xuanzang, the Tang Dynasty also produced eminent monks such as Hui Neng, Jianzhen, and Kūkai.
Hui Neng was the Sixth Patriarch of Chan (Zen) Buddhism. Legend has it that he was illiterate yet possessed exceptional insight. He composed a gatha: "Bodhi originally has no tree, the bright mirror also has no stand. Originally there is not a single thing—where could dust possibly land?"
Jianzhen sailed east to Japan, spreading Buddhist scriptures and Chinese culture, making significant contributions to Sino-Japanese cultural exchanges.
Kūkai was a Japanese monk who came to Tang China to study Buddhism. He studied esoteric Buddhism in Chang'an and, after returning home, founded the Shingon school, playing a major role in transmitting Tang culture to Japan.
(High monks sculpture in the Ever-Bright City: from left to right, Kūkai, Hui Neng, Jianzhen, and Xuanzang)
Not far east of the Grand Tang Dynasty Ever-Bright City lies the Tang Paradise (Datang Furong Garden). If the Ever-Bright City is a bustling marketplace, then Tang Paradise is an elegant classical garden.
Tang Paradise is located in the Qujiang area. As early as the Qin Dynasty, the beautiful landscape here gave rise to the famous imperial forbidden garden—Yichun Garden.
In the Sui Dynasty, Emperor Wen disliked the character "qu" (meaning "bend") in Qujiang, so he renamed it "Furong Garden" and undertook renovations. Qujiang once again became an imperial garden, with its downstream entering the city and serving as a water source for southeastern city wards.
During the Tang Dynasty, Furong Garden was further expanded. New features such as Ziyun Tower, Caixia Pavilion, Apricot Garden, and Penglai Hill were added. The Huang Canal was also excavated, enlarging the waters of Furong Lake and Qujiang Pool, making the area a gathering place for nobles and commoners alike. Furong Garden transformed from a royal garden into a public park for Chang'an.
(Center: Ziyun Tower. Historically built in the 14th year of Kaiyuan, it was from this tower that Emperor Xuanzong would gaze out at the grand spectacle of thousands touring Qujiang during major Qujiang gatherings.)
(Apricot Garden: The famous "Apricot Garden Flower Quest" took place here. After passing the imperial examinations, new Tang Dynasty jinshi would hold multiple feasts. The Apricot Garden Flower Quest Banquet was a key event. After the exam results were posted, new jinshi would gather in Apricot Garden for a feast called the "Flower Quest Banquet." Two young, handsome jinshi were selected as "flower-seeking envoys" to ride through Qujiang and even various famous gardens in Chang'an, searching for fresh and renowned blossoms to bring back for the group to enjoy.)
Under Emperor Xuanzong, Furong Garden underwent massive expansion. Palaces stretched in rows, pavilions rose and fell, and cultural activities peaked in an unprecedented spectacle. It wasn't until the An Lushan Rebellion that Chang'an was destroyed, and garden structures were devastated, plunging Furong Garden back into historical silence.
What we see today is a Tang-style architectural complex built in 2004. The park includes folk culture zones, dining culture zones, imperial culture zones, and other landscapes, comprehensively recreating the grandeur of the prosperous Tang.
(Merchant vessels of the Tang era)
(Qujiang Foreign Merchant Shop: In Tang Chang'an, foreign merchants gathered and foreign shops lined the streets, reflecting the dynasty's openness and inclusiveness.)
(Qujiang Flowing Wine Game: To celebrate their success, Tang jinshi would follow the ancient tradition of "winding stream wine party." They would set cups on plates floating on the water; wherever a cup drifted, that person had to drink and compose a poem on the spot, with others evaluating the poems.)
The Tang Dynasty's prosperity reached its zenith under Emperor Xuanzong. However, in his later years, his infatuation with Yang Guifei and excessive trust in Yang Guozhong led to the outbreak of the An Lushan Rebellion. The Tang went from strength to decline.
In Xuanzong's early reign, he was ambitious and diligent; in his later years, he indulged in pleasures. He and Yang Guifei often visited the Huaqing Palace, sixty li east of Chang'an, spending up to ten months a year on leisure and festivities there, only returning to court at year's end. Huaqing Palace witnessed the flourishing Tang, the love story of Li Longji and Yang Yuhuan, and the dynasty's decline—much like Bai Juyi's Song of Everlasting Sorrow, which records a heart-wrenching love and the lessons of rise and fall.
(Performance of "The Song of Everlasting Sorrow" at Huaqing Palace: the flourishing Tang received tributes from all nations)
(After the An Lushan Rebellion, Yang Guifei was ordered to her death. Li Longji was lost in grief day and night, finding solace only in dreams.)
Huaqing Palace was built in the early Tang Dynasty as a secondary palace for imperial excursions. Under Emperor Xuanzong, it reached its largest scale. A lover of music, Xuanzong established a Pear Garden here, built the Ange Pavilion, created the "Melody of Rainbow and Feather Garments," and together with Yang Guifei, enjoyed endless music and romance.
(Ange Pavilion: Emperor Xuanzong and Yang Guifei often led Pear Garden performers in grand song and dance galas here.)
(Sculpture of "Melody of Rainbow and Feather Garments" outside Huaqing Palace: Co-created by Xuanzong and Yang, this piece represents an outstanding achievement in Tang musical dance. The Song of Everlasting Sorrow includes the famous line: "War drums from Yuyang rolled like earth-shattering waves, startling and shattering the Melody of Rainbow and Feather Garments.")
(Sculpture of "The Song of Everlasting Sorrow" outside Huaqing Palace)
The Tang emperors chose Huaqing Palace as a retreat because it lies at the foot of Mount Li, whose hot springs have been renowned since ancient times. Bai Juyi wrote: "In chill spring, she was granted baths in the Huaqing pools, the hot spring's smooth waters washed her creamy jade skin. Attendants helped her rise, so delicate and languorous—this was when she first received the emperor's favor." The famous painting "Imperial Concubine Bathing" depicts this very scene. Thanks to Yang Guifei's fame, many visitors today come here to soak in the hot springs.
The main building within Huaqing Palace is the Hall of Longevity, first built in the first year of Tianbao (742 AD). In The Song of Everlasting Sorrow, it is written: "On the seventh day of the seventh month, in the Hall of Longevity, at midnight when no one else was near, they secretly pledged: 'In heaven, we shall be birds that fly wing to wing; on earth, trees with branches intertwined.'" This is a true and romantic portrayal of Li and Yang's love.
Huaqing Palace leans south against Mount Li and overlooks the Wei River to the north, with lush trees and picturesque landscapes. Yet such a beautiful place was also a site of repeated military turmoil in history. Having been educated as an emperor, Li Longji could not have been ignorant of the story "Playing Beacon Fires to Amuse the Vassal Lords." King You of Zhou, infatuated with Bao Si, lit the beacon towers to trick his nobles just to see her smile, only to later face an invasion from the Quanrong tribe with no one coming to his rescue, ultimately being defeated and killed. Perhaps Li Longji, immersed in love, saw only beauty and no danger.
(You can climb Mount Li from Huaqing Palace. At the peak stands a beacon tower, offering a panoramic view of Xi'an's Lintong District.)
(Overlook of Huaqing Palace and Lintong District from Mount Li)
On Mount Li there is also a Bingjian Pavilion (Forced Remonstrance Pavilion). During the Xi'an Incident, when the Northeast Army stormed Huaqing Palace, Chiang Kai-shek fled in panic up Mount Li and hid in a crevice here. To commemorate the Xi'an Incident, the pavilion was built, with inscriptions carved on the cliff behind it so that later generations may understand the incident's course and significance.
After seeing the markets, gardens, and secondary palaces, let's take a look at the Tang Dynasty's main palace—Daming Palace.
The original palace of the early Tang Dynasty was Taiji Palace. In the eighth year of the Zhenguan era (634 AD), Emperor Taizong Li Shimin ordered the construction of Daming Palace as a summer residence for the retired Emperor Li Yuan. The following year, Li Yuan passed away, and construction was halted.
Later, Emperor Gaozong Li Zhi oversaw a large-scale expansion of Daming Palace, renaming it Penglai Palace and moving in. Thereafter, most Tang emperors lived and held court here, making Daming Palace the ruling center of the Tang Empire for over two hundred years.
The original buildings of Daming Palace have long since vanished. Today, we see only ruins and a few reconstructed Tang-style buildings, creating an open and spacious environment conducive to reflecting on the past.
Danfeng Gate was the main gate of Daming Palace. The heritage park has a replica built on the original site. Historically, Danfeng Gate was built in the second year of Emperor Gaozong's Longshuo era, with five gateways. Above stood the towering Danfeng Tower, which echoed in alignment with Hanyuan Hall, Xuanzheng Hall, and Zichen Hall to the north, forming the central axis of Daming Palace. It was the primary passage for Tang emperors entering and leaving the palace.
Danfeng Gate was the highest-standard city gate in China's feudal society. Spanning over sixty meters east to west and twenty meters north to south, it was hailed as the "Number One Gate Under Heaven" and the "First Gate of the Golden Tang." For over two hundred years, Tang emperors conducted grand ceremonies such as coronations, era-name changes, and announcements of general amnesties at Danfeng Gate.
Behind Danfeng Gate stand two Dengwen drums, established by Emperor Gaozong for those with grievances to air their appeals. Ordinary people could beat these drums to directly appeal to the imperial court, symbolizing Tang judicial civilization.
Hanyuan Hall was the first palace on the central axis of Daming Palace, built in the third year of Longshuo (663 AD). It was here that grand ceremonies like New Year's Day and Winter Solstice congratulatory rituals were held.
Xuanzheng Hall was the second of the three main halls on the central axis and held the highest status. It was the venue for regular court sessions, grand monthly and bi-monthly assemblies, enthronement ceremonies, bestowing honorific titles, appointing crown princes, and palace examinations. Key institutions like the Secretariat (Zhongshu Sheng) were located around Xuanzheng Hall.
Behind Xuanzheng Hall lies Zichen Gate, the final checkpoint before entering the inner palace of Zichen Hall. In the ninth year of Taihe (835 AD), Emperor Wenzong passed through Zichen Gate to proceed to Hanyuan Hall, intending to watch the auspicious vision of "sweet dew" at the Imperial Guard Office—a prelude to the famous "Sweet Dew Incident."
Zichen Hall was the emperor's bedchamber, surrounded by various rear palaces for consorts and concubines. Many Tang secrets unfolded here. In the late Tang period, with the dynasty's power waning under the pressures of regional military governors and eunuch factionalism, the young Emperor Jingzong was assassinated by eunuchs right here.
To the north of Daming Palace lies Taiye Pond, first dug during the Zhenguan or Longshuo eras. It was the most important imperial pond garden of the Tang Dynasty, featuring three islands named Penglai, Yingzhou, and Fangzhang. In the later Kaiyuan years, Emperor Xuanzong ordered the construction of a Moon-viewing Platform of a hundred feet on the pond's banks, where he and Yang Guifei would enjoy the moon.
Although these grand palaces have been swept away by the torrent of history, the Daming Palace National Heritage Park features a scaled-down model of the palace complex, with numerous halls, pavilions, terraces, towers, courtyards, and chambers distributed harmoniously, allowing a glimpse of the majestic splendor of this "Palace of a Thousand Palaces."
Even a palace of a thousand palaces cannot withstand the erosion of a thousand years. Brick walls inevitably crumble, but culture endures. The magnificent image of the prosperous Tang, like the proudly upright golden dragon in the picture below, never fades despite the swift passage of time!
The above captures the style of the Tang Dynasty. The ancient capital Xi'an also boasts the grandeur of the Qin Dynasty—
The Terracotta Warriors are Xi'an's most famous attraction and a cultural name card of China renowned worldwide, hailed as the "Eighth Wonder of the World."
They are called a "wonder" because these terracotta figures were sculpted in the 3rd century BC, are tremendously ancient, and of colossal scale. The over a thousand unearthed and restored warrior and horse figures each differ in dress and expression. By their attire, one can distinguish officers from soldiers; by their postures, one can differentiate cavalry from crossbowmen.
For example, the figure shown below is a standing archer, a light infantryman positioned in the crossbow unit's formation, holding a bow and crossbow in both hands as if shooting.
In contrast, kneeling archers are heavy infantrymen positioned at the core of the crossbow formation, with hands held as if grasping a bow.
This next type is a cavalryman with a saddled horse. The horse is a Hequ breed, carefully selected and trained. The rider wears a small round hat, short leather boots, a short armor, a leather belt, with one hand pulling the reins and the other raising a bow or crossbow.
The figure shown below is a general, a senior military officer among the warriors. He wears a double-tailed he-bird cap, a double-length robe, and square-mouthed, upturned shoes, with colorful ribbon bows tied at the front and back of his shoulders.
Below is a mid-ranking officer, wearing a double-plank long cap, a long robe with external armor, and square-mouthed, straight-topped shoes.
These seemingly drab, monochrome warriors were actually all brightly painted originally. Buried underground for over two thousand years, the colors have faded. If rows of colorful warriors were presented before us, it would surely be breathtaking.
(Image from the Internet)
The Terracotta Warriors are burial objects for the Mausoleum of the First Qin Emperor, symbolizing the imperial guard that garrisoned the capital during his lifetime. It's said that to construct his tomb, the First Emperor conscripted over 700,000 craftsmen, and construction took 38 years!
(Bronze chariots unearthed from the First Qin Emperor's Mausoleum: The largest, most lavishly decorated, most realistically structured, and most complete ancient bronze chariots discovered in China to date, hailed as "the Crown of Bronzes.")
Looking at such a vast army of terracotta figures, some might say: Ancient emperors were too superstitious and extravagant. They were gone, yet they had so many fake people made to protect themselves—was it necessary?
Actually, in an ancient society with a rigid hierarchy, it was only natural that an emperor would spare no effort on his tomb, demanding imperial dignity in death as in life.
Moreover, with a little understanding of ancient Chinese burial customs, one realizes that such figurine burials were actually a sign of civilizational progress.
The character "yong" (figurine) originally meant "human sacrifice." In slave societies, when a slave owner died, his slaves were buried with him. Human sacrifice peaked during the Shang Dynasty, where large aristocratic tombs contained slaves buried alive or killed posthumously. In the Zhou Dynasty, the Duke of Zhou established rites emphasizing "illustrious virtue and care for the people," suppressing but not eradicating the practice. During the tumultuous Spring and Autumn period, human sacrifice revived. In the Warring States period, various states gradually abolished it, and in the first year of Duke Xian of Qin (384 BC), a decree "ending sacrificial burials" formally abolished the system. Thereafter, "yong" became the specialized term for pottery sculptures, stone carvings, and human figures in tombs.
The Terracotta Warrior Museum displays three pits. Pit 1 is the largest, discovered in March 1974 by a farmer digging a well. Pit 1 has yielded nearly 2,000 terracotta warriors and horses, along with 20 chariots. It's estimated that the pit contains over 6,000 terracotta warriors and horses and more than 50 chariots. Over a thousand warriors form a combined formation of chariots and infantry, featuring a vanguard, rearguard, left and right wings, and a main body of warriors, horses, and chariots—reflecting Qin military formations.
Pit 2 was discovered during drilling in April 1976. It contains independent small formations of crossbowmen, chariots, cavalry, and mixed chariot-infantry that organically combine into a large military array. Archaeological work in Pit 2 is ongoing; there are currently few warriors on display, but the excavation site is showcased.
Pit 3 was discovered in June 1976. This pit suffered severe damage, with many broken warriors and chariots. Excavated contents include one chariot, 68 warrior figures, and 34 bronze weapons. Pit 3 appears to have been the command headquarters for the armies in Pits 1 and 2.
The First Qin Emperor admired martial valor, so his mausoleum includes a burial army. Tang Taizong loved horses, so his Zhao Mausoleum features six stone horse reliefs. The "Six Steeds of Zhao Mausoleum"—"Quanmaogua," "Shifachi," "Baitiwu," "Teleibiao," "Qingzhui," and "Salute Purple"—were the mounts Li Shimin rode during his campaigns in the late Sui and early Tang. Each was valiant and fierce, truly earning distinguished service.
"Teleibiao" was Li Shimin's mount when he defeated Song Jingang; praise reads: "Leaping into the air at the command's sound, half-reaching the heavens; conquering natural perils to destroy the enemy, riding through danger to bring relief."
"Qingzhui" was his mount during the campaign at Hulao Pass near Luoyang; praise: "Hooves swift as lightning shadows, heavenly mechanism divinely unleashed; spurring this steed like a white silk, securing my martial attire."
"Shifachi" was also ridden during the Luoyang Hulao Pass campaign; praise: "Before the Chan and Jian rivers grew still, axes and halberds displayed might; his red steed galloped with sweat, returning in triumph under a green banner."
"Salute Purple" was another mount at Hulao Pass; praise: "The purple swallow leaped beyond compare, bones soaring with divine steeds' spirit; his awe dominated three rivers, his majesty overawed eight formations."
"Quanmaogua" was ridden when Li Shimin pacified Liu Heita; praise: "By moonlight he guided the reins, the celestial steed roamed unhindered; bows and arrows were put to rest, the haze of dust swept clear."
"Baitiwu" was his mount against Xue Rengao; praise: "With a heavens-leaning longsword and wind-chasing swift hooves, he drove the reins to calm Long Mountain, swung around and settled Shu."
The six steed reliefs were carved by the Tang craft brothers Yan Lide and Yan Liben. With simple lines, accurate form, and vivid spirit, they are celebrated masterpieces of stone carving art. Except for "Salute Purple" and "Quanmaogua," the other four we see today all show cracks. This is because the Six Steeds were stolen in 1914, passed through antiquities dealers, smashed, and crated for shipment abroad. Four were intercepted, but "Salute Purple" and "Quanmaogua" ended up overseas, now housed in the University of Pennsylvania Museum. The ones displayed here are replicas, hence crack-free.
In 2013, "Qingzhui," "Shifachi," "Baitiwu," and "Teleibiao" were listed by the State Administration of Cultural Heritage in the "Third Batch of Cultural Relics Forbidden to Exhibit Abroad."
Today, these four steeds are displayed at the Xi'an Beilin Museum. Besides the Six Steeds, the museum houses many other extraordinarily precious national treasures.
The stone tablet shown below, alongside numerous others, is displayed in the second gallery of the Beilin Museum. At first glance it may seem unremarkable, but after my introduction, you'll understand how extraordinary it is.
It is called the "Nestorian Stele of Daqin." Here, "Daqin" does not refer to the Qin Dynasty, but was the ancient Chinese name for the Roman Empire. "Nestorianism" is the Tang Chinese name for a Christian sect (the Nestorian Church) that came to China during the Tang Dynasty.
This stele is listed by the State Administration of Cultural Heritage as "one of the first batch of cultural relics prohibited from overseas exhibition." It is not only a national treasure of China but also one of the four most famous steles in world archaeology (the other three being the Rosetta Stone in the British Museum, the Mesha Stele in the Louvre, and the Aztec Sun Stone in Mexico's National Museum of Anthropology).
The Nestorian Stele of Daqin was erected in the second year of Jianzhong (781 AD). Written by the Nestorian missionary Jingjing and inscribed by the Daoist priest Lü Xiuyan (said to be Lü Dongbin), it records the doctrine, rituals, and spread of Nestorian Christianity in China. Jingjing was Persian, yet his mastery of Chinese is clearly profound; the text uses sophisticated allusions and parallel prose, demonstrating an exceptionally natural fusion of Chinese and Western cultures. The stele also bears the names of monks in the Syriac script, providing invaluable material for studying ancient Sino-foreign cultural exchange and the early spread of Christianity in China.
Let's look at other national treasures.
Soon after entering, one sees the Daxia Stone Horse and Jingyun Bell on either side.
The Daxia Stone Horse is the only known artifact bearing a reign date of the Daxia kingdom. Daxia (407–431 AD) was a regime established by Helian Bobo of the Tiefu branch of the Southern Xiongnu, the last of the Sixteen Kingdoms. The horse's front leg bears the inscription "Daxia Zhenxing, sixth year" (424 AD). With a simple yet robust style, it is a rare and precious ethnic artifact.
The Jingyun Bell is also among the first batch of relics prohibited from overseas exhibition. Cast in the second year of Jingyun (711 AD) of the Tang Dynasty, Emperor Ruizong Li Dan personally composed the inscription. During the Tang, it was used by the Jinglong Daoist Temple on West Street.
Every year when we watch the Spring Festival Gala, the New Year's Eve bell that rings in the new year is a recording of the Jingyun Bell. In 2000, it appeared on a Chinese postage stamp and is hailed as the "Number One Bell Under Heaven."
The Stone Pedestal Classic of Filial Piety, housed in the pavilion on Beilin Square, is another national treasure of the museum.
This work was created in the fourth year of Tianbao (745 AD) by Emperor Xuanzong Li Longji, who wrote the preface, commentary, and calligraphy. The Classic of Filial Piety records dialogues between Confucius and his disciple Zeng Shen on filial piety. The stele is assembled from four stones, topped with a head carved with floating cloud patterns, and rests on an exquisitely carved three-tier stone pedestal. Its majestic and dignified form and elegant clerical script have earned it the title "First Welcoming Stele."
Additionally, Beilin Museum houses many other precious tablets, such as the Kaicheng Stone Classics, essential reading for ancient students, compiling classics like Book of Changes, Book of Documents, Classic of Poetry, Rites of Zhou, and Analects. There are also calligraphic masterpieces by Ouyang Xun, Chu Suiliang, Wang Xizhi, Yan Zhenqing, Liu Gongquan, and other ancient masters, serving as timeless models for calligraphy learners.
(Yan Zhenqing's Stele of the Multi-Treasure Pagoda Inspiration)
Besides stone steles, the museum has a Stone Carving Art Gallery exhibiting masterpieces of ancient sculpture, such as the statue of Laozi below.
This stone statue of Laozi was originally within the Chaoyuan Pavilion of Tang Dynasty Huaqing Palace. Laozi sits upright, composed and serene, appearing gentle and solemn. The peony-carved pedestal is beautifully rounded and smooth—a Tang Dynasty stone carving treasure.
Another example is this stone rhinoceros:
It served as a guardian in front of Emperor Gaozu Li Yuan's Xian Mausoleum. Historical records state that foreign envoys gifted live rhinoceroses to Tang China, and this stone rhino stands as a memento of ancient friendly international exchanges.
We can catch glimpses of Qin and Han splendors through cultural relics, but the architectures of those times are gone. However, Xi'an still has some Ming Dynasty ancient structures that survive, allowing the ancient capital's ambiance to be not just in history books but also vividly before our eyes. Next, we'll visit the Xi'an City Wall and the Bell and Drum Towers.
Many Chinese cities have bell and drum towers because they served timekeeping functions in ancient times—the so-called "morning bell and evening drum." Among all the bell and drum towers, Xi'an's are the most famous. They are the largest and best-preserved extant bell and drum towers in China.
Xi'an's Bell Tower stands in the city center, with the Drum Tower not far to its west. Facing each other, they form a spectacular sight.
(View from the Drum Tower looking towards the Bell Tower)
(View from the Bell Tower looking towards the Drum Tower)
The Bell Tower was first built in the 17th year of the Hongwu era (1384 AD). It once hung a large bell and struck it daily to tell time. That bell was the Jingyun Bell introduced earlier.
(On one side of the Bell Tower is the Kaiyuan Mall)
Today, the Bell Tower no longer keeps time. The large bell hanging at the northwest corner is not the original Jingyun Bell, but it is still rung during festivals to pray for peace.
Ascending the Bell Tower, you can not only gaze at the Drum Tower in the distance but also see the Xi'an City Wall and gates in all four cardinal directions. The line of sight follows the straight East Street, West Street, South Street, and North Street.
(In West Street, the Drum Tower is near, and Anding Gate is in the distance)
(In South Street, Yongning Gate is in the distance)
The Drum Tower was built in the 13th year of Hongwu (1380 AD), just 200 meters from the Bell Tower. It once held a giant drum and was beaten daily for time.
On its north and south sides respectively hung plaques reading "Sound Heard by Heaven" and "Land of Civil and Martial Prosperity." The "Land of Civil and Martial Prosperity" plaque, together with the "Number One Pass Under Heaven" plaque at Shanhai Pass, were reputed as "China's Two Placards." Unfortunately, the former was later destroyed; what we see now is a replacement.
Today, the Drum Tower displays a large drum called the "Heaven-Hearing Drum," with a diameter of 2.83 meters and weighing 1,800 kilograms. It is made from a single high-quality cowhide and has been recognized by Guinness World Records as the "Best of the World."
Below the Drum Tower is the Muslim Quarter, home to many of Xi'an's snacks—roujiamo (Chinese hamburger), yangrou paomo (crumbled flatbread in mutton stew), liangpi (cold skin noodles), and more, all available here.
Encircling the Bell and Drum Towers is the Xi'an City Wall, built between the 3rd and 11th years of the Hongwu era (1370–1378 AD). The Ming wall was expanded eastward and northward on the foundations of Sui Dynasty Daxing City and Tang Dynasty Chang'an City, with a circumference of 13.74 kilometers. If you're so inclined, you can spend a day walking the entire length, or rent a bicycle on the wall and cycle a loop to soak up the ancient capital's charm.
(City wall under clear skies, radiant)
(City wall in rainy weather, romantic)
On the outer side of the Xi'an City Wall are protruding bastions (mamian); atop the wall are crenellations, watchtowers, corner towers, and other auxiliary structures. Each of the four main gates—east, south, west, and north—has a barbican, with gate towers, archery towers, and drawbridge towers above, and is surrounded by a moat.
(Barbican and gate tower)
(Bastion (mamian): A rectangular platform projecting from the wall to attack enemies from the side.)
(Corner platform: Solid platform protruding from the wall's corners, used to build corner towers for observing enemy movements; in battle, archers and firearms could be deployed to coordinate with adjacent watchtowers and the main wall defenders.)
(West Gate: Anding Gate, symbolizing peace and stability in the western frontiers)
(East Gate: Changle Gate)
(North Gate: Anyuan Gate)
(South Gate: Yongning Gate)
Yongning Gate was built between the 2nd and 3rd years of Kaihuang (582–583 AD) and has the longest history and continuous use among the four gates. Compared to other gates, besides the gate tower, barbican, and drawbridge tower, it also features a crescent-shaped outer barbican (yuecheng) that shields the barbican gate and controls the drawbridge over the moat.
(The crescent barbican of Yongning Gate)
To walk the full 14-kilometer circumference took me two days, one rainy and one sunny. When it rained, the air was misty and dreamy, the freshness adding an extra layer of charm to the ancient wall. When the sun shone, it was bright and clear, with mottled ramparts and lush greenery making the ancient capital vibrant.
(Wall in the rain)
(Wall under sunny skies)
But neither sunny nor rainy days compare to the Bell Tower, Drum Tower, and city wall at night.
The Bell Tower, encircled by winding roads, is surrounded by flowers and resplendent lights.
The Drum Tower, near the bustling Muslim Quarter, with the moon bright and swallows dancing, breeze teasing clouds and gauze.
On the Ming city wall, bright flags flutter, lanterns shine in vivid colors.
Outside Yongning Gate, ceremonial columns stand grand, gateways and arcades glitter.
Along the moat, strollers leisurely walk; beneath bridge arches, streams of cars flow.
Across from the ancient wall, myriad lights shine from high-rises, a spectrum of colors. On one side, ancient eaves curve gracefully; on the other, modern buildings rise in orderly splendor.
Such night scenes—how can they not captivate?
Just like a scene I saw on the city wall during the day: the ancient wall and modern buildings reflect off each other, the mottled and the bright complementing one another—perhaps this is Xi'an's charm.
During my days in Xi'an, between visiting historic sites, I also shopped at Xiaozhai and Joy City. Similar to the large malls in other big cities, Saige's indoor waterfall and Joy City's Sun Wukong sculpture were refreshing highlights.
(Saige Shopping Center's indoor waterfall is touted as the world's largest)
(The rooftop parking lot design of Xiaozhai Saige Shopping Center is uniquely creative)
The Sun Wukong sculpture in Joy City seems to be praying to Buddha, banishing inner demons:
Not far from Joy City stands the Giant Wild Goose Pagoda, under which Xuanzang appears to gaze upon the bustling world with compassion:
Master and disciple share a silent understanding, minds focused on the Buddha. Such steadfastness makes prosperity all the more precious. To strive in poverty is necessity; to remain resolute amid prosperity is an act of free will.
The reason the Tang Dynasty was brilliant, the reason Chang'an was brilliant, is largely the convergence of many strong wills: Li Shimin, Li Longji, Fang Xuanling, Li Bai, Du Fu, Bai Juyi, Xuanzang...
In today's Xi'an, one can still feel the inheritance of this spirit—from the resounding drum music to the bold lion dances, from the loud local accents to the generous cuisine, from the ancient ruins to the chic modern architecture...
