Shuzhuang Garden, Gulangyu

Meishoutang, also known as Tanying Pavilion, served as a venue for hosting guests. “Meishou” means longevity. The pavilion’s alternative name, Tanying Pavilion, subtly refers to Taiwan, which the owner couldn’t return to due to Japanese occupation. This naming reflects the owner’s longing for Taiwan and his former villa in Banqiao. Meishoutang is flanked by curved embankments on both sides facing the sea. During high tide, visitors can scoop water while sitting on these embankments, adding a serene touch to their visit.

Built during the autumn of the Renxu year in the Chinese calendar, Renqiu Pavilion derives its name from this auspicious event. On its completion day, after a long period of rain followed by clear skies, the owner invited guests to compose poetry. The pavilion, divided equally between land and water, features two arched gates – one facing land and the other water. From here, visitors can admire the mountains and appreciate the seascape, capturing the interplay of mist, clouds, sails, and seabirds.

Shaped like a diamond, Zhenshutei Pavilion is nestled against the mountainside overlooking the water. It was a favorite spot for the owner and guests to engage in deep conversations. The name “Zhenshuai” signifies sincerity and openness, encouraging visitors to express their thoughts freely and genuinely, fostering an atmosphere of mutual understanding and openness.

Shaped like a crescent moon, Du Yue Pavilion features a semicircular sea-facing side supported by four columns. The back wall is adorned with large windows, and inscribed couplets on the sides read, “A long bridge spans the sea for three thousand feet, while the bright moon floats in the sky across twelve railings,” highlighting its ideal location for moon-viewing. This pavilion is strategically placed between bridges, serving both as a viewing pavilion and a bridge.

Central to the garden’s design, Forty-four Bridge derives its name from the age of its builder, who was forty-four years old when it was constructed. This bridge includes gates that control the flow of seawater into the garden, creating three distinct water areas – sea, outer pond, and inner pond – effectively integrating the vast sea into the garden’s landscape. Its sinuous design resembles a wandering dragon, with two massive stacked rocks inscribed with poetic phrases: “Resting on the water” on the lower rock and “As broad as the sea and as high as the sky” on the upper one. This division into two sections does not hinder its flow but enhances its dynamic appearance, complemented by pavilions like Zhenshutei, Du Yue Pavilion, Qianbo Pavilion, Zhaoliang Pavilion, and an octagonal fishing platform (with “Beautiful Fish” carved on one wall) strategically placed along its winding path.

Located at the end of Forty-four Bridge, Zhaoliang Pavilion presents a unique spectacle. Shaped like an unfolded folding fan, it stands next to a 15-degree inclined stone screen known as “Stone Screen.” During the scorching summer days, this screen catches the breeze, making the pavilion cool and inviting. Inscribed with the phrase “Turn and twist around the peak,” it suggests a journey without a clear path, yet during low tide, visitors can circumvent Grass Hill to reach Tianwei Huang’s seaside villa. On moonlit nights, sitting in the pavilion and gazing at the moon overhead while listening to the gentle sounds of the waves evokes a sense of tranquility and contemplation.

This was the study and contemplation area of the garden’s owner, Lin Erjia. Named after the concept of a stubborn stone that nods in agreement, Lin likened himself to such a stone, symbolizing persistence and perseverance in scholarly pursuits. He authored a work titled “Wanshi Shanfang’s Burnt Drafts,” emphasizing the virtue of perseverance in academic endeavors.

Constructed as a series of interconnected caves, Shi’er Dongtian includes chambers like the Monkey Cave, known for its labyrinthine paths that bewilder visitors, earning it the nickname “Mihun Cave” (Cave of Bewilderment). Each cave is named after one of the twelve earthly branches (zi, chou, yin, etc.), constructed using purple-red, brown-red sandstone, shale, gravel, and volcanic rhyolite. These caves vary in size and shape, intertwining pathways that ascend and descend, symbolizing the concept of “Caves of Heaven and Earth,” a metaphorical representation of auspicious and mystical realms.

Oriental Fish Bone Gallery

Sunlight Rock

Haitian Tanggou Villa

Xiamen Underwater World

Lin Qiaozhi Memorial Hall

Haoyue garden (Moonlight Garden)