Returning to Temple of Heaven after 25 Years

We decided to join a local day tour to visit Beijing’s two most iconic historical attractions on 23 May 2026 - the Forbidden City and the Temple of Heaven. These two attractions offers a deep understanding of China’s imperial history, architecture, and cultural traditions. Although both were central to the lives of Chinese emperors, they served very different purposes and provide distinct visitor experiences.

We started with the visit to the Temple of Heaven or Tiantan Park located at the Dongcheng District in Beijing. We entered through the East Gate. Immediately, we saw the first landmark, the Seven Star Stones (七星石), a historic stone arrangement inspired by the Big Dipper (北斗七星). 

The first landmark we saw as we approached the Temple of Heaven was the Seven Star Stones (七星石), a historic stone arrangement inspired by the Big Dipper (北斗七星). In traditional Chinese astronomy and Daoist cosmology, the Big Dipper symbolized cosmic order, protection, longevity, and imperial authority, making it an important motif in garden and landscape design.

Originally, the formation consisted of seven stones, carefully arranged to represent the seven stars of the constellation. More than decorative features, the stones served as symbolic links between the earthly landscape and celestial patterns. Their placement reflected principles of feng shui, intended to create harmony and balance between heaven, earth, and human life.

During the Qing dynasty, an eighth stone was added to symbolize that the Qing dynasty had become an integral part of a unified China. Today, the stones remain a powerful symbol of the enduring connection between astronomy, philosophy, and imperial Chinese culture.

Just outside the first building to the Forbidden City or the Palace Museum.

Some of the items on display at the first building.

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Moving into the Inner Court along a long covered corridor, we were soon confronted by one of the Temple of Heaven’s most iconic and breathtaking structures - the Hall of Prayer for Good Harvests (祈年殿). Majestic and elegant, this circular, triple-eaved wooden building rises to approximately 38m in height, with a diameter of about 32.7m. Its deep blue tiled roof, symbolizing the heavens, stood out strikingly against the clear Beijing sky, immediately drawing our attention.

What makes this architectural masterpiece even more remarkable is its construction. Built entirely without nails, the hall relies on an ingenious system of interlocking wooden joints, showcasing the extraordinary craftsmanship of ancient Chinese builders. Despite its complexity and scale, the structure has stood for centuries as a testament to traditional Chinese engineering and architectural sophistication.

Inside, the hall is supported by 28 massive wooden pillars, each carefully arranged with profound symbolic meaning rooted in Chinese cosmology and the agricultural calendar. The four central pillars represent the four seasons; the twelve inner pillars symbolize the twelve months of the year; and the twelve outer pillars correspond to the traditional twelve divisions of the Chinese day, known as the shichen (时辰), with each division spanning two hours. Together, these pillars reflect the ancient Chinese understanding of time, nature, and the harmonious relationship between heaven and earth.

The hall was not merely an architectural marvel - it was also a sacred ceremonial space. During the Ming and Qing dynasties, emperors came here to perform solemn annual rituals, praying to Heaven for good harvests and prosperity for the empire. As the “Son of Heaven,” the emperor served as the intermediary between the celestial realm and the earthly world, making this hall one of the most spiritually significant sites in imperial China.

Old photo of the Hall of Prayer for Good Harvests taken on 3 December 2000.

This was my second visit to the Hall of Prayer for Good Harvests. The first time I stood here was in December 2000, a full quarter of a century ago. Returning after 25 years brought a deep sense of nostalgia, and I could not help but compare the two visits.

Back then, the site was far quieter and far less crowded, allowing for a more peaceful appreciation of its grandeur and spiritual atmosphere. This visit, however, was a completely different experience. Compounded by relentless, non-stop rain and overwhelming crowds, it turned out to be the most torturous part of our entire journey since our European tour began on 5 May 2026.

With almost everyone carrying umbrellas, pathways became congested and movement slowed to a crawl. To make matters worse, our shoes were soaked through, making every step increasingly uncomfortable. The persistent rain blurred the scenery and diminished what would otherwise have been a thoroughly enjoyable visit. The beauty and serenity of the surroundings were, unfortunately, greatly compromised by the weather and the sheer number of visitors.

Still, we pressed on and endured. Despite the discomfort, standing once again before this magnificent hall after 25 years remained a meaningful experience - one that reminded me that some journeys are memorable not only for their beauty, but also for the challenges overcome along the way.

From the Hall of Prayer for Good Harvests, we continued along the central axis to the Imperial Vault of Heaven (皇穹宇). Unfortunately, we did not manage to take a photo of it this time. Fortunately, I was able to find an old photo I had taken in December 2000.

Continuing further, we reached the huge Circular Mound Altar. The Circular Mound Altar is an open-air ceremonial altar within the Temple of Heaven, built for imperial rituals honoring Heaven. During the Ming and Qing dynasties, the emperor - regarded as the “Son of Heaven” -performed major ceremonies here, especially during the winter solstice, to offer sacrifices and pray for harmony between Heaven, Earth, and the empire. Unlike enclosed temple buildings, the altar has no roof because worship of Heaven was meant to occur directly beneath the sky, symbolizing an unbroken connection with the heavens. Its design reflects traditional Chinese cosmology: the circular shape represents Heaven, while the three marble tiers symbolize ascending spiritual levels. The altar also features repeated use of the number nine, an imperial and heavenly number associated with supreme power. More than a religious structure, the Circular Mound Altar embodied imperial legitimacy, cosmic order, and the emperor’s sacred duty to maintain balance in the realm. 

With courtesy:  Photo was downloaded from website.

Old photo at the Circular Mound Altar taken in December 2000.

The giant Lantern Viewing Pole at right within the Circular Mound Altar was used to hoist giant lantern that illuminated the altar during the pre-dawn ceremonies of Winter Solstice, when emperors offered sacrifices to heaven.

Old photo of the giant pole taken in December 2000.

The Closed Snack Street and an Unexpected Find in Wangfujing

After spending nearly three hours exploring Prince Gong’s Mansion, we decided to head to Wangfujing Snack Street to continue our sightseeing and have dinner there.

However, when we arrived at the famous Wangfujing Snack Street, we were surprised to find that there was no sign of any food stalls or vendors. Curious about what had happened, we approached a nearby policeman, who informed us that the Snack Street had been permanently closed shortly after the Covid-19 pandemic.

Undeterred, we continued walking toward the nearby shopping malls to explore the area and search for dinner. Fortunately, our efforts were not in vain. To our delight, we came across an eatery called Ding Wei Tai, which specializes in Cantonese roasted meat and dessert soups.

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Undeterred, we continued walking toward the nearby shopping malls to explore the area and search for dinner. Fortunately, our efforts were not in vain. To our delight, we came across an eatery called Ding Wei Tai, which specializes in Cantonese roasted meats and dessert soups.

Prince Gong’s Mansion: Palace of Power, Lessons of Greed

After lunch on 21 May 2026, we decided to visit Prince Gong’s Mansion. This huge mansion, often referred to in English as “Prince Kung’s Palace,” is one of the finest and best-preserved examples of Qing dynasty aristocratic architecture in China. Located in Beijing’s Xicheng District near Shichahai, the vast complex offers a rare glimpse into the lifestyle of imperial princes and high-ranking officials during the late imperial era.

Originally built in the late 18th century, the palace first served as the residence of Emperor Qianlong’s daughter, Gurun Princess Hexiao, and the powerful court official Heshen, who later became infamous for corruption. Following Heshen’s downfall and execution in 1799, the estate was confiscated by the imperial court and granted to Prince Qing, Yonglin. In 1850, it was bestowed upon Yixin, better known as Prince Gong (Prince Kung), from whom the mansion derives its enduring name.

The man in this old photo on display taken in this mansion is Pujie (溥杰), the younger brother of the last emperor of Qing dynasty, Puyi.

Covering more than 62,000 square metres - roughly the size of nine soccer fields - the estate is divided into two main sections: the residence (over 33,000 square metres) and the garden (over 29,000 square metres). Designed in the traditional siheyuan layout, the mansion features symmetrical courtyards arranged along a central axis, reflecting Confucian principles of order and hierarchy. Formal halls and ceremonial spaces occupy the northern section, while the southern section served as private living quarters.

A highlight of the estate is its magnificent garden, regarded as one of Beijing’s finest surviving imperial gardens. Originally known as Langrun Garden and later renamed Cuijin Garden, it contains 44 scenic spots, including winding pathways, rockeries, ponds, bamboo groves, and elegant pavilions. Blending imperial grandeur with literati aesthetics, the garden stands as a masterpiece of Qing princely landscape design. Its Rear Building, Western-style Gate, Grand Theater, and the famed Fu Stele are collectively celebrated as the “Three Masterpieces and One Treasure” of Prince Gong’s Mansion.

Today, the mansion functions as a museum, showcasing restored interiors, Qing furniture, calligraphy, and historical artifacts that illuminate aristocratic life and court culture. Often described as a “mini Forbidden City,” it remains one of Beijing’s most valuable historical landmarks.

The palace’s history also offers a sobering reflection on human nature. Its most notorious early resident, Heshen, amassed immense wealth through corruption and paid with his life. Yet such severe punishment has done little to eliminate corruption across time. In December 2025, senior Chinese banker Bai Tianhui was executed after being convicted of accepting bribes totaling approximately US$155 million (Read here). Closer to home, a former Menteri Besar of Negeri Sembilan, Isa Samad was sentenced to six years’ imprisonment for corruption (Read here).

These cases, separated by centuries and geography, reveal a persistent truth: the allure of wealth, power, and privilege remains extraordinarily strong. Despite harsh penalties and public disgrace, corruption continues to thrive, suggesting that greed and the pursuit of power remain among humanity’s most enduring temptations.

Exploring Nanluoguxiang: A Living Heritage of Old Beijing

After recovering sufficiently from our 9-hour flight from Budapest to Beijing, we set out in the afternoon of 20 May 2026 to explore Nanluoguxiang (南锣鼓巷).

Nanluoguxiang is one of Beijing’s oldest and best-preserved historic neighborhoods. Situated just north of the Forbidden City area, it is widely known not only as a popular tourist destination but also as a rare surviving example of Beijing’s traditional urban fabric. The neighborhood dates back to the Yuan Dynasty (1271–1368), when Beijing served as the capital of the Mongol Empire. Its street layout, established in the 13th century, has remained largely intact, making it one of the oldest continuously inhabited districts in the city.

The main alley, stretching roughly 800 meters, forms the central spine of a distinctive “fishbone” street pattern. On both sides, eight hutongs branch outward, creating a dense network of narrow lanes lined with traditional siheyuan (courtyard houses). These residences are organized around a central open courtyard and once served as the standard housing form for Beijing’s elite families for centuries.

Due to its proximity to the Imperial City, Nanluoguxiang developed into a prestigious residential area during the Ming and Qing dynasties. High-ranking officials, aristocrats, military leaders, and wealthy merchants built grand residences here. As a result, many of the most historically significant buildings are now found within the surrounding hutongs rather than along the main commercial street itself.

We explored the area by pedicab, allowing us to take in the atmosphere at a relaxed pace as the driver pointed out key landmarks along the way.

Among the most notable sites was the former residence of the writer Tian Han (1898–1968), one of the most influential figures in modern Chinese culture. A playwright, poet, lyricist, screenwriter, and reformer of Chinese theater, he played a pivotal role in the development of modern spoken drama in China. He is best remembered as the author of the lyrics to “March of the Volunteers” (义勇军进行曲), which later became the national anthem of the People’s Republic of China.

Despite his cultural significance, Tian Han became a victim of the Cultural Revolution (1966–1976). He was denounced, imprisoned, and died in custody in 1968 under harsh conditions. During this period, his works were suppressed, and even the national anthem’s lyrics became politically sensitive due to their association with him. Following the end of the Cultural Revolution, Tian Han was officially rehabilitated, and his legacy restored. Today, he is recognized as a pioneering dramatist and an important cultural figure, with memorials and former residences preserved in several Chinese cities.

We also passed by the Mansion of Princess Hejing (和敬公主府), one of the best-preserved Qing imperial residences in the area, closely associated with Emperor Qianlong’s family. Princess Hejing (1731–1792), the third daughter of the Qianlong Emperor, held the prestigious rank of First-Rank Princess (固伦公主). Unlike most imperial princesses, who were traditionally married into Mongol noble families and relocated away from the capital, she was granted the rare privilege of remaining in Beijing.

To accommodate this exception, Emperor Qianlong commissioned a grand residence for her and her husband. Built on the site of a former noble estate, the mansion was designed on a scale comparable to a prince’s residence rather than a typical princess’s household. Its layout follows the classical Qing courtyard system, with a central axis, ceremonial halls, private living quarters, and side courtyards for attendants and family life.

As we passed an old courtyard house, the pedicab driver pointed to the two round, drum-shaped stone structures flanking the entrance and remarked that the residence had once belonged to a military general. 

These stones, known as baogushi (抱鼓石), or "drum-shaped gate stones," were a prominent feature of elite residences. Traditionally, round drum-shaped stones were associated with military officials (wu guan), while square or box-shaped gate stones were more commonly linked to civil officials (wen guan). This architectural convention led many people to assume that a house with drum-shaped stones belonged to a general or military officer. 

In reality, the distinction was never absolute. By the Qing dynasty, drum-shaped gate stones had become broader symbols of rank, prestige, and wealth, and were used not only by military officials but also by princes, aristocrats, and other members of the elite. As a result, while the stones may suggest that the household once had official or military connections, they cannot by themselves confirm the identity or profession of the former occupants.

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The driver stated that this building is the Central Academy of Drama and is widely recognized as a leading institution in China for the study of theatre, film, and television performance. It is known for having trained many prominent actors and actresses, including Chen Daoming, Zhang Ziyi, Gong Li, and Jiang Wen.

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Beyond its notable historical figures, Nanluoguxiang is significant for preserving the architectural and social fabric of traditional Beijing. Its gray-brick walls, ornate gateways, and interconnected courtyards offer insight into how residents lived, worked, and organized community life over many generations. The neighborhood provides a rare glimpse into everyday urban history that is largely absent from Beijing’s grand imperial monuments.

In the late 20th century, many of Beijing’s historic hutongs were demolished during rapid urban redevelopment. Nanluoguxiang survived due to its exceptional historical value and was later designated a protected cultural district. Since the early 2000s, restoration efforts have transformed it into a vibrant area filled with cafés, restaurants, and boutique shops. While some critics argue that commercialization has diluted its original atmosphere, Nanluoguxiang nonetheless remains one of the most accessible and significant places to experience the cultural and architectural heritage of old Beijing.

Looking back, our pedicab tour was very much like the Chinese saying zǒumǎ kànhuā (走马看花) - “viewing flowers while galloping on horseback.” In other words, it offered only a fleeting glimpse of the sights. Yet, given our limited time and our reluctance to do too much walking, it was probably the best way to experience the hutongs.