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.
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