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.

Central Market Hall in Budapest

On our way to Budapest's Central Market Hall, we spotted a roadside stall selling Hungary's famous chimney cake. Sampling one had been on our list of must-try local treats, so when we saw the stall, we did not hesitate to stop. We promptly ordered two. Crispy on the outside, soft and fluffy on the inside, the freshly baked chimney cakes were absolutely delicious and proved to be the perfect snack before continuing our journey to the market.

Chimney cake is a traditional pastry popular throughout Hungary and the Transylvania region. It is made from a sweet yeast dough that is rolled into long strips and carefully wrapped around a cylindrical spit. The dough is then brushed with butter, coated in sugar, and often flavored with cinnamon, vanilla, cocoa, or crushed nuts. As the spit slowly rotates over an open heat source, the dough cooks evenly while the sugar caramelizes on the surface.

During the baking process, the melting sugar forms a crisp, golden-brown crust that gives the pastry its distinctive texture and flavor. Once fully cooked, the dough is removed from the spit, leaving a hollow center. This unique shape resembles a chimney, giving the pastry its English name, as steam rises through the middle like smoke from a chimney. The result is a delightful contrast between the crunchy, caramelized exterior and the soft, fluffy layers within.

While the traditional version remains a favorite, modern variations have become increasingly creative. Many vendors add toppings such as coconut flakes, chocolate, crushed walnuts, almonds, or cinnamon sugar. Some even fill the hollow center with ice cream, whipped cream, fruit, or other sweet fillings. Commonly sold at street markets, festivals, and fairs, chimney cake has gained international popularity thanks to its distinctive appearance, irresistible aroma, and delicious freshly baked taste.

Enjoying our warm chimney cakes by the roadside was a memorable introduction to Hungarian street food culture and a perfect start to our visit to the Central Market Hall.

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The Central Market Hall, also known as the Great Market Hall, has changed remarkably little since our last visit eight years ago in September 2018 (Read here). Stepping inside felt almost like travelling back in time, with the familiar sights, sounds, and bustling atmosphere instantly bringing back memories of our previous trip. As Budapest's largest and most famous indoor market, it continues to serve the dual role of a traditional food market for locals and a major attraction for visitors. Housed in a magnificent 19th-century building with its distinctive steel framework and soaring roof, the market is spread across multiple levels and is home to a vast array of stalls selling food, crafts, and souvenirs.

The moment we entered the ground floor, we were greeted by row upon row of stalls overflowing with fresh produce and local delicacies. Vendors displayed colourful fruits and vegetables alongside an impressive selection of meats, sausages, salami, cheeses, baked goods, honey, jams, wines, and, of course, Hungary's famous paprika. Bright red strings of paprika and clusters of garlic hung from many stalls, creating one of the market's most iconic and photogenic scenes. The rich aromas and vibrant displays made it easy to understand why this level remains a favourite among both locals and tourists seeking authentic Hungarian ingredients and specialties.

After exploring the ground floor, we climbed the staircase to the upper level. This floor is largely devoted to food counters, handicrafts, and souvenir shops. I was particularly eager to revisit the row of eateries at the far end where we had once enjoyed a hearty bowl of traditional goulash soup during our previous visit. To my surprise, the food stalls had changed considerably over the years, and the establishment we remembered was no longer there, having been replaced by other eateries. Nevertheless, the area remained lively and inviting, with visitors sampling local dishes and snacks while taking in views of the bustling market below.

The upper floor is also an excellent place to browse for uniquely Hungarian souvenirs. Stalls offered a wide range of folk crafts, embroidered tablecloths, traditional clothing, hand-painted ceramics, wooden handicrafts, and other items that reflect the country's rich cultural heritage. Even if one has no intention of buying anything, the craftsmanship and colourful displays are worth admiring.

By the time we had thoroughly explored both the ground and upper floors, we felt we had experienced the essence of the market. Although there is also a basement level, we decided not to venture down, as the sheer size of the hall and the amount of walking we had already done were more than enough. Even without seeing every corner, the Great Market Hall once again proved to be one of Budapest's most vibrant and memorable attractions, offering a fascinating glimpse into Hungarian food, culture, and everyday life.

The Bratislava roll is one of Slovakia's most famous traditional pastries. Made from a rich, buttery yeast dough, it is filled with either sweet poppy seeds or walnuts and baked until golden brown with a distinctive glossy finish. Traditionally, the poppy seed version is crescent-shaped, while the walnut-filled roll is formed like a horseshoe. Originating during the Austro-Hungarian era, the pastry reflects the region's long baking tradition. Its delicate pastry and rich filling make it a popular accompaniment to coffee or tea.

At the location we once had the goulash soup.

Graffiti Across Europe: Observations from Munich to Budapest

During my recent trip across Europe - covering Munich, Passau, Linz, Spitz, Vienna, Bratislava and Budapest - one consistent observation was the prevalence of graffiti in almost every city.

Many people, myself included, find this type of graffiti frustrating because it can make neighborhoods feel neglected, detract from historic architecture, and impose significant cleanup costs on property owners and local governments. The main source of criticism is usually “tagging” - quick, repetitive signatures or markings sprayed on walls, trains, and public infrastructure. These are widely viewed as vandalism rather than art.

In contrast, of all countries, Singapore is the least affected by this issue, with virtually no visible illegal graffiti. This reflects strict vandalism laws, consistent enforcement, rapid removal of any unauthorized markings, and strong public expectations around cleanliness and order. While illegal graffiti is rare, Singapore does allow regulated street art in designated spaces.

Malaysia also experiences graffiti, though to a lesser extent than many European cities. This likely reflects differences in enforcement, urban management, and public attitudes toward civic responsibility.

Across Europe, graffiti is more visible, particularly along railway corridors, underpasses, industrial zones, and older urban districts. Although illegal everywhere, enforcement is often more challenging due to anonymity and the ease with which tagging can be done at night. At the same time, many European cities have a long-standing tradition of street art, which leads to a more permissive attitude toward murals and other large-scale, commissioned works. I recall seeing the Lennon Wall in Prague in September 2018 (Read here). What began as a quiet form of protest gradually evolved into a powerful symbol of resistance, and is often associated with the broader civic movements that culminated in the Velvet Revolution and the end of communism in Czechoslovakia.

Europeans often distinguish between vandalistic tagging and legitimate street art. Murals and commissioned pieces are frequently appreciated for adding color, identity, and cultural character to urban environments. Some cities even actively support legal graffiti zones while still working to deter illegal tagging.

Ultimately, the difference between Europe and Singapore reflects broader cultural and policy choices. Singapore prioritizes cleanliness, order, and strict enforcement, resulting in exceptionally clean public spaces. My view is that many European cities accept a higher level of visual disorder in exchange for greater artistic expression and a more visible street-art culture. As a result, visitors from more regulated environments may perceive European graffiti as excessive, while locals may view parts of it as a legitimate form of urban expression.

Budapest's Castle Hill

Just a few steps away from Matthias Church, the path opens into Fisherman’s Bastion, where we were immediately rewarded with one of the most spectacular panoramic views in Budapest. From its sweeping Neo-Romanesque terraces, the entire city unfolded below - the Danube River dividing Buda and Pest, the Parliament Building rising prominently across the water, and elegant bridges stretching across the river in graceful arcs. The historic Castle District blends into the modern skyline in the distance, creating a layered visual narrative of the city.

What makes Fisherman’s Bastion especially memorable is not only the view, but the setting itself. Its white stone arcades, turrets, and stairways frame the panorama like a theatrical backdrop, while nearby landmarks such as Matthias Church reinforce the sense of walking through a living architectural ensemble rather than a single monument.

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From the Bastion, the route naturally led us into the Holy Trinity Square, where we encountered the ornate neo-Gothic Ministry of Finance Building, a richly detailed late-19th-century structure that contrasts with the lighter Romanesque forms nearby.

Ministry of Finance Building, located on Holy Trinity Square opposite Matthias Church, this ornate neo-Gothic building was originally built in the late 19th century and has recently undergone extensive reconstruction.

A short walk away stands Sándor Palace, a refined neoclassical building originally constructed in the early 19th century. Once a noble residence and later heavily damaged during World War II, it was restored and reopened in 2003 as the official residence of Hungary’s president. Nearby, on St. George’s Square, the ceremonial changing of the guard adds a formal rhythm to the district, with precise marching and rifle drills performed by members of the Hungarian Defence Forces.

Continuing onward, we entered the grounds of Buda Castle, where courtyards and terraces open into a series of artistic and historical landmarks. In the Hunyadi Courtyard, we arrived at the celebrated Matthias Fountain, a richly detailed sculptural group depicting King Matthias Corvinus on a royal hunt. The fountain likes a frozen theatrical scene - hunters, hounds, and cascading water surrounding the central figure of the king with his crossbow.

Among the most evocative elements is the figure of Szép Ilonka (Beautiful Helen), a legendary character said to have fallen in love with Matthias while he was disguised as a hunter, only to die of heartbreak after discovering his identity. 

Nearby, on the Danube-facing terrace, stands the equestrian Statue of Prince Eugene of Savoy, commemorating the Habsburg general whose victories against the Ottoman Empire, especially at the Battle of Zenta in 1697, helped shape Hungary’s modern history.

As we move deeper into the castle complex, we pass through monumental inner courtyards of the Lions Court, guarded by imposing stone lion statues that mark the entrances to the Royal Palace sections. 

Along the way, smaller commemorative details appear, including plaques marking cultural milestones such as the first Hungarian-language theatrical performance in 1790 and a Beethoven memorial plaque honoring the composer’s connection to the broader cultural landscape of Budapest.

Finally, on an elevated part of the castle grounds, the route concluded at the statue of the Virgin Mary, a quiet and symbolic focal point overlooking the city. Set against the backdrop of the historic fortress walls and the sweeping views of Budapest beyond, it offered a calm and reflective ending to the journey through Castle Hill.