Nanqiao Guhua Garden

Nanqiao Guhua Garden

The vigorous and free-flowing characters “Guhua Garden” (古华园) on the screen wall were inscribed by Mr. Song Richang, former Vice Mayor of Shanghai. The garden is named “Guhua Garden” because from the tenth year of the Tianbao era in the Tang Dynasty (751 AD), when Huating County was established, this area went through the Tang, Song, Yuan, and Ming dynasties until the fourth year of the Yongzheng reign in the Qing Dynasty (1726 AD) when Fengxian County was founded. For a total of 975 years, this land belonged to Huating County. The park is situated in what was historically “ancient Huating,” hence the name “Guhua.” Guhua Park is designed in the style of classical gardens of southern China, with green space covering 63% and water bodies 22%. There are two lakes in the east and west, surrounded by a ring-shaped river (now connected on the north and east sides). The garden features 22 uniquely shaped bridges of various sizes connecting different areas. The total built area of pavilions, towers, terraces, corridors, and other structures reaches 5,600 square meters.

To the north of the screen wall, on the southern shore of “West Lake,” a winding stone slab bridge extends into the lake. On the bridge stand three pavilions: the eastern one is called “Shuixiang Pavilion” (Water Fragrance Pavilion), the western one “Shuiming Pavilion” (Water Brightness Pavilion), and the central one “Shuilv Pavilion” (Water Greenery Pavilion). The names of these three pavilions were respectively calligraphed by artists Lin Zhongxing, Hu Wensui, and Zhao Lengyue. These two side pavilions and the central one are arranged in a “品” (pronounced “pin”) character formation, hence they are collectively referred to as the “Pin Pavilions.”

The names of all bridges in Guhua Park can be found recorded in the historical texts of Fengxian. Walking up from either side of the Pin Pavilions and following the lakeside stone path northward then eastward, you will come across “Qixiu Bridge,” “Feihong Bridge,” and “Xiaoyuntaiguan Bridge” in sequence. Due to an oversight by the bridge builders, the names of two of these bridges were mistakenly swapped. Can you guess which two? They are “Feihong Bridge” and “Xiaoyuntaiguan Bridge.” The character “tai” (台) in “Xiaoyuntaiguan Bridge” literally means a platform, not an arched bridge. Historical records indicate that this bridge was originally located at the end of Yuntaigong Lane, south of Nanzhen Town’s South Street, west of Xiaoyuntaian Temple. It was built in the late Guangxu period of the Qing Dynasty, initially as a small wooden bridge, and was reconstructed as a double-plank stone bridge in the 1920s. As for “Feihong Bridge,” it has a dual meaning: first, it is a single-arch bridge whose shape resembles a rainbow; second, to its north lies a man-made earthen mound where there used to be a “mountain spring” (artificial) that cascaded down, causing splashes in the pool by the bridge. In sunlight, these water splashes and the rainbow reflection created a spectacular view, thus the bridge’s northern side rightly earned the name “Feihong Bridge.”

To the north of Xiaoyuntaiguan Bridge lies the “Three Maidens Shrine,” a traditional three-courtyard structure enclosed by corridors and walls, along with an artificially piled mound known as “Three Maidens Mound” (三女冈). According to Fengxian historical records: during the Spring and Autumn Period, the states of Wu and Yue vied for dominance. King Goujian of Yue endured hardship and trained his army diligently, eventually building a powerful state, while King Fuchai of Wu indulged in luxury, wine, and women, trusting slanderous advisors. Eventually, King Goujian of Yue led his cavalry straight into Wu territory, and King Fuchai abandoned Gusu City and fled south. About two li north of Nanzhen Town, fearing his three daughters would fall into Goujian’s hands, he had them buried alive here. Hence, it was later called “Three Maidens Mound,” and the “Three Maidens Shrine” was built in their memory. Over the centuries, many literati visited and left poetic verses. A poem by Mei Shengyu of the Song Dynasty titled “Three Maidens Mound” reads: “King Wu buried three maidens here, thus the mound gained its name. Their noble forms have transformed, yet orchids and lilies grow in their place — under bright moonlight at night and hazy morning mist, if ancient spirits linger, they are not far from Gusu City.” Wang Anshi also wrote: “Since ancient times, heroes of the world have achieved fame through valor. Yet even in their prime, could they bring the dead back to life? Three maidens share one grave — such sorrow remains unresolved. If their voices and visages could return, heaven itself would topple cities.” When Guhua Park was constructed, the shrine and mound were replicated within the park to facilitate visitor commemoration.

To the east of Three Maidens Mound lies an earthen hill — how high is it? Over 3,000—centimeters tall, that is, about 30 meters high. Atop the hill stands an octagonal pavilion tower approximately 13 meters high with three visible stories, named “Wanghai Pavilion” (Sea-View Pavilion), with its plaque inscribed by Xia Zhengnong, former Secretary of the Shanghai Municipal Committee of the Communist Party of China. This is the main elevated scenic spot in Guhua Garden. On clear days, visitors can gaze far into Hangzhou Bay from the pavilion and see the Greater and Lesser Jinshan Islands in the sea.

Descending from Wanghai Pavilion and walking eastward along the stone path before turning south, you cross “Jiexiu Bridge” to reach the “garden-within-a-garden” of Guhua Garden — “Qiushui Garden” (Autumn Water Garden). This garden is surrounded by water, with bridges connecting its southern, western, and northern sides. Inside the garden, there is a pond with Taihu rocks, surrounded by winding corridors. To the north of the pond is “Chaoran Hall” (Transcendent Hall), whose plaque was inscribed by Professor Chen Congzhou, a master of classical Chinese garden design in China. The term “transcendent” refers to rising above the clamor of society, even detaching from worldly concerns — a serene sanctuary for self-cultivation, reading, and peaceful enjoyment. To the north of the pond is “Tingliu Pavilion” (Flow-Listening Pavilion), to the west “Hanbi Pavilion” (Emerald-Ripple Pavilion), with an arched “Xianghua Bridge” (Fragrant Flower Bridge) to its north, and “Banyue Pavilion” (Moon-Companion Pavilion) to the south. Although there aren’t many Taihu rocks in Guhua Garden, the few present exemplify the “thin, translucent, porous, wrinkled” characteristics of Taihu stones. “Thin” means the stones are slender; “translucent” means they contain cavities; “porous” means their veins allow water seepage; “wrinkled” means their surfaces bear age-like textures. Exiting Banyue Pavilion through its arched gate, just a few steps away lies the stone arch bridge “Nantang First Bridge” (南塘第一桥). Originally a wooden bridge, it was rebuilt as a stone arch bridge in the fourth year of the Jiaqing reign in the Qing Dynasty (1799 AD). The north-south flowing Hengjing Port and the east-west flowing Nanzhaotang are the mother rivers of Nanzhen Town, and Nantang First Bridge is the most magnificent and beautiful bridge spanning Nanzhaotang. Now, most of Nanzhaotang has been filled in, but Nantang First Bridge was relocated during the construction of Guhua Park and retains its original antique appearance. On both sides of the bridge’s southern abutment stand stone steles inscribed with a quatrain by Ruilin of the Qing Dynasty praising the bridge: “Ancestors valued diligence in visiting folk customs; children rode bamboo horses singing ballads. Nanzhaotang’s charm is stronger than wine; fine verses compete to praise the First Bridge.”

Heading east from Nantang First Bridge, you’ll find “Xingyuan” (Joy Garden) nestled among dense bamboo groves. There, you’ll see a stone boat, winding corridors, waterside pavilions, and towers. The main structure of Xingyuan, “Yiwan Hall” (Evening Delight Hall), is a perfect spot for tea, rest, and fish-watching. Crossing “Fushou Bridge” and passing “Huanshu Bridge,” you’ll arrive at the newly built grand theater stage. The stage is 9 meters wide and 7 meters deep, with a caisson ceiling above intricately carved with over 400 birds, shining golden. Why is such an elaborate and finely crafted caisson built above the stage? Aside from decoration, it also serves to amplify sound — remember, stages in ancient times had no microphones. On the upper floor of the theater stage are displayed large root carvings conceptualized by Mr. Zhang Zheng from Anhui, designed and created by Shanghai Tianqu Artworks Co., Ltd. These have been recognized as a Guinness World Record. Hundreds of root sculptures, mainly themed around myths and legends, feature vividly lifelike figures that seem ready to step out. Among them, “The Eight Immortals Crossing the Sea,” “Longevity Beyond the Southern Mountains,” and “Sun Wukong Blowing Hair to Summon Troops” are considered masterpieces.

Moving north from the grand theater stage leads you to the eastern half of Guhua Garden. While both the eastern and western sections of the garden share similar styles of ancient bridges and architecture, the eastern section is noticeably more grand in scale. East Lake is broad with rippling blue waters; newly transplanted trees such as ginkgoes, betel palms, and elms are tall and sturdy; there are also Washington palms that evoke a distinct southern atmosphere. The rockery waterfall facing the north gate appears as if naturally formed.

Walking eastward from the park’s north gate, you’ll be drawn to a striking bamboo grove. Beneath the bamboo lies a massive “rotten log” lying on the ground. Upon closer inspection, you’ll discover it’s a petrified “silicified wood.” It’s said that the world’s longest silicified wood, once recognized by the Guinness World Records, was in the United States — in 16 segments totaling 26 meters. But the silicified wood before you is 28 meters long, in 12 segments, with the largest diameter measuring 3.3 meters. Therefore, this Guinness World Record should be overtaken by Guhua Garden’s silicified wood. This piece dates back to the Jurassic period — the age of dinosaurs — and is hundreds of millions of years old. Having endured immense natural upheavals, it stands as a witness to Earth’s historical transformations. One can imagine the catastrophic events that caused such massive trees to collapse and be buried deep underground, only to later be exposed again due to tectonic shifts atop a small hill on Bali Island, Indonesia. Today, as we admire this ancient relic, we can also appreciate the tremendous effort involved in obtaining permission from the Indonesian government, carefully extracting it from the mountain, and transporting it across mountains and rivers all the way to China — to Guhua Garden. What a majestic and spectacular historical journey it has been.