Imperial Palace, Shenyang – The Former Forbidden City

The Dazheng Hall, also known as the Octagonal Hall, was built in 1625 and is one of the most important palaces constructed by Nurhaci, the founding emperor of the Qing Dynasty. It is the most solemn and sacred building within the Shenyang Imperial Palace. Initially called the “Great Yamen,” it was renamed the “Dugong Hall” in 1636 and later changed to Dazheng Hall. The hall features an octagonal, double-eaved roof with an upward-pointing pinnacle and eight surrounding corridors. It stands on a high platform with a Sumeru base, and its roof is covered with yellow glazed tiles, trimmed in green. At the center of the roof is a golden flame jewel finial, surrounded by eight iron chains connecting to warrior figures.

In front of the hall, two large columns are wrapped with golden dragons. Inside, the ceiling is adorned with intricate Buddhist patterns and a dragon-patterned caisson ceiling. The hall is furnished with a throne, a screen, an incense burner, a censer, and crane-shaped candlesticks. This hall was the venue for significant ceremonies and political activities during the reign of Emperor Hong Taiji, such as the issuing of imperial decrees, the declaration of military campaigns, the welcoming of victorious soldiers, and imperial coronations. In 1644, Emperor Shunzhi was crowned here.

In front of Dazheng Hall, on both its east and west sides, stand ten pavilions in a symmetrical arrangement. The two closest and slightly protruding pavilions are known as the Left and Right Wing Princes’ Pavilions. The remaining eight pavilions are arranged in a “goose wing” formation according to the Eight Banners system. On the east side from north to south are the pavilions for the Plain Yellow, Plain Red, Bordered Blue, and Plain White Banners, while the west side hosts the Bordered Yellow, Bordered Red, Plain Blue, and Bordered White Banners.

Collectively referred to as the Ten Princes’ Pavilions or Eight Banners Pavilions, they form a unique courtyard layout with Dazheng Hall, showcasing an innovative and harmonious architectural design. This arrangement is a distinctive and unprecedented creation in the history of Chinese palace architecture.

Located directly north of Dazheng Hall, the Luanjia Warehouse primarily stores the ceremonial paraphernalia and musical instruments used during the emperor’s eastern tours. The ceremonial items include various types of palanquins, sedan chairs, and a range of flags, banners, weapons (such as halberds and axes), spears, and umbrellas. These items were displayed around the emperor during his excursions or when he entered the hall, emphasizing the dignity of the “Son of Heaven.”

The musical instruments housed here were used in various royal musical ensembles, including the Danxi Great Music, Zhonghe Shao Music, and Luba Music. The collection features large and small bronze horns, painted horns, Mongolian horns, golden trumpets, marching drums, ensemble drums, pan flutes, cloud gongs, bianzhong (bronze chime bells), bianqing (stone chimes), ceremonial drums, zheng (Chinese zither), qin (stringed instrument), se (a type of plucked string instrument), long flute, sheng (mouth organ), and clappers, all intended for use during imperial processions and palace ceremonies.

At the southern end of Dazheng Hall’s courtyard, on both the east and west sides, stand two Zoyue Pavilions. Each pavilion features a four-cornered, upward-pointing roof covered with glazed tiles and is built on a square platform that is over two meters high. A vaulted entrance with stairs leads up to each pavilion, providing access for the musicians.

These pavilions were likely constructed during the reign of Emperor Taizong and served as music performance venues during major celebrations at Dazheng Hall. Even after the Qing Dynasty entered the Central Plains, these pavilions continued to be used for performances during the emperor’s eastern tours. However, since the main musical ensembles were typically situated closer to the hall itself, the musicians in the pavilions would perform during the emperor’s entrance to the hall and for accompanying banquets.

Daqing Gate was built during the early years of the Tiancong era under Emperor Taizong of the Qing Dynasty. Initially, it was simply referred to as the “Main Gate,” with the smaller side gates called the “East Gate” and “West Gate.” In 1636, when Emperor Hong Taiji declared his reign, the gate was renamed “Daqing Gate,” using the same name as the new dynasty. At this time, regulations were established for Daqing Gate and the East and West Wing Gates, requiring guards to monitor the entry and exit of personnel strictly.

Officials of all ranks, along with attendants and guards, were required to gather at Daqing Gate before entering the palace. They were prohibited from facing or turning their backs toward the palace in the northern direction, and they could not stand or sit in the center of the royal path. Instead, they were to sit facing each other on either side of the royal path: those on the east side facing west and those on the west side facing east. This was to prevent any appearance of attempting to spy on the palace grounds, which would be seen as disrespectful. The central royal path was reserved solely for the emperor’s passage, with all other officials required to use the side steps for entry and exit.

Despite being merely a passageway, Daqing Gate was adorned to reflect the grandeur of the imperial palace. Its roof was covered in yellow and green glazed tiles, and the walls featured exquisite corner ornaments. Each set of these ornaments consists of four interconnected parts, primarily in shades of yellow and blue, interspersed with red, white, and green, decorated with bas-reliefs of dragons, phoenixes, and auspicious creatures, making them a stunning artistic achievement.

Chongzheng Hall is a beautiful refinement of the common hard-mountain style buildings found in Northeast China, modified to suit the functional requirements of the palace’s main hall. The hall stands 12 meters high and is built on a more than one-meter-high stone platform. It features intricately decorated stone steps and corridors at both the front and back. As a result, the design differentiates itself from typical civilian structures, showcasing the high-status style reserved for palaces and temples.

The hall’s red columns are square, resting on black lotus-style bases. The upper parts are painted with colorful designs such as “shoulders” and lotus flowers. The outer sides of the columns are adorned with the same beast faces found in Dazheng Hall. The column tops feature vivid wooden dragon sculptures that seem to emerge from the hall, with their claws playing with pearls, adding both structural support and a unique decorative element that suggests a divine dragon soaring from within.

The wood carvings beneath the eaves display lotus petals, honeycombs, and auspicious symbols, aligning with Tibetan Buddhist architectural styles. The carved dragons playing with pearls that span the outer eaves add to the hall’s luxurious appearance.

On the east and west sides of Chongzheng Hall stand two identical two-story buildings with gable roofs: Feilong Pavilion on the east and Xiangfeng Pavilion on the west. Together with Daqing Gate and Chongzheng Hall, they form a cohesive architectural layout. These pavilions were constructed on the sites of an old three-room auxiliary building (on the east side) and a two-story, seven-room treasury building (on the west side).

In the eighth year of Qianlong’s reign (1743), the Qianlong Emperor made his first eastern tour to Shenyang and visited the Forbidden City. He found the differing heights and styles of the two existing structures beside Chongzheng Hall unpleasing and lacking symmetry. After inspecting various locations within the palace, he issued an edict to replace the old buildings with new ones of identical design, ensuring symmetry and aesthetic appeal. Thus, the current forms of Feilong Pavilion and Xiangfeng Pavilion were established, and the old structures were dismantled.

The upper level of Feilong Pavilion was originally used to store the military equipment used by the emperors of the Qing Dynasty. The Manchu people, known for their horsemanship and archery, trained in these skills from a young age. Feilong Pavilion houses a portion of the various bows, arrows, saddles, armor, swords, and other weapons used by the emperors during their lifetimes.

Xiangfeng Pavilion, on the other hand, primarily stores items used by the emperor during his eastern tours and gifts bestowed during these visits. Most of the artifacts were transferred from the palace in Beijing during the Qianlong era. The collection is extensive and holds significant historical and artistic value, often surpassing that of Feilong Pavilion. The items can be broadly categorized into three types:

1. Imperial Artifacts: Over 2,000 ceremonial items used in various palaces, including jade, porcelain, lacquerware, cloisonné, gold and silver items, as well as carved products made from bamboo, wood, and ivory. Most of these are precious treasures from the Qing Dynasty.
2. Clothing and Textiles: More than 4,000 pieces of garments, fabrics, and purses designated for the emperor during his stay in Shenyang and for distribution as gifts.
3. Books and Art: Nearly 1,000 ancient texts, maps, and paintings available for the emperor’s review and appreciation during his visits. This collection includes over 300 renowned works from notable artists of the Tang, Song, Yuan, Ming, and Qing Dynasties. A book titled Shengjing Palace Painting and Calligraphy Records has been published to document these significant artworks.

The Phoenix Tower is situated in the inner court of the Shenyang Palace, specifically where the emperors and empresses of the Qing Dynasty resided during the reign of Emperor Taizong. It is located on a raised platform to the north of Chongzheng Hall. Following the customs of the Manchu people, who originally lived in mountainous regions, tribal chiefs’ residences were built on the highest points within their settlements for better defense and observation. This tradition influenced the design of the Shenyang Palace, resulting in the construction of the empress’s quarters on a specially elevated platform of nearly four meters, while the main halls, Dazheng and Chongzheng, are built at ground level. This “higher palace and lower hall” layout contrasts sharply with the “higher hall and lower palace” design of the Forbidden City in Beijing, making it a distinctive feature of the Shenyang Palace.

During the reign of Emperor Taiji, the Phoenix Tower served as a summer retreat for the emperor and his empresses, providing a place for relaxation and enjoyment of the view. From the Qianlong era onwards, it was also used for storing important court relics. Standing atop the Phoenix Tower offers a panoramic view of the entire city, and it became a tradition for emperors to climb the tower during their eastern tours to Shenyang, where they would compose poetry in reflection of the scenery. The tower retains a black lacquer plaque inscribed with poems in Qianlong’s handwriting.

The Five Palaces on the Platform refers to the sleeping quarters located along the central axis behind Chongzheng Hall and the Phoenix Tower. The Shenyang Palace features a courtyard-style architectural design, typical of northern Chinese residences. The rear palace area atop the elevated platform showcases a typical northern “siheyuan” (courtyard house) layout.

The main palace, Qingning Palace, serves as the residence of the emperor and empress. East of Qingning Palace are the Guanju Palace and Yanqing Palace, while to the west are the Linzhi Palace and Yongfu Palace. These five palaces form a cohesive courtyard complex and, along with the two auxiliary palaces to the north of Qingning Palace, comprise the rear palace architecture from the era of Emperor Taiji. Qingning Palace is the primary residence for the emperor and empress, while the adjoining palaces were designated for Emperor Taiji’s four main consorts: Chen, Shu, Gui, and Zhuang. Notably, Yongfu Palace is where the Qing Dynasty’s founder, Emperor Shunzhi (Fulin), was born and spent his childhood.

The East Yihe Hall, known as “Dong Suo,” was constructed during the Qianlong era for the empress dowager’s use during the emperor’s eastern tours. It is located east of Chongzheng Hall. The term “所” (suo) in the Qing Dynasty refers to smaller, independent residential courtyards situated near the main palaces, where each building within the courtyard has its own name but is collectively referred to by its location for identification.

Qianlong emphasized filial piety in governance, and he was one of the few emperors whose mother was alive during his reign. Empress Dowager Niu Hulu lived until the age of 86, passing away in the 42nd year of Qianlong’s reign (1777). This devotion to his mother made Qianlong’s filial piety particularly renowned in history. Whenever his mother was healthy enough to travel, the emperor would ensure her company during his tours, including his visits to Shenyang. Consequently, this palace was specifically constructed for her comfort during their stay in the Shenyang Palace.

Corresponding to the Dongsuo, the Jiguang Hall (Xi Suo) is located on the western side of Chongzheng Hall and served as the residence for the emperor and his empresses during their eastern tours.

In the 43rd year of Qianlong’s reign (1778), three auxiliary halls were added to the east and west of Diguang Hall to accommodate ministers and officials from the Cabinet and Military Affairs Office, ensuring the timely communication of military and state matters. The emperor’s sleeping quarters, known as Bao Ji Palace, are located in the rear courtyard of the Xi Suo. Built in the 13th year of Qianlong’s reign (1748), this palace served as the emperor’s sleeping quarters and a place for summoning nobles and ministers during his stay in Shenyang.

Located to the east of the Great Qing Gate, the Shengjing Imperial Ancestral Temple was originally a Taoist temple known as the San Guan Miao (Three Officials Temple), dedicated to the deities of Heaven, Earth, and Water. This temple was already a prominent site in the city long before Nurhaci moved the capital to Shenyang. When the Shenyang Palace was being constructed, the emperor chose not to demolish the temple but instead maintained its significance, allowing it to continue operating. Prior to the Qing dynasty’s entry into the Central Plain, many important events related to the imperial court occurred here. Emperors such as Shunzhi, Kangxi, and Qianlong frequently bestowed silver and royal plaques upon the temple, highlighting its special importance alongside the founding palace.

In the 43rd year of Qianlong’s reign (1778), during his third eastern tour to Shengjing, the emperor ordered renovations to complete the regulations of the imperial capital. He commanded the reconstruction of the Shengjing altars for Heaven and Earth, the Hall of Sacrifice (where the emperor performed rituals according to Manchu shamanistic customs), and the Shengjing Imperial Ancestral Temple. While the other three sites retained their old structures, the Imperial Ancestral Temple had fallen into disrepair over many years, making restoration impossible. As a result, Qianlong decided to rebuild the temple on the site of the former San Guan Miao.

In the rear garden, the Jia Yin Hall is accompanied by five rooms designated for the performing arts, serving as the “backstage” during theatrical performances. The north wall of this space features entrance and exit doors that lead directly to the theatre stage. To the north of the performing arts rooms, there is a theatre stage flanked by seven corridors, with the east side oriented westward and the west side oriented eastward. These corridors connect the Jia Yin Hall and the performing arts rooms to the stage area, providing seating for nobles and officials when the emperor hosted banquets and performances. The Jia Yin Hall, consisting of five rooms, serves as the emperor’s venue for dining and enjoying theatrical shows, with small warming chambers on either side for brief rests. The theatre stage is situated directly in front of the hall.

During the Qing dynasty, particularly after the reigns of Qianlong and Jiaqing, theatrical performances became increasingly popular in the imperial palace, with stages built in places such as the Forbidden City, the Summer Palace, and the Rehe Palace. This medium-sized stage features a hip roof with a roll-up canopy, supported by twelve columns, and is raised over half a meter above ground level. The interconnected design of the Jia Yin Hall, corridors, and performing arts rooms creates a semi-enclosed space that enhances the acoustics for performances.

On the northern side of the west road lies a group of buildings, with the southernmost structure being the three gabled buildings located behind Jia Yin Hall. Upon entering, visitors find the main building of this area: Wen Su Pavilion, one of the seven renowned libraries built to house the “Siku Quanshu” (Complete Library of the Four Treasuries). The architectural style of Wen Su Pavilion is modeled after the famous library Tian Yi Pavilion in Ningbo, Zhejiang, though its actual construction adheres to the standards of Qing dynasty palace architecture.

The exterior of Wen Su Pavilion features two stories, each with six rooms; however, one room on the west side is only half the width of the others and is designated for the staircase rather than for storage.

After its completion, the 73-year-old Qianlong Emperor made his fourth and final visit to the Shengjing Palace. Faced with the newly built library and the “Siku Quanshu” it contained, the emperor, known as the “Old Man of Peace,” felt a deep sense of fulfillment, thankful to witness his wish come to fruition in the palace of his ancestors. Subsequently, a sixth-rank official was appointed at the Shengjing Ministry of Internal Affairs to manage and safeguard the “Siku Quanshu” in Wen Su Pavilion.

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