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Located at the Xibianmenwai Avenue in Beijing City, the Baiyun Taoist Temple is one of the most famous Holy Lands of Taoism in China. It was first constructed in the 27th year (739) of the Kaiyuan reign in the Tang Dynasty (618-907) and the original name was the Tianchang Taoist Temple (the Temple of the Supreme Ultimate). As the ancestral temple of the Quanzhen Longmen Sect of Taoism, it is a Taoist building of the largest scale in Beijing City and known as the First Taoist Temple of Quanzhen Tao.
Most of the extant buildings in the Baiyun Taoist Temple were rebuilt in the Qing Dynasty (1644-1911). After entering into the Temple Gate, you can find that the temple consists of four parts: middle, east, west parts and the backyard. Buildings inside are magnificent and the layout is compact. Middle part includes the Linggong Hall, Yuhuang Hall, Laolü Hall, Qiuzu Hall, Sanqing Pavilion and other main halls. The Sutras-Storing Building is situated at the east of the Sanqing Pavilion. East part includes the Nanji Hall, Doulao Pavilion, Luogong Tower and so on. West part includes the Lüzu Hall, Banxian Hall, Yuanjun Hall, Yuanchen Hall, the Wall of Twelve Animals (representing the twelve Earthly Branches, used to symbolize the year in which a person is born), and the Wall of Twenty-four Duties, etc.
Many precious cultural relics are stored in the Baiyun Taoist Temple, and the most famous Sanbao (three treasures) among them are the Orthodox Taoist Sutras edited in the Ming Dynasty (1368-1644), the stone sitting statue of Laozi made in the Tang Dynasty (618-907); the stone inscription Songxue Moral Sutra and its attached inscription Yin Fu Sutra by the great calligraphist Zhao Mongzhao of the Yuan Dynasty (1271-1368).
Several important repairs were carried out for the Baiyun Taoist Temple with the support of the Chinese government in 1949, giving it a new look. Now it is the place where the Chinese Taoist Association is situated.
Situated at the north of the Beijing Chaoyangmenwai Avenue, the Beijing Dongyue Temple covers an area of 60,000 square meters and is a key city-level cultural relics unit under special protection.
Zhang Liusun, the descendant of the Taoist founder Zhang Daoling raised money and constructed this temple. Zhang Liusun was granted titles of the Great Taoist Master and Zhengyi Hierarch by an emperor of the Yuan Dynasty (1271-1368) at the end of the 13th century. Subsequently, he decided to build the Dongyue Temple, but he died when the project just started. Therefore, the temple was completed by Zhang Liusun's disciple. The construction was started in 1319 and completed in 1323 .The emperor granted the name of Dongyue Rensheng Palace to it and used it as the Xanadu for Great Dongyue King.
The Dongyue Temple consists of three parts -- main, east and west courtyards. The 17th generation Taoist Ma Guanlin expanded the east and west courtyards during the Qing Dynasty (1644-1911). Most of the extant buildings were the relics of the Qing Dynasty. Buildings in the main courtyard mainly include the Temple Gate, Dragon-Tiger Door, Daizongbao Hall, Yude Hall and Yuhaung Hall. There are the Guangsi Hall, Taizi Hall and Fucai Hall in addition. The Sanmao Zhenjun Ancestral Temple, Wu Quanjie Ancestral Temple, Zhang Liusun Ancestral Temple, Shan Fujun Ancestral Temple and Gaolizhangren Ancestral Temple are located on both sides of the Dai Zongbao Hall. The Hall of the Queen Mother, Doumu Hall, Daxianye Hall, Guandi Hall, Zaojun Hall, Wenchangdijun Hall, Xishen Hall, Lingguan Hall and Zhenwu Hall are at the back of the Daizongbao Palace. The Dongyue Temple is the first grand Taoist temple of the Zhengyi Sect, one of the two sects of Taoism, in the north China. It has over 600 rooms and halls. The Great Dongyue King, the God of Mount Tai, is enshrined in the Dongyue Temple.
The Dongyue Temple was changed to the Beijing Folk Customs Museum in 1995. The Temple Fair for the Spring Festival is held here every year, showing many folk custom performances.
The principal building in the third courtyard is the Hall of Bodhisattvas. The two roofed corridors that once stood here have fallen into decay.
The buildings in the fourth courtyard consist of the Rear Hall and its auxiliary halls, all of which are laid out in an orderly and harmonious manner. This complex now serves as the Sun Yat-sen Memorial Hall. Behind this is a stone memorial archway, which leads to the Diamond Throne Pagoda.
The principal building in the western courtyard is the Hall of the Arhats, designed in the form of a Greek cross. There are altogether 500 gilded wooden images and seven Buddha mages crowded in to the hall. Each of these fine specimens of Qing Dynasty woodcarving has its own individual personalities and expressions.
In addition to these life-sized images, there is also a miniature statue of Jigong in the hall. Nut rather than sitting on a pedestal among his fellows, he is found perching on an overhead beam. The legend tells that having arrived late, he was unable to find a seat among the other immortals.
In the northern part of the compound are the Spring Garden, the Azure Hall of Study and the Eyeglasses Pond. In the Spring Garden on the western side of the temple, underground streams from a mountain spring can be seen gushing out of the crevices in the rocks. Rocks, pavilions, pines and cypresses embellish the spot, making it ideal for relaxation and meditation.
The Summer Palace is an outstanding example of Chinese imperial garden, and a potent symbol of one of the major world civilizations. In December 1998, the World Heritage Committee of UNESCO approved to inscribe Beijing's Summer Palace on the World Heritage List.
In mid-18th century, during the prosperous reign of Emperor Qianlong, the stable society and rich national coffers pushed China to the zenith of the country's feudal history in politics, economy, military, science and culture. Against this background, Emperor Qianlong personally presided over the construction of Qingyi Yuan, the Garden of Clear Ripples. Completed 15 years later, the garden epitomized the scientific and cultural development status of China. It was certainly a remarkable cultural construction project. During the 19th century, the Garden of Clear Ripples was destroyed by the fires of two wars. Later, towards the end of that century, Empress Dowager Cixi had it rebuilt under the name Yihe Yuan, the Garden of Good Health and Harmony. The magnificent and colorful imperial garden thus re-emerged. This famous oriental garden crystallizes the essence of Chinese culture. Her important historical and outstanding artistic values will become all the more prominent.
At the end of the 20th century, the principle of "Cultural Construction of the Garden" guides the Summer Palace to explore deeper into the historical and cultural treasures in this picturesque imperial garden. With the purpose of maintaining the original landscape of the Summer Palace while furthering its function as a cultural heritage, we have endeavored to further enrich the exhibition halls, to develop new cultural tourism services, thus eliciting great interest from both Chinese and foreign tourists. These warm responses have taught us that "the Cultural Construction of the garden" is in line with people's needs and shall be the strategic direction for the future of the Summer Palace. It will become a classical garden that boasts a profound culture and at the same time provides first-rate services to better suit the needs of modern life.
Counting from the time when the Garden of Clear Ripples was first built, 250 years has passed. The Summer Palace is a witness of the prosperity and decline, honor and disgrace of the Chinese nation. With the advent of the new century, we believe that the Summer Palace will become more splendid as China progresses and grows stronger.
Tian An Men (Gate of Heavenly Peace) was the main entrance to the Forbidden City during the Ming and Qing Dynasties. Built in 1417, it was first named the Cheng Tian Men, meaning that emperors obeyed the order of Heaven in ruling the country. Destroyed by fire twice, it was rebuilt in 1651 during the Qing Dynasty and renamed Tian An Men. It is also honored as the "Gate of the Nation."
During the Ming and Qing Dynasties grand ceremonies were held at Tian An Men. Composed of the rostrum and gate tower, the building is 34.7 meters high and has five watchtowers. Supported by nine huge columns, the building has a splendid colorful roof of glazed tiles. With painted pillars and carved beams, the hall of Tian An Men Rostrum looks majestic. Sixty huge columns, representing the Earthly Branches designate years, months, days and hours and the Heavenly stems to designate marks of order, stand in perfect harmony to demonstrate the permanent stability of the nation. Tian An Men, a masterpiece of China's ancient architectural art, represents the superb skill and artistic talent of the Chinese people.
As one of the largest city squares in the world, Tian An Men Square occupies an area of 440, 000 square meters--spacious enough to accommodate half a million people. Many annual and special celebrations and assemblies are held here.
On October 1st, 1949, Chairman Mao Ze Dong declared the founding of the People's Republic of China on the Tian An Men Rostrum, thus opening a new chapter in the history of China. In the new period of reforms and opening, Tian An Men, with its long history and rich culture, attracts people from all over the world.
Beijing Ancient Observatory is located in the southwest side of Jianguomen crossroad at Dongcheng District. It is a special topic site museum of nature science displaying Chinese ancient astronomical equipment and astronomy. Now, it has been reformed to Beijing Ancient Astronomical Equipment Exhibition Hall, which belong to Beijing Astronomy Observatory and was official opened in 1956.
Eight magnificent and excellent equipment that are made of bronze stand high and upright on the black brick platform. They are celestial body equipment, equator theodolite, ecliptic theodolite, horizon longitude equipment, quadrant equipment, Simple Phenomena equipment, horizon theodolite and Jihenfuchen equipment made in Qing Dynasty.
The elaborate flying dragons, vivid colors are carved on the equipment body. Among which, part of them still has its function of actual observation. In second exhibition room inside the platform, it displays the China Ancient Astronomical Achievement Exhibition. Four exhibition rooms are set in the quad under the platform: The Ziwei Palace and East Wing-room exhibited the "Lingtai Equipment", which introduces the site of Lingtai, the reform of existing ancient observatory and the production of astronomical equipment and etc; while the exhibition in the West Wing-room will enlighten you the abundant calendars and important calendar reforms in China; the Shadow Observation House is the place that the astronomers in Ming and Qing Dynasty used to ascertain the time and conduct sun shadow measure.
The ancient observatory was built in Zhengtong 6th Year of Ming Dynasty (the year 1442), which is the astronomy observation center in Ming and Qing Dynasties and belong to the one of the oldest
astronomical observatory in the world. Today, it has more than 550 years history. Beijing Ancient Observatory was called as "Star Observatory" in Ming Dynasty. There are large-scale astronomical equipment like Simple Equipment, Mixed Equipment and Mixed Phenomena Equipment and etc. The gnomon and clepsydra is set up in under the platform. The name of "Star Observatory" was changed to "Observatory" in Qing Dynasty, and it re-changed to "Central Star Observatory" after the Revelation in 1911.
Beijing Ancient Observatory is composed of Star Observatory made of brick in 14 meters high and the buildings like Ziwei Palace, Clepsydra House and Shadow Observation Hall under the platform. Beijing Ancient Observatory has 500 years successive astronomical observation history from the Zhengtong period in Ming Dynasty to the year 1929.
It is the historical records of the longest successive observation period amongst the current existing ancient observatories in the world. Moreover, it also shares high reputation in the world die to its integrated building and completed equipment. In Kangxi and Qianlong periods in Qing Dynasty, the astronomical observatory added eight large-sized astronomical observatory equipment made of cooper one after another. They all adopt the European measurement and equipment construction. Those astronomical equipment have large body, and beautiful sculpt, excellent engraving. Except for the Chinese tradition characterized aspects like sculpt, flower decoration and craftwork, etc, the other aspects like graduation, cursors and construction and etc also reflects the process and achievement of large- size astronomical equipment after the period of renaissance of the western Europe. It is the historical witness of oriental and western culture exchanges. They are not only the practical astronomy observation equipment but also the incomparable historic culture relic treasures.
This is the place to go if you want to see the most complete and best- preserved collection of ancient buildings and historical treasures in China. Having been the center of Chinese politics, economics, culture, and religion for nearly 500 years, the Palace is a vast complex of halls, pavilions, courtyards, and walls. It is within these walls that 24 emperors of two dynasties, aided by their ministers, eunuch guards, concubines and servants, acted out the drama of ruling imperial China form the early Ming in 1420 the fall of the Qing in 1911. The palace witnessed more cases of murder, betrayal, adultery, homosexuality, power struggle, and money hunger than the entire soap opera watching population of the world.
This palace was originally built in the year of 1420 by over 200,000 workmen at the direction of the third Ming emperor and was mostly burnt to the ground in 1644 during the Manchu takeover. Rebuilt and renovated many times, it nonetheless retains the initial design set down 500 years ago. Occupying an area of over 183 acres, the complex is indeed more like a city than a palace. As most ancient Chinese architectures, an extraordinary sense of balance is maintained between the buildings and the open spaces that surround in the Palace. The scale is monumental but never oppressive; the design symmetrical but not repetitive. As in the Chinese predilection for harmony over diversity, the Palace makes use of a single style of building in an awe-inspiring combination of geometric planning and aesthetic beauty. All the buildings are carefully laid out on a north-to-south axis as most buildings in China, but there is no sense of rigidity to them. Like the Louvre or the Taj Mahal, the Imperial Palace is a monument that can be visited with pleasure again and again.
The Palace can roughly be divided into three different but associated parts. In the foreground are four gates, each of which may look so large that many first-time visitors think that this is the palace itself. Beyond these gates is the center of the complex, there are three principal halls of monumental size and scope and this is where the emperors conducted important State ceremonies.
-The Palace Gates
By passing through the Gate of Heavenly Peace (Tian'anmen) and the Upright Gate (Duanmen), you arrive at the imposing Meridian Gate (Wumen), which is the traditional entrance to the Forbidden City. The horseshoe-shape of the Meridian Gate's massive fortress walls, topped with five towers, seems to draw the visitor submissively forward through the entrance to the inner precincts. This gate was originally used for important State functions such as victorious troops and announcing the lunar calendar. The emperor was the only person that was permitted to pass through the central opening of the gate.
Beyond this gate lies a courtyard leading to the fourth and final gate, the Gate of Supreme Harmony (Taihemen), a huge open porch supported by red lacquered pillars. Visitors will need to cross a stream by one of five marble bridges, all of which are beautifully and skillfully built with flowers and animals carved on their sides. Two striking bronze lions guard this entrance. These lions symbolize the power of the emperor and the subservience demanded by him.
- The Principle Halls
The next courtyard, called the "Sea of Flagstones" by the Chinese, was designed to accommodate 90,000 people during an imperial ceremony. In its center stands the Hall of Supreme Harmony (Taihedian), the largest and grandest structure in the Palace. Here were held the most solemn of ceremonial occasions, such as celebration of the New Year and the emperor's birthday or announcing the successful candidate of the imperial examinations. The treasures in this hall include bronze incense burners, musical chimes made of jade, and a nine-dragon screen behind the throne.
Behind the Hall of Supreme Harmony are the halls of Complete Harmony (Zhonghedian) and Preserving Harmony (Baohedian). In the former, the emperor donned formal regalia before proceeding to the Hall of Supreme Harmony, or performed lesser State functions like inspecting seeds for a new planting. The Hall of Preserving Harmony had been used for a time as the site for the highest level of the imperial examinations. Behind this hall, between the descending staircases, is the "Dragon Pavement", an exquisitely carved a single block of marble said to weigh over 200 tons.
- The Inner Court
The three rear halls, the Palace of Heavenly Purity (Qianqinggong), the Hall of Union (Jiaotaidian) and the Palace Earthly Peace (Kunninggong), were also the sites of lesser State functions. During the Ming dynasty, emperors lived among these buildings, but later the Qing rulers moved to smaller, less formal parts of the Palace. They nevertheless continued to use the Palace of Earthly Peace to spend the first few nights of their marriages here. The last emperor, Puyi, who ascended the throne as a child and formally abdicated in 1924, was allowed to use this chamber on his wedding night. However, intimidated by the color scheme of gaudy red (the traditional color of joy), he fled to his usual quarters.
The east and west sides of the Palace's rear section is where the imperial families, concubines and attendants lived. The section contains a dizzying succession of smaller courts, schemed for power and engaged in their many intrigues. In the far northeast corner of the complex, behind the Palace of Peaceful Old Age (Ningshougong), is the famous well which the Pearl Concubine was cast down. Several of the eastern palaces have been converted into exhibition halls as a part of the Palace Museum.
Two sections in the eastern palaces are worth seeing as well. One is the Qianlong Garden, built for the retirement of the aging emperor who was willingly stepping down. It is a quiet, secluded rock garden with a central pavilion made of fine wood brought from the forests of Sichuan and Yunnan provinces. One of three smaller pavilions was a specially constructed for elaborate drinking games with strong Chinese liquor, a favorite pastime of the emperor.
The Belvedere of Flowing Music (Changyinge) is a three-story theatre, the largest theatre in the Palace, and a favorite haunt of the Empress Dowager Cixi. Magnificently carved and painted eaves set off the stage where drama often depicted Buddhist worthies and Taoist immortals swarming all over the boards, dropping from ceilings and popping out of trap doors. The building opposite, where Cixi watched the dramas, has a rich display of silk costumes, stage properties and scripts used by the imperial troupe. Visitor may also find the drawings of famous productions of the 60th birthday celebrations of Qianlong and Cixi. The latter affair is said to have continued for ten consecutive days.
Beyond the rear palaces, by the northern gate of the Palace, are the Imperial Gardens. Landscaped with cypress and pine trees that are now hundreds of years old, all makes it an excellent place for the visitors to take a brief rest.
Before leaving the Palace, you might visit an interesting exhibition of palace architecture and construction located in the tower of the Gate of Divine Prowess. Here there are blueprints, tools, color schemes, roof tiles and old photographs that are highly informative. despite the frustrating absence of labels in any language except Chinese.
The China Nationalities Museum (the Chinese thnic Culture Park) is an anthropological museum as well as a complex to reconstruct, collect, display and study theethnic cultures,histories and social life of the 56 nationalities in China. The opening of the museum presented us a unique anthropological museum in China. It is a milestone of the museum and civilization development in Beijing city. It also provides a facility and base for the protection, presentation and exchange of ethnic culture heritage. It is the window of ethnic policy of the government, harmony and progress of 56 nationalities in China.
2. The museum is located at the west of Beijing National Olympic Park. The total area of 50 hectare hosted the exhibits and villages of 56 nationalities. Over 40 villages, over 100 sceneries, 200 ethnic houses and 2 main exhibition halls have been constructed in the park. The total investment for the park is over 800 million Yuan. The construction for remaining sites will be completed before 2008. The construction of the museum had been listed as the key project for eighth five-year plan and the site to celebrate the 50th National Days. The municipal government, the government of ethnic areas, peoples from all areas and oversea Chinese are supportive and participative for this project. Many of them made their contribution for the project.
The construction of the Chinese Nationalities Museum was started in October 1992. The North Section was accomplished and opened to tourists on June 18, 1994. The South Section was opened in September 2001.
The goals and principles for the Chinese Nationalities Museum is to demonstrate ethical architecture, to preserve ethical relics, to spread ethical knowledge, to study ethical heritage, to enhance ethical culture and to promote unity of all Chinese nationalities.
The Chinese Nationalities Museum presents various kinds of theme exhibitions and festival ceremonies to the public. The presentation includes environment settings, architecture, singing, dancing, farming activities, diet, and traditional handicraft, etc.
With exhibition halls and villages for various nationalities, the fifty-six nationalities in China have had their own culture activity center. The Chinese Nationalities Museum is a home for all nationalities in China; an encyclopedia for understanding the Chinese ethical cultures; a kaleidoscope for the Chinese people. Tens of thousands of Chinese and foreign guests have come here to experience the ethical customs and cultures. It is a place for both international friends and Chinese nationalities to celebrate their festivals. Over 100 thousand ethical relics have been well preserved and tourists can enjoy over rich ethical food and handicraft.
With ten years' effort, Beijing Museum of Chinese Nationalities has won the recognition and awards for the contribution to the community.
Cons idered to be one of the finest monuments of Lamaism (a branch of Buddhism) in the city of Beijing, Western Yellow Temple (Xihuangsi) stands approximately 2 kilometers north of the Ring Road on Huangsi Lu in the Andingmenwai District.
There were originally two temple of the kind: Eastern and Western Yellow Temples and the Eastern Temple was demolished in 1958 during the period of the Great Leap Forward. The temple was built in the year of 1652 following the construction of the Eastern Temple the year before as a temporary accommodation for the Dalai Lama's visit to Beijing. In the years following that, the temple had been used as a site for the performance of the "devil dances" that took place on the 13th and 15th days of the first lunar month in the new year. These dances still take place even today in a Lama Temple nearby.
Built in 1530, Ritan Park is one of the oldest parks in Beijing. The park is located amid the activity and bustle of Jianguomenwai and serves as a peaceful hideaway for many in the area. Ritan means temple of the sun and the park was originally built as an altar for ritual sacrifice to the sun god. There is a restaurant in a pavilion style structure in the park that is a pleasant resting spot.
