Beihai Park – Tickets, Opening times, Highlights, and Tips

Xiao Xi Tian, or Little Western Heaven, is a magnificent structure located on the North Bank of Beihai Park. It was originally constructed during the 33rd year of the Qianlong Emperor’s reign in the Qing Dynasty (1768 AD) and completed two years later in 1770 AD. This impressive edifice was built by Emperor Qianlong to celebrate the birthday of his mother, Empress Dowager Chongqing, and to pray for her health and happiness.

The central feature of Xiao Xi Tian is the Jile Shijie (Extreme Joy World), which covers a vast area of 1,200 square meters, making it the largest square pavilion-style palace structure in China. The pavilion’s architectural design is notable for its grand scale and intricate craftsmanship. Its main hall boasts a beam span of 13.5 meters and is adorned with exquisite Nanmu wood screens that are finely carved with floral patterns. High above the entrance hangs a golden plaque bearing the inscription “极乐世界” (Extreme Joy World) in the calligraphy of Emperor Qianlong himself. The ceiling features a dazzling octagonal dome adorned with a dragon motif, adding to the hall’s opulent ambiance.

Surrounding the pavilion is a serene expanse of water, connected by elegant bridges that allow visitors to circumnavigate the structure. At each of the four cardinal directions—east, west, south, and north—there are intricately designed glazed archways, with small square pavilions situated at each corner. To the south, a crescent-shaped river flows gently beneath a beautifully sculpted stone bridge with intricate railings. Inside the pavilion, there was originally a clay sculpture of the South Sea’s Putuo Mountain, featuring 226 statues of Arhats on the mountain and a painted sea below, symbolizing the Buddhist paradise of Putuo. This area is thus also known as “Luohan Mountain” and “Sea Island.”

The Iron Shadow Wall is a historical relic from the Yuan Dynasty, characterized by its unique brownish color and iron-like texture. It is crafted from neutral volcanic rocks and stands 1.89 meters high and 3.56 meters long. The wall’s surface is adorned with shallow carvings of cloud patterns and mythical beasts, reflecting the ancient artistry of the period.

Originally, the Iron Shadow Wall was placed in front of an ancient temple outside Jian De Men (now De Sheng Men). During the early Ming Dynasty, it was relocated to the front of the Guo Shou Temple at De Sheng Men (now Iron Shadow Wall Alley). In 1947, it was moved to Beihai Park, and in 1986, the base of the wall was recovered from Iron Shadow Wall Alley, allowing for the restoration of this important cultural artifact to its current location.

The Nine-Dragon Wall is one of Beihai Park’s most renowned features, originally situated in front of the Dazheng Mirror Wisdom Palace. Constructed in the 21st year of Emperor Qianlong’s reign during the Qing Dynasty (1756 AD), this wall is a remarkable example of traditional Chinese architectural art. Standing 5.96 meters high, 1.60 meters thick, and 25.52 meters long, the Nine-Dragon Wall is adorned with vibrant, multi-colored glazed bricks. The wall’s two sides each feature nine magnificent dragons soaring amidst clouds and waves. A total of 635 dragons—both large and small—are intricately carved into the wall’s surface. This wall is one of only three ancient Nine-Dragon Walls in China, the others being located in the Forbidden City and Datong. Unique among these, the Beihai Nine-Dragon Wall is distinguished by its double-sided design, making it a rare and valuable example of ancient Chinese decorative arts.

Kuai Xue Tang, or Fast Snow Hall, was established in the 44th year of Emperor Qianlong’s reign (1775 AD). This elegant hall complex includes the Chengguang Hall and the Yulan Pavilion, all connected by intricately painted walkways. The hall is famous for its rich collection of calligraphy, featuring 48 stone slabs inscribed with works from 20 famous calligraphers spanning the Jin to Yuan dynasties. Among these, Wang Xizhi’s “Kuaixue Shiqing Tie” (Letter of Snow in Spring) and Emperor Qianlong’s own “Kuaixue Tang Ji” (Fast Snow Hall Inscription) are particularly renowned.

The Western Heaven Realm, also known as Da Xi Tian, is one of the most celebrated attractions in Beihai Park. This scenic area is located to the east of Jingxin Studio and to the west of the Dazheng Mirror Wisdom Palace, forming a harmonious line with the Jade Island to the south. Originally established during the Ming Dynasty as a Tibetan Buddhist temple, it was extensively renovated and expanded in the 24th year of Emperor Qianlong’s reign (1759 AD) during the Qing Dynasty. After a significant restoration in 1980, the Western Heaven Realm was reopened to the public.

The Western Heaven Realm is known for its exquisite architectural design and serene atmosphere. The central feature of this area is the Xitian Fan Jing, or Western Heaven Realm Pavilion, which serves as the heart of the complex. This grand pavilion is surrounded by tranquil gardens and reflects the classic elements of Chinese imperial architecture. Visitors to the Western Heaven Realm can explore a range of structures and features, including majestic pavilions, peaceful courtyards, and intricate stone carvings.

Jingxin Studio, covering an area of approximately 8,700 square meters, is one of the most refined and elegant sections of Beihai Park. Originally a simple residence from the Ming Dynasty, it was transformed into a beautiful garden by Emperor Qianlong in the 22nd year of his reign (1757 AD) during the expansion of the Western Heaven Realm. Known also as the “Qianlong’s Little Garden,” this area features a range of charming structures and landscapes.

Notable buildings in Jingxin Studio include the Jingxin Studio itself, Book House,Melodious Qin Studio, Emerald Pavilion, Tea-Roasting Workshop, Painted Garden, Spring Water Gallery, Mountain View Pavilion, and Stone Bridge. The design of Jingxin Studio is a blend of Northern and Southern garden styles, combining the grandeur of northern gardens with the delicate and refined charm of Jiangnan private gardens.

The Five-Dragon Pavilion was originally built in the 30th year of the Wanli Emperor’s reign during the Ming Dynasty (1602 AD). This historic structure was a favored spot for the emperor and his close attendants to enjoy fishing and moon-gazing. The pavilion complex consists of the central Longze Pavilion, with the surrounding pavilions including Yong Rui Pavilion (Fortune Pavilion), Fu Cui Pavilion (Jade Pavilion), Cheng Xiang Pavilion (Auspicious Pavilion), and Zi Xiang Pavilion (Fragrant Pavilion).

In the 28th year of Emperor Qianlong’s reign (1763 AD), the wooden arch bridge was replaced with a stone bridge, featuring elegant bluestone railings and columns. However, during the Boxer Rebellion in 1900, the railings and columns were damaged by the Eight-Nation Alliance. A meticulous restoration in 1974 restored the pavilion to its former glory. Today, the Five-Dragon Pavilion is a popular spot for visitors to relax and enjoy panoramic views of the White Pagoda and the scenic beauty of Beihai Lake.

Haopu Garden is a charming and contemplative garden located at the northern end of the small hill on the eastern shore of Beihai Park. It is an exquisite example of a “garden within a garden,” designed to evoke the classical beauty of ancient Chinese water gardens. The name “Haopu” references two ancient Chinese water names. According to Zhuangzi’s “Autumn Water” chapter, Zhuangzi and Hui Shi were walking on the Hao Bridge, where Zhuangzi remarked on the happiness of the fish swimming below. Hui Shi questioned how Zhuangzi could know the fish’s joy since he was not a fish himself, to which Zhuangzi responded that Hui Shi could not understand his knowledge of the fish’s joy as he was not Zhuangzi. Inspired by this philosophical exchange, the garden was created to offer a serene environment where the emperor and empress could enjoy observing fish and fishing.

The garden features a series of small bridges that arch gracefully over the water, offering visitors beautiful views and a peaceful setting for reflection. Historically, Emperor Qianlong used to host banquets for his ministers here, adding a layer of historical significance to the serene landscape.

Huafang Studio is a notable structure situated on the eastern shore of Beihai Park, built during the 22nd year of Emperor Qianlong’s reign in the Qing Dynasty (1757 AD). The central building of Huafang Studio is the Chun Yu Lin Tang (Spring Rain on the Pond), which features a small pond and serves as the front hall of the studio. The main hall, Huafang Zhai, is located to the north and is surrounded by two courtyards: Gu Ke Ting (Ancient Tea Garden) to the east and Xiao Ling Long (Small Delicate Courtyard) to the west. The entire studio is encircled by red-painted colonnades and is designed to resemble a large boat docked at the edge of Beihai Lake. The design was inspired by the Huafang Zhai Ji (Record of Huafang Studio) written by the scholar Ouyang Xiu, which describes a similar scenic and intellectual retreat. Emperor Qianlong frequently visited Huafang Studio for leisure, and it was also a residence for Emperor Guangxu and a popular venue for Empress Dowager Cixi’s banquets and storytelling sessions.

Xian Can Altar is located at the northeastern corner of Beihai Park, covering an area of 17,000 square meters. Originally the site of the Ming Dynasty’s Leiting Hongying Hall, it was transformed into Xian Can Altar in the 7th year of Emperor Qianlong’s reign (1742 AD) as a place for the imperial consorts to worship the “Silkworm Deity.”

The altar’s layout includes several notable structures: Guan Sang Tai (Mulberry Viewing Platform), Qin Can Dian (Silkworm Shrine), Hou Dian (Rear Shrine), Xian Can Shen Dian (Deity Altar for Silkworms), Shen Chu (Sacred Altar), Can Shu (Silkworm Pavilion), Jing Ting (Well Pavilion), Sheng Ting (Sacrifice Pavilion), Can Suo (Silkworm House), You Lang (Leisure Corridor), Sang Yuan (Mulberry Garden), Yu Can Chi (Bathing Silkworm Pond).

The eastern side of Xian Can Altar features a small river called Yu Can He (Bathing Silkworm River), which was originally a tributary of the Jinshui River introduced to the eastern side of Beihai Park during the Yuan Dynasty. Xian Can Altar is one of the nine royal altars in Beijing and is a well-preserved example of a royal site dedicated to the worship of the silkworm deity.

Qionghua Island, often simply known as Qiong Island or Jade Island, is a stunning feature of Beihai Park, characterized by the iconic White Pagoda that stands proudly atop it. The island rises 32 meters above the lake and measures 913 meters in circumference, offering a picturesque escape in the heart of Beijing. The name “Qionghua” translates to “beautiful jade,” reflecting the island’s design as a jewel-like paradise. According to Chinese mythology, Qionghua refers to a legendary flower from a magical tree on Penglai Island, believed to grant immortality to those who consume it. This mythical reference underscores the island’s role as a place of extraordinary beauty and tranquility.

In the early Qing Dynasty, the island served a strategic purpose; a signal cannon was installed at its summit to provide early warnings of any potential threats. Today, this historical feature adds an element of intrigue to the island’s serene environment.

The western side of Qionghua Island was originally designed for imperial leisure and gatherings. Here, the Yuexin Hall served as a retreat where the emperor could relax, hold discussions, or host banquets. Adjacent to the hall is the Qingxiao Tower, where Emperor Qianlong enjoyed wintertime iceball games with his mother.

Yong’an Bridge is one of the most significant structures in Beihai Park, with a rich history and distinctive design. Originally a wooden bridge during the Yuan Dynasty, it was later known as Taiye Bridge during the Ming Dynasty. In the eighth year of Emperor Qianlong’s reign (1743 AD), the bridge was rebuilt as a striking three-arched stone structure featuring a unique zigzag design.

This bridge connects Qionghua Island to the southern shore of Beihai Park and serves as both a practical crossing and a historical monument. The bridge is adorned with 48 lotus-shaped columns and lotus leaf-patterned railings, which were added during a comprehensive restoration in 1979. Yong’an Bridge masterfully links the Round City Gate on the southern shore with the Yong’an Temple on the island, creating a harmonious connection between the two locations. At each end of the bridge, visitors encounter ancient stone lions and a historical archway, which enhance the bridge’s majestic appearance and historical significance.

Yong’an Temple is a historic site located at the southern foot of White Pagoda Mountain in Beihai Park. Originally established in the eighth year of the Shunzhi reign of the Qing Dynasty (1651 AD), it was initially named Baita Temple. The temple was built at the request of the Tibetan Lama Naomu Khan by the Qing Emperor Shunzhi, reflecting a significant moment of religious and cultural exchange.

At its inception, Yong’an Temple featured several key buildings including the Zhengjue Hall, Pu’an Hall, Shengguo Hall, Zongjing Hall, Zhuanjiaofang (Corner Room), Shunshan Room, and the White Pagoda itself. The Zhengjue Hall served as the main gate of the temple complex. Over time, many of the original structures and statues in Yong’an Temple were lost or damaged due to historical events. However, in 1993, the park’s management undertook a comprehensive restoration project to preserve and rebuild the temple’s historical buildings and statues, faithfully restoring the temple’s former glory and cultural significance.

Yuegu Tower, also known as the Reading Ancient Books Tower, is situated on the western slope of White Pagoda Mountain in Beihai Park. Constructed in the twelfth year of Emperor Qianlong’s reign (1747 AD), the tower features a distinctive elliptical layout, comprising two concentric semicircles that create a unique two-story structure.

The tower is renowned for its collection of ancient calligraphy and inscriptions. Its walls are adorned with 495 stone carvings of famous calligraphic works from the Wei and Jin Dynasties to the Ming Dynasty, compiled under the direction of the scholar Liang Shizheng and others. This collection, known as the “Three Rarities Hall Calligraphy”, features approximately 100,000 characters from the works of 135 renowned calligraphers, spanning various styles including regular script, cursive script, and running script.

The Bronze Immortal Holding Dew Basin was constructed during the Qianlong reign of the Qing Dynasty, inspired by a story from the Han Dynasty. Standing 6.6 meters tall, this elegant structure features a white marble dragon column supporting a bronze figure holding a basin with both hands.

The concept for this basin is derived from the tale of Emperor Wu of the Han Dynasty, who placed a similar basin at the Shenming Terrace in the Jianzhang Palace. This basin was believed to capture dew, which, according to legend, could be used for elixirs of immortality. However, Emperor Qianlong’s creation of the Bronze Immortal Holding Dew Basin was not intended for capturing dew but rather served as a decorative and symbolic element within the landscape design of Beihai Park.

Yilan Hall is a distinctive historical architectural ensemble located on the northern side of Qiong Hua Island in Beihai Park. Built in the sixteenth year of Emperor Qianlong’s reign (1751 AD), this elegant complex was inspired by the architectural style of the Jinshan Temple in Zhenjiang, Jiangsu Province, which Emperor Qianlong had admired during his southern tours.

Yilan Hall, which means “Rippling Waves Hall,” is designed to evoke a sense of scholarly elegance rather than religious grandeur. The entire area is surrounded by a long corridor along the water, creating a tranquil and reflective atmosphere for visitors. The complex covers an area of 6,783 square meters, with the main building area being 563 square meters. It includes several significant structures: Yilan Hall itself, Bizhao Tower, Daoning Studio, Yuan Fan Pavilion, Qinglan Huayun (Sunny Veranda), and a traditional Opera Stage.

Yilan Hall was originally a place where Emperor Qianlong enjoyed reading and composing poetry. The Daoning Studio served as a venue for the emperor and his scholars to engage in literary pursuits. Bizhao Tower, located on the eastern side of the central corridor, and Yuan Fan Pavilion, on the western side, are two-story towers providing elevated views of the park. The Sunny Veranda was used for watching performances on the traditional stage.

Round City, originally a small island in the Taiye Pool, was a part of the Daming Palace during the Jin Dynasty. In the Yuan Dynasty, it was known as “Yuandhi” or “Yingzhou,” referring to a mythical island paradise. During the Qianlong period of the Qing Dynasty, Round City underwent significant renovations and the construction of the Yuweng Pavilion.

Round City features a distinctive circular layout, surrounded by high city walls built from tightly fitted bricks. The base of the city walls rises 4.6 meters above the water level, with a circumference of 276 meters and an area of 4,553 square meters. On the east and west sides of the city walls, there are gate towers known as Zhaojing on the east and Yanxiang on the west. Visitors can ascend the city walls via a series of stone steps, which are adorned with cover doors at various points. The layout of the buildings on top of the city walls follows a symmetrical, garden-inspired arrangement.

Chengguang Hall is the primary structure on Round City and was originally known as the Yitian Hall during the Yuan Dynasty. Rebuilt during the 29th year of Emperor Kangxi’s reign (1690), it was renamed Chengguang Hall. The hall features a distinctive square layout with a double-eaved hip roof.

The hall’s architecture is notable for its unique design, which is rare among Beijing’s palace buildings. It is a square structure with a cross-shaped floor plan, where the central hall is surrounded on four sides by smaller auxiliary halls, each with a single eaved roof and covered with yellow glazed tiles with green trim. The roof edges are adorned with decorative eaves, and the hall’s interior is embellished with intricate gilded paintings.

The Yuweng (Jade Urn), also known as the “Dushan Great Jade Sea,” was crafted in the second year of the Yuan Dynasty’s Zhiyuan period (1265). This magnificent jade urn stands 70 cm tall with an elliptical opening, a circumference of 493 cm, and weighs approximately 3,500 kilograms. Its surface features intricate reliefs of sea dragons, seahorses, sea pigs, and sea rhinos amidst swirling waves, rendered with vivid detail.

Originally, the Yuan Emperor Kublai Khan placed the Yuweng in the Guanghan Palace on Qionghua Island, where it was used for grand feasts. After the palace’s collapse during the Ming Dynasty, the urn was lost to the public. In the tenth year of the Qing Emperor Qianlong’s reign (1745), the Yuweng was rediscovered, and Emperor Qianlong valued it highly, moving it to the Chengguang Hall in 1749. He commissioned forty scholars to inscribe poems on the pavilion’s pillars, commemorating the urn.

1. South Gate Entrance – 2-Hour Easy Version

Route: South Gate → Tuan Cheng (Round City) → Beihai South Gate → Yong’an Bridge → Yong’an Temple → White Pagoda → Descend Eastward → Qiongdao Chun Yin Stele → Long Corridor → Yilan Hall, Daoning Study → Yuegu Lou → Return to Yong’an Bridge → Exit at South Gate

2. South Gate Entrance – 4-Hour Detailed Version

Route: South Gate → Tuan Cheng (Round City) → Qionghua Island → Yilan Hall → Zhi Shan Bridge → Hao Pu Stream → Jingxin Studio → Western Heavenly Realm → Nine-Dragon Screen → Kuai Xue Studio → Chan Fu Temple → Five-Dragon Pavilion → Exit at West Gate

3. North Gate Entrance – 2-Hour Easy Version

Route: North Gate → Western Heavenly Realm → Nine-Dragon Screen → Five-Dragon Pavilion → Five-Dragon Pavilion Pier (Take Boat to Qionghua Island) → White Pagoda → Yong’an Bridge → Qionghua Island Pier (Return to Five-Dragon Pavilion Pier) → Exit at North Gate

4. North Gate Entrance – 4-Hour Detailed Version

Route: North Gate → Western Heavenly Realm → Nine-Dragon Screen → Chan Fu Temple → Wan Fo Lou Ruins & Stele → Pure Land World Hall → Five-Dragon Pavilion → Five-Dragon Pavilion Pier (Take Boat to Qionghua Island) → White Pagoda → Yong’an Bridge → Lotus Flower Viewing → Hao Pu Stream → Hua Fang Studio → Exit at North Gate

Jingshan Park – the best place to overlook the Forbidden City

Forbidden City – former emperors’ residence

Shichahai – three interconnected lakes – Qianhai, Houhai, and Xihai

Houhai Bar Street – a popular nightlife destination

Nanluoguoxiang – a representation of Beijing hutongs

Yandaixie Street – a well-known pedestrian street

Summer Palace – the imperial resort

Yuanmingyuan – ruins of former palaces

Temple of Heaven – the place to hold sacrificial ceremonies