Tuesday, 16 December 2025

Forbidden City (故宫) & Jinshan Park (景山公园) @ Beijing

 “We Came as Couples, We Wander as Friends, and We Leave With Stories That Last a Lifetime.”

It’s a leisurely day for the four of us, with Mr. and Mrs. Lee choosing to sleep in—the chilly weather makes perfect conditions for hibernation, haha! Our plan is to explore the Forbidden City, Jingshan Park, the Temple of Heaven, Dashilar, and Qianmen, though this blog will focus on the Forbidden City and Jingshan Park.
Forbidden City
The Forbidden City, located in the heart of Beijing, is an iconic imperial palace complex that served as the political and ceremonial center of China for nearly 500 years. Built between 1406 and 1420 during the reign of Emperor Yongle of the Ming Dynasty, it was home to 24 emperors of the Ming and Qing Dynasties. The name "Forbidden City" reflects its exclusivity—ordinary citizens were prohibited from entering, and access was strictly limited to the imperial family and high-ranking officials.

Spanning 178 acres (72 hectares), the Forbidden City is a masterpiece of traditional Chinese architecture and urban planning. It features nearly 9,000 rooms, arranged symmetrically along a north-south axis, adhering to the principles of feng shui. The complex is surrounded by a 10-meter-high wall and a wide moat, symbolizing its role as a fortress of imperial power. Key structures include the Hall of Supreme Harmony, the largest wooden structure in China, and the Palace of Heavenly Purity, which served as the emperor's residence.

Today, the Forbidden City is a UNESCO World Heritage Site and operates as the Palace Museum, showcasing a vast collection of Chinese art, artifacts, and historical treasures. It remains one of the most visited cultural landmarks in the world, offering a glimpse into China's imperial past.

After a simple breakfast at the hotel, we booked a DiDi and set off toward the Forbidden City and the driver dropped us at Donghuamen (东华门) which means "East Prosperity Gate".
Donghuamen, the eastern gate of the Forbidden City, rose in 1420 under the reign of Emperor Yongle. More than stone and timber, it embodied the majesty of imperial power and the solemn order of courtly ritual. Its presence was a reminder that before the emperor’s gaze, all were equal—every official, no matter how high in rank, was required to dismount from horse or carriage at its threshold, bowing to the authority that dwelled within.

At 0800hrs in the morning on a November day, the four of us step through Donghua Men into the crisp Beijing air, the chill sharpening every sound and color. The low sun slants across the vermilion walls and golden tiles, gilding them with a pale fire while your shadows stretch long across the flagstones. 
As we walk westward together, the courtyards unfold in solemn sequence, each framed by red walls and echoing with the faint calls of sparrows perched on the eaves. 
The rhythm of your footsteps mingles with the hush of history, and the companionship softens the grandeur of the setting. 
Along the way, the willow trees drape their long green tendrils like silk curtains, swaying gently in the cool November breeze. Their movement is slow, almost ceremonial, as if bowing to your passage. Around us, other walkers move at a leisurely pace too, their presence quiet and respectful, as if the path itself demands reverence.
As the four of you stroll along the canal toward Wumen, the scene opens like a scroll painting brushed with the soft hues of early morning. The canal itself is a mirror—calm, glassy, and tinged with the golden blush of sunrise. The air is cool and serene, and your footsteps fall in sync with the hush of the hour, as if the entire landscape is holding its breath before the gates of history.
Our journey into the Forbidden City begins at the mighty Meridian Gate, Wumen, the grand southern entrance through which countless officials once passed in reverence. As we crossed its threshold, I paused to capture the play of light and shadow upon its towering walls—moments of quiet beauty that marked the start of our exploration.


Wumen (午门) 
Known as Meridian Gate in English, it was historically associated with the announcement of imperial decrees and punishments. It is often mentioned in historical accounts as a place where convicted officials were publicly punished or executed during certain dynasties.

However, executions at Wumen were symbolic and rare, typically reserved for high-ranking officials who had committed serious offenses against the emperor or the state. The punishment here would serve as both a display of imperial authority and a warning to others. 


Today, this gate serves as the single primary entry point for all visitor, though The Forbidden City open at 0830hrs, we reached at about 0800hrs to beat the queue despite we had prebooked our tickets. 

The entrance ticket to the Forbidden City (Palace Museum) in Beijing typically costs 60 CNY during the peak season (April to October) and 40 CNY during the off-peak season (November to March). 



To enter the Forbidden City, visitors typically need to scan their passport or ID at the entrance. This is part of the real-name reservation system, which ensures security and identification. 

When I am just steps away from unfolding the history.... 

Standing under Wumen, the mighty Meridian Gate, my gaze stretches across the vast expanse of the courtyard to Taihemen (太和门), the Gate of Supreme Harmony, rising in solemn grandeur opposite me. 



Between the two gates lies an immense square, a sea of stone that once echoed with the footsteps of officials and the rituals of imperial ceremony.



 The sheer scale of the space magnifies the sense of authority and awe, reminding me that this was not merely architecture, but the stage upon which dynastic power was displayed


As I walked toward Taihemen, my feet touched the ancient stone path worn by centuries of history, and suddenly the scenes from countless period dramas I had watched on TV seemed to spring vividly to life around me.


Golden Water Bridges (内金水桥) 
A set of five elegant marble bridges that span the Inner Golden Water River within the Forbidden City, they all carved from pristine white marble.

The central bridge is the widest, longest, and most ornate, reserved exclusively for the emperor. The two bridges on either side were used by high-ranking officials. The outermost bridges were for lower-ranking officials and palace staff.
The white marble against the golden roofs and red walls creates stunning visual contrast.

It was too crowded to capture a clear shot of all five bridges, so I got an image sourced from Google instead.

Taihemen (太和门)
Taihemen, the Gate of Supreme Harmony, stands as the majestic southern entrance to the Outer Court of the Forbidden City. Constructed in 1420, it once served as the passageway for officials heading toward the Hall of Supreme Harmony (Taihedian), where grand ceremonies such as enthronements and imperial weddings took place.


Today, visitors cross Taihemen after traversing the Inner Golden Water Bridges, retracing the same monumental approach once reserved for the imperial court.

Taihedian (太和殿)
Known as "Hall of Supreme Harmony" in English, it is the largest and most important hall within the Forbidden City in Beijing, China. It stands majestically at the center of the complex, symbolizing imperial power and authority. Built on a three-tier marble terrace, the hall is an architectural masterpiece, showcasing traditional Chinese craftsmanship with its intricate carvings, golden decorations, and dragon motifs.

Historically, TaiHeDian was used for grand ceremonies, such as the emperor's enthronement, wedding celebrations, and other significant events like the Chinese New Year. The hall also served as a venue for important state affairs during the Ming and Qing dynasties.

POV: The wind is strong today, with a yellow alert in place, so most of the halls remained closed. As a result, we shakk moved through the exploration more quickly, since many of the architectural designs are similar and we couldn’t truly appreciate the interiors with the doors shut.

Yunlong Shidiao (云龙石雕) 
My humble translation : Cloud and Dragon Stone Carving Ramp
My gaze was drawn to the central ramp—a monumental slab of marble carved with dragons swirling through clouds and waves. This imperial ramp was reserved solely for the emperor’s ceremonial passage. Its surface ripples with imperial symbolism: dragons twist in dynamic arcs, their claws grasping at unseen forces, while waves crash and clouds billow in stylized relief, evoking the emperor’s dominion over heaven and earth. The sheer scale of the stone—over 250 tons, transported from distant quarries with ingenious labor—adds weight to its presence, both literal and symbolic. Flanked by stone balustrades, the ramp becomes a stage for imperial procession, a path not merely walked but revered. Standing before it, you feel the gravity of history pressing upward from the stone, as if the very ground remembers the footsteps of emperors and the rituals that once defined the heart of the Kingdom.
POV: My question - To walk over this ramp over soft cloth shoes, the uneven ridges could feel some challenges or even hazardous?



Baiyu Longzhu Shouduan  (白玉龙柱兽墩)
My humble translation: White Jade Dragon Pillars and Beast Pedestals
At the base of the grand staircase, the white marble balustrades rise in solemn procession, their panels carved with drifting clouds and curling motifs that seem to ripple across the stone like frozen breath. Each pillar stands upon a beast-shaped pedestal, crouching in eternal vigilance, while dragon heads peer outward from the tops as guardians of the ascent. Here, at the foot of the stairs, the artistry is not merely decoration but a ceremonial boundary, marking the transition from the earthly courtyard to the elevated platform of the emperor’s hall. Walking beside them, you sense the weight of history pressing upward, as if the stones themselves remember the countless rituals that once began at this very threshold.

Longshou Dragon Head (龙首)
The so‑called “dragon head” thrusts forward in sculpted grandeur, its open mouth seeming to release the breath of empire. Hewn from white marble, it once functioned as a water spout, channeling rain from the terraces above, though its true significance lies in symbolism rather than utility. As the eternal emblem of imperial authority and cosmic order, the dragon watches over the stairway with unyielding vigilance, its gaze fixed upon the courtyards stretching beyond. Centuries of weathering have left a soft patina upon the stone, each curve and scale bearing witness to the artisans’ skill and the emperors who ascended above it. To stand before this carving is to feel both its protective presence and its majestic weight, the dragon head marking the passage from the earthly realm into the sacred halls of the Son of Heaven.

Ancient Giant Vats 
These giant vats, known as water vats , are scattered throughout the Forbidden City and served a crucial purpose. They were originally placed in the courtyards of palaces and imperial gardens as fire-fighting installations—filled with water to be used in case of emergency.
During winter, they were covered with quilts and even heated from below with charcoal to prevent the water from freezing. In the past, there were 308 vats in the Forbidden City, but today, only a little over 200 remain.

The water vats in the Forbidden City have a rich history, though detailed records of the oldest one remain elusive. Some of the most notable vats date back to the Ming Dynasty (1368–1644), when they were mainly fashioned from iron or bronze. Beyond their practical use, these vats also represented imperial majesty. While iron and bronze were the primary materials during the Ming era, the Qing Dynasty introduced more intricate designs, featuring gold-plated brass and ornate decorations, including animal-head-shaped rings and knobs.  

Sadly, the gold plating was scraped off by troops of the Eight-Power Allied Forces when they invaded China in 1900. But even today, these vats remain an iconic part of the Forbidden City’s architecture. 

This is the largest and most prestigious vats, located near important halls like Taihedian (Hall of Supreme Harmony), weigh 3,392 kilograms and measure 1.6 meters in diameter


Bronze Incense Burner (香炉)
Traditional Chinese bronze incense burner, a ceremonial vessel historically used in imperial rituals and religious offerings. Resting on a stone pedestal, the burner is crafted with a rounded body supported by three sturdy legs and adorned with stylized animal-head handles. Its perforated lid, topped with a decorative finial, allows incense smoke to rise gracefully during use. The surrounding architecture — with intricately carved stone railings and a golden-tiled roof in the background — suggests a setting of high cultural significance, likely within the Forbidden City. Such incense burners were commonly placed in palace courtyards or in front of major halls, serving both spiritual and symbolic functions in the Ming and Qing dynasties.

Ancient Flame Holder? I think so .. After studying for a while


Zhaodemen (昭德门) is one of the smaller side gates of the Forbidden City, located near the eastern section of the Outer Court. It was not a grand ceremonial gate like Wumen or Taihemen, but rather a functional passageway used by palace staff and lower‑ranking officials. Inside, you would see modest courtyards and service buildings rather than the monumental halls reserved for imperial rituals.



Baohemen (保和门))
Baohemen is a ceremonial gate that leads into Baohedian, one of the Three Great Halls of the Outer Court. Stepping through it meant entering a space of banquets, examinations, and rituals — a place where harmony was preserved through imperial authority.


Baohedian (保和殿) 
Built in 1420, it was used for coronation ceremonies, imperial banquets, and later as the venue for the final stage of the imperial civil service examinations.



POV: By this point, Baohedian was also closed. Rather than continuing along the central axis of the Forbidden City, we chose to head directly toward another site situated on the right side of the palace.


Ancient Water Drainage System
The dragon head carvings embedded in the stone terrace serve a practical yet symbolic purpose: they function as ancient drainage spouts, ingeniously designed to channel rainwater away from the elevated platform. Water flows through hidden conduits within the terrace and exits through the open mouths of these sculpted creatures, preventing erosion and preserving the integrity of the structure. Beyond their utility, the dragon heads embody imperial symbolism — representing power, protection, and mastery over water — seamlessly blending engineering with artistry in the architectural language of the Forbidden City.

Houzuomen(后左门)
One of the smaller side gates of the Forbidden City, located on the western side of the complex. It’s not a main ceremonial gate but rather a functional passage used historically by palace staff and for logistical purposes. Houzuomen literally means “Rear Left Gate.” It sits on the west side of the Forbidden City, behind the main halls, closer to the residential quarters of the Inner Court.




Xiqingmen (锡庆门)
Xiqingmen is one of the small inner gates of the Forbidden City, located in the western section of the Inner Court near the Palace of Tranquil Longevity (宁寿宫). It was not a grand ceremonial gate but rather a functional passage tied to the Qianlong Emperor’s retirement palace complex. Translated as Gate of "Bestowed Celebration", the name reflects auspicious symbolism, common in the Qianlong Emperor’s architectural projects.


Xiqingmen is richly decorated, unlike the more utilitarian Ming-era side gates. The glazed floral panel you noticed is typical of Qianlong’s taste for ornamentation, auspicious motifs, and symmetry. The flowers and vines represent prosperity, longevity, and harmony. The wave-carved stone base beneath the panel symbolizes stability and the flow of fortune.

Nine Dragons Screen (九龙壁)
The Forbidden City is home to one of its most dazzling treasures—the magnificent Nine-Dragons Screen, an imposing glazed wall situated near the Palace of Tranquil Longevity (宁寿宫). Commissioned in 1771 under the reign of the Qing Emperor Qianlong, this screen embodies both imperial grandeur and exquisite craftsmanship. 


Rising with stately presence, it has endured more than two centuries of wind, rain, and shifting dynastic fortunes, yet its brilliance remains undiminished.

The wall itself is a masterpiece of ceramic artistry, composed of brilliantly colored tiles that shimmer with a luminous glaze. Across its surface, nine dragons coiled and twist in dynamic relief, each one distinct in posture and expression. 

These mythical creatures are depicted in lively pursuit of flaming pearls, symbols of wisdom and cosmic power, while swirling clouds and cresting waves form a dramatic backdrop that enhances their vitality. The central dragon, rendered in imperial yellow, represents the emperor himself, surrounded by companions that embody strength, harmony, and celestial authority.

Our journey will now lead us into one of the most dazzling corners of the Forbidden City. Next, we will make our way to the Treasure Gallery (珍宝馆) and the Gold Gallery (金器馆), two exhibition halls that stand directly opposite each other, forming a harmonious pair within the palace grounds. Nestled in the vicinity of the Palace of Tranquil Longevity (宁寿宫), these galleries together showcase the opulence and artistry of the Qing court at its height.


Zhenbaoguan (珍宝馆）
Established to showcase the wealth and artistry of the imperial court, it houses hundreds of precious artifacts selected from the Palace Museum’s vast collection. 

Visitors encounter an extraordinary range of imperial treasures, including empresses’ crowns, phoenix headpieces, jade carvings, ivory works, gold and silver ritual vessels, and gem‑inlaid ornaments once used in ceremonies or daily palace life. 



Among its highlights are pieces associated with Empress Dowager Cixi, whose ornate crown reflects the opulence of the late Qing court.




The gallery is arranged thematically, with sections dedicated to jewelry, jade, gold, and other luxury materials, offering a vivid glimpse into the craftsmanship, symbolism, and grandeur that defined the world of China’s emperors and empresses.



Five-Phoenix Diàn (金累丝嵌珍珠宝石五凤钿) - This is a Qing dynasty empress’s head ornament, a masterpiece of gold filigree and phoenix symbolism, worn during imperial ceremonies. It embodies the elegance, authority, and spiritual symbolism of the Qing court’s highest-ranking women. This Five-Phoenix Diàn was worn by Empress Dowager Cixi, symbolizing imperial virtue, authority, and ceremonial grandeur.

This headdress belonged to a Empress Dowager Cixi, worn during grand ceremonies to express imperial authority and feminine virtue. It’s a masterpiece of court artistry, blending symbolism, luxury, and power. It’s richly adorned with blue enamel floral motifs, phoenix and dragon figures, and dangling pearl and gemstone chains, all of which symbolize imperial grace, power, and auspiciousness.




Jinqiguan (金器馆) 
AKA The Gold Gallery, it is a specialized exhibition hall, dedicated to displaying some of the most exquisite gold artifacts preserved from the imperial collection. Curated by the Palace Museum, this gallery was conceived to highlight the very finest examples of Qing dynasty craftsmanship, where gold was transformed into objects of both beauty and profound meaning.
In the imperial court, gold was far more than a symbol of wealth—it embodied divine authority, ritual purity, and cosmic harmony. The artifacts showcased here were often reserved exclusively for the emperor, empress, and high-ranking officials, serving as ceremonial vessels, ornaments, and ritual objects that reinforced the sacred order of the Qing dynasty. Each piece, whether a delicately wrought ornament or a grand ritual vessel, reflects the artistry of palace craftsmen and the symbolic language of imperial power.













The entire palace is adorned with these majestic red walls, each one standing like a silent witness to the tides of history. Their surfaces, weathered by centuries of wind, rain, and ritual, seem to breathe with memory. As you walk past them, it feels as though every wall is quietly whispering a story from yesteryears—fragments of imperial ceremonies, echoes of footsteps long vanished, and the hush of secrets once spoken beneath golden eaves. The faded patina and the rhythmic repetition of tiled roofs and carved stone bases lend a solemn cadence to your journey, as if the architecture itself were gently guiding you through time. In their stillness, these walls do not merely enclose space—they preserve it, holding within their crimson embrace the lingering spirit of dynasties past.

Walking through this narrow corridor flanked by towering red walls, you feel as though you've stepped into the living frame of a period drama. The stone-paved path stretches ahead in perfect symmetry, and in your mind’s eye, it fills with movement: servants in muted robes hurrying past with trays and scrolls, guards in formation marching with solemn precision, and a lone soldier sprinting toward the palace with breathless urgency, bearing news from distant battlefields. The walls, weathered and silent, seem to echo with the footsteps of history, each shadow cast by the afternoon sun a flicker of memory. It’s not just a passage—it’s a stage where centuries of imperial life once unfolded, and where every glance feels like a glimpse into stories long whispered but never forgotten.




Wangjidian (皇极殿)
AKA The Hall of Imperial Supremacy, it stands as the central hall of the Qianlong Emperor’s retirement palace complex, known as Ningshougong (宁寿宫), in the northeastern section of the Forbidden City. Constructed in the 1770s during the Qianlong reign (1735–1796), it was commissioned specifically as part of the emperor’s grand vision for his retirement residence.
Serving as the main ceremonial hall of the complex, Wangjidian was the setting for audiences, rituals, and symbolic displays of imperial dignity. Even after his abdication, Qianlong sought to preserve the aura of supreme authority, and this hall embodied that desire. Designed to echo the great halls along the Forbidden City’s central axis, it mirrored their grandeur while adapting them to the more intimate scale of the retirement palace.

As the centerpiece of Ningshougong, Wangjidian symbolized Qianlong’s enduring supremacy and his devotion to grandeur, symmetry, and ritual. It remains a powerful testament to the emperor’s determination to project imperial majesty even in retirement, blending architectural magnificence with the deep symbolism of authority and cosmic order.




Stone Dragon (龙纹石雕)
This dragon stone craving in Wangjidian is not just decorative—it’s a ceremonial emblem of Qianlong’s imperial identity. Its placement and symbolism echo the grandeur of the central throne halls, reinforcing Wangjidian’s role as the heart of the retirement palace. This type of dragon craved stone oranment is typically embedded in the ground at the entrance or center of a ceremonial hall, directly beneath the emperor’s path. The coiled dragon surrounded by clouds and flames represents imperial power, cosmic authority, and the emperor’s role as the mediator between Heaven and Earth. When Qianlong walked across this stone dragon during rituals or audiences, it symbolized his dominion over the forces of nature and his continued supremacy—even in retirement.

Bronze Lion (铜狮)
These majestic lion figures are iconic features of traditional Chinese architecture, especially in imperial settings like the Forbidden City, where they symbolize power, protection, and imperial authority. The lion in your image has its right paw resting on a ball, symbolizing imperial dominion over the world. This is the male lion, often placed on the right side (east) of a gate. Guardian lions were believed to ward off evil spirits and safeguard sacred spaces. Their fierce expressions and powerful stances reinforce this role. The base often features lotus petals, cloud patterns, or geometric borders, reinforcing the lion’s sacred status.


Sundial AKA Ancient Clock without mechanism
One of the oldest timekeeping devices, using the Sun’s shadow to tell the time. It consists of a flat surface (the dial) marked with hour lines and a stick or triangular blade called a gnomon. As the Sun moves across the sky, the gnomon casts a shadow that shifts position, aligning with the hour lines to indicate the time of day. 


More photos to share on the corners and long corridors along the explorations







Ning Shou Gong (宁寿宫)
AKA the Palace of Tranquil Longevity, is a retirement palace complex built by Emperor Qianlong in the northeastern section of the Forbidden City. It was designed to mirror the central axis of the main palace while serving as a symbolic and ceremonial space for the emperor after his abdication. Even in retirement, Qianlong wanted to maintain the aura of imperial authority. Ningshougong was designed to reflect this, with ceremonial halls like Wangjidian echoing Taihedian (Hall of Supreme Harmony).
Empress Dowager Cixi was the last senior court lady to reside in Ning Shou Gong (Palace of Tranquil Longevity). After her death in 1908, no other empress dowager or senior consort lived there, since the Qing dynasty itself collapsed just three years later in 1911.






This is exactly left behind by Empress Dowager Cixi.






Consort Zhen's Well (珍妃井)
Consort Zhen’s Well is remembered as one of the most tragic landmarks within the Forbidden City. It is said to be the place where Consort Zhen, the beloved concubine of the Guangxu Emperor, was drowned on the orders of Empress Dowager Cixi in 1900. 


She remained confined within the Forbidden City for over three years before Empress Dowager Cixi finally ordered her death. Her quarters stood directly beside the well—if you look closely at the photo, the doorway next to it marks the place where she once lived.

While the well’s mouth was originally larger, later modifications reduced its visible opening, leaving behind a quieter but no less haunting memorial. The story of the well reflects both the brutality of palace politics and the precarious vulnerability of women in the imperial court.

Consort Zhen was the Guangxu Emperor’s favorite companion—intelligent, outspoken, and deeply sympathetic to reformist ideas. She encouraged the emperor to embrace modernization during the Hundred Days’ Reform, a stance that placed her in direct conflict with Empress Dowager Cixi, who opposed changes that threatened her authority. As a result, Zhen was confined within the Forbidden City under Cixi’s orders, her influence curtailed but her presence still a source of tension.

When the Eight-Nation Alliance invaded Beijing during the Boxer Rebellion, Cixi prepared to flee the capital. According to legend, she commanded Consort Zhen to take her own life. Zhen refused, and in an act of ruthless finality, she was pushed into the well and drowned. Drowning was seen as a way to erase her presence without leaving a body to be buried with honor, underscoring the severity of Cixi’s judgment. More than a year later, her brother retrieved her remains from the well, closing one of the darkest chapters in the Forbidden City’s history.

It was said that the door in this picture lead to her residence.

PS: There is a rusty lock at the base of the well, a supernatural explanation — that the lock was placed to “keep the spirit of Consort Zhen from wandering.” This blends palace legend with folk beliefs about restless souls.

Shengwumen (神武门)
Known as the Gate of Divine Might is the northern gate of the Forbidden City in Beijing. Built during the Ming dynasty, it forms the counterpart to the southern Wumen, standing at the opposite end of the palace’s central axis. 

Historically, Shengwumen was less frequently used for grand ceremonies but served important practical and symbolic functions: it was the passage through which imperial processions sometimes exited toward Jingshan Hill, and it also acted as a defensive gate protecting the northern boundary of the palace. 

Architecturally, it mirrors the imposing style of the Wumen, with red walls, golden roofs, and richly decorated details that emphasize imperial authority. 

Today, Shengwumen serves as the main exit for visitors touring the Forbidden City, marking the end of the journey through the palace complex. Its name, “Divine Might,” reflects the emperor’s role as the supreme martial power under Heaven, reinforcing the cosmic symbolism embedded in the palace’s design.


The Moat
The Forbidden City in Beijing is encircled by a massive moat (护城河), which forms part of its defensive system and symbolic design. Together with the towering palace walls, the moat created both a physical barrier and a sense of sacred separation between the imperial household and the outside world.


Jinshan Park (景山公园)
Jinshan Park in Beijing is a historic royal garden directly north of the Forbidden City, famous for its central hill that offers the best panoramic view of the Forbidden City. Built during the Yuan, Ming, and Qing dynasties, it is now a popular spot for both tourists and locals to relax among ancient trees and pavilions
Found this photo from the internet.

Chengcha (澄茶)
Our first stop after entering the park is the café, where we pause to rest, enjoy a coffee, and have a light snack.

澄 (chéng) means “clear, pure, tranquil,” while 茶 (chá) means “tea.” Together, the name evokes the idea of tea that clears the mind and spirit.
While its core identity is rooted in refined tea culture, it also offers light food, coffee, and modern refreshments to suit a wider range of visitors.
We ordered 2 Taiwanese braised pork rice and 2 Rougamo and 4 coffees for the break. Felt so luxury in such cold weather. 




Suicide spot of Ming's Emperor Chongzhen (崇祯自缢处)
The Chongzhen Emperor (Zhu Youjian, 1611–1644) stands as the last sovereign of the Ming dynasty, whose reign stretched from 1627 until the dynasty’s downfall in 1644. Within Jingshan Park, one of its most somber sites commemorates his final moments. Tradition holds that on the eastern slope of the hill, an old locust tree once bore witness to his desperate end as rebel forces under Li Zicheng swept into Beijing.

That original tree was later destroyed during the Cultural Revolution, but in 1981 a replacement was planted on the same ground to preserve the memory of the event. The hill itself, known in Ming times as Wansui Hill (万岁山, “Ten-Thousand-Year Hill”), was an artificial mound created from earth dug out while constructing the Forbidden City’s moat, symbolically positioned as a protective screen behind the palace.

Today, visitors to Jingshan Park encounter a marked site that recalls the emperor’s tragic fate. On April 25, 1644, overwhelmed by rebellion and collapse, he ascended the hill aligned with the Forbidden City’s northern gate, Shengwumen , and ended his life with his sash. His death signaled the extinguishing of Ming rule in Beijing, paving the way for the Qing dynasty’s rise. In his final hours, sources recount that he struck down several of his consorts and daughters to spare them from capture, while sending his two surviving sons — Zhu Cijiong (永王) and Zhu Cizhao (定王) — away in hopes of preserving the imperial lineage but both had perished soon after the fall of Ming dynasty.


Wanchun Pavillion (万春亭)
AKA “Pavilion of Ten Thousand Springs” sits at the very summit of Jingshan Hill, making it the highest point in the park.
There are about 140 stone steps leading up to the central peak of Jingshan Hill, where Wanchun Pavilion stands. The climb usually takes around 10 minutes at a steady pace. In between, we will pass by some pretty pavillions. 

The four smaller pavilions on Jingshan Hill — Guande, Zhoushang, Fulan, and Jingyun — were primarily ornamental and symbolic structures, used for imperial worship, seasonal rituals, and enjoying panoramic views of Beijing. They were not residences or administrative halls, but rather ceremonial and scenic spots integrated into the hill’s cosmological design. 




Wanchun Pavillion is a classic Chinese pavilion with upturned eaves, glazed tiles, and ornate detailing, offering panoramic views of Beijing.



It crowns the central peak of Jingshan Hill, directly aligned with the north–south axis of the Forbidden City. Historically, it was used for worship and ceremonies. Today, it’s a scenic lookout point where visitors can see the Forbidden City stretching southward and modern Beijing beyond.



The million-dollar view: 







After some quality time we spent here, we descended and exit the park for next destination: Lunch & Temple of Heaven. 
Before exit, there is a souvenir shop here where PIG added stamps onto her collection book. You need to spend before you can stamp. 

And just like that, we’ve arrived at the final stop on this blog journey—thank you so much for walking alongside me through every story, snapshot, and sensory moment. 

If you’d like to continue exploring, I’ve gathered links to my other posts from this trip below. Each one offers a different glimpse into the places, flavors, and feelings that made this adventure unforgettable:

In the meantime, I’d love to share a few reflections from our earlier journeys through China. Below you’ll find links to blog posts from past trips—each one capturing a different slice of the country’s charm, from quiet shrines to bustling street corners.


It would mean so much if you had a moment to dive into a few more of the unforgettable adventures we've shared. Each one holds its own story, waiting to be rediscovered.

You're warmly invited to explore my other travel blogs, featuring adventures across France, Japan, China, Thailand, Malaysia, and even a few unforgettable cruises.
Our next adventure will take my MR and me back to Northern Europe — a return to Denmark, where familiar streets and cozy corners await us. From there, we’ll carve out a few days to experience the raw beauty of Iceland, with its glaciers, geysers, and windswept landscapes. And as the seasons turn, spring will bring another chapter: a journey to Taiwan with all six of us together. It will be a time for shared meals, bustling night markets, and family laughter echoing through temples and mountain trails.
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Thanks for being part of the journey!
"I travel because seeing photos in books and brochures was not good enough for me, To be there, that was everything"
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