The Qing Dynasty: Yuanmingyuan
In its heyday, the Imperial Gardens at the Old Summer Palace spanned 860 acres, nearly five times the size of the Forbidden City and eight times the size of Vatican City in Rome. The Qing Dynasty built large because they had a lot to prove: When the first Qing emperor took power in 1644, he ended 400 years of rule by the ethnic Han Chinese.
“The new Manchu rulers were under pressure to establish their new identity as rulers of all of China,” says Ying-chen Peng, associate professor at American University. “They had to demonstrate a strong understanding of the empire’s different ethnic groups, especially the Han Chinese elite.” To that end, the Manchu learned Mandarin Chinese, practiced Confucianism and adopted Han aesthetics. “The garden was a critical part of that,” she says.
Construction on Yuanmingyuan began in 1709 under the emperor Kangxi. At just five miles northwest of The Forbidden City, the summer palace and its gardens made for an easy commute for the emperor and his vast court.
Like Moctezuma, Kangxi chose a location with abundant access to water, an element not just necessary for plants, but imbued with religious significance. Water was a symbol of purity and clear-mindedness embedded in the name of the dynasty itself: Qing (清), which translates to "clear" or “pure.” The emperor gave the summer palace and its gardens to his son Yinzhen, who expanded the garden before leaving it to his son, Qianlong.
“Qianlong saw Yuanmingyuan as a miniature of his empire,” says Peng. While Moctezuma and King Louis XIV had their plants brought to them, Qianlong personally embarked on collection tours of his empire. “He would visit important gardens and cultural sites, then have his architects recreate the vistas he had appreciated,” Peng says. He didn’t just take plants; he copied entire gardens. For example, Qianlong’s Ruyuan (Garden of Ease) is a replica of one of Nanjin’s oldest classical gardens, Zhanyuan Garden.
While the Qing emperors ruled by divine right, “in the early years of the dynasty, they still encountered a lot of resistance. There was a sense of insecurity, and this dynamic is reflected in many areas of the garden,” says Peng. Qianlong commissioned buildings to represent styles from across his kingdom, including Tibet and Mongolia. He even hired European Jesuits to recreate Western-style palaces and fountains. He filled these buildings with art and priceless manuscripts from early Chinese civilizations, portraying his dynasty as heirs to that cultural lineage.
The emperor collected people alongside beautiful things. Yuanmingyuan housed the emperor’s xiunu (“beautiful girls”). Consorts who outlived the emperor were kept in the garden in a sort of retirement home—or prison, depending on how you looked at it. Eunuchs (castrated male servants) performed “tableaux vivants” for the royal family. Painters were employed to paint its iconic vistas, and Qianlong wrote famously grandiose poetry in praise of those same views.
Qianlong chose the highest ground in his garden to build a Buddhist temple “for worshiping my grandfather and father in order to extend their endless solicitude,” Qianlong wrote. With his ancestors looking down over his garden—itself a representation of his empire—it’s likely he imagined his descendants one day worshipping his memory, much as Moctezuma did when he had his likeness carved into the caves of Chapultepec.
As the empire and its tax revenue shrunk, so, too, did the garden. “You can see the decline of the empire by looking at how the garden was maintained,” says Peng. As the Opium Wars raged on, the imperial family began to restrict its activities to only the most important areas of the garden. Eventually, the garden was looted and burned to the ground by French and British troops under Lord Elgin in 1860.