The Old Summer Palace, Symbol of a Century of National Humiliation

A Re-examination Through the Eyes of 21st Century Envoys to Beijing · Kim Ji-eun · Seoul National University

Introduction

On January 4th, the afternoon of the second day of our trip, we decided to visit the Old Summer Palace and then proceed to the Summer Palace. As we headed to the Old Summer Palace after lunch, my heart grew heavy. 'There won't be much to see at the Old Summer Palace...' I was just glad we were visiting the Old Summer Palace before the splendor of the Summer Palace. Although the Old Summer Palace is larger than the Summer Palace, it has unfortunately lost much of its former appearance. Moreover, as the presenter, I felt uneasy about visiting a place that served as an imperial summer retreat during winter. In my preparations for the trip, the descriptions of the Old Summer Palace I found seemed to fit adjectives like 'desolate,' 'barren,' and 'arid.' I hoped our group wouldn't be too disappointed. So, I had been preemptively preparing them, saying, 'You might find this place very empty! Let's focus on finding the charm of the Old Summer Palace from that perspective!' 5. The Old Summer Palace, Symbol of a Century of National Humiliation: A Re-examination Through the Eyes of 21st Century Envoys to Beijing

At the Entrance with EAI Sarangbang

Why, then, did we visit the Old Summer Palace if it was so empty and lacked things to see? And what charm did we find within it? Before I discuss how we viewed the Old Summer Palace, let us take a moment to look back at the history it has witnessed.

The Old Summer Palace in History

The Old Summer Palace encapsulates the rise and fall of the Qing Dynasty. It was built during the reigns of Emperors Kangxi, Yongzheng, and Qianlong, periods of Qing prosperity. At this time, China became the wealthiest nation in the world, completely dominating the East Asian order. The Old Summer Palace was first gifted by Emperor Kangxi in 1709 to his son, Yinzhen

(胤禛)

as a summer residence. Its initial scale was not very large. After Yinzhen ascended the throne as Emperor Yongzheng, it began to be gradually expanded in the north, east, and west directions starting from the third year of Yongzheng's reign (1725), and it was developed into the imperial gardens. Emperor Yongzheng particularly favored the Old Summer Palace as a summer retreat, and his stays there with his concubines are depicted in Chinese dramas such as 'Empresses in the Palace'

(后宮甄嬛傳)

(See episode 5 of the drama!). Later, Emperor Qianlong further expanded the Old Summer Palace by adding Baroque architectural elements. From 1709 to 1860, emperors resided here and handled state affairs. Due to its scale and beauty, the Old Summer Palace earned the nickname 'Garden of Gardens' (萬園之園).

If you are curious about the beautiful appearance of the Old Summer Palace during the prosperous era of the Qing Dynasty, I recommend the documentary titled 'The Old Summer Palace,' produced by China Central Television (CCTV) in 2008. You can easily find it by searching 'Old Summer Palace' on YouTube.

bestowed upon

1. http://www.youtube.com/watch?v=vH9XYyq57iE (Accessed: January 18, 2014).

This short film, lasting just over 8 minutes, features 3D reconstructions of the magnificent and beautiful Old Summer Palace during the reigns of Emperors Kangxi, Yongzheng, and Qianlong. The film presents the glorious history of the Old Summer Palace, divided into the Kangxi and Yongzheng periods. For the Kangxi era (1661-1722), it introduces relics such as Pengdao Yaotai (蓬岛瑶台), Jiuzhou Qing'an (九州清晏), Zhengda Guangming (正大光明), and Wanfang Anhe (萬方安和). For the Yongzheng era (1722-1735), it introduces relics such as Danbo Ningjing (澹泊宁静), Fanghu Shengjing (方壶胜境), Hongci Yonggu (鸿慈永枯), Dashuifa (大水法), Hai'antang (海晏堂), Xieqiqu (諧奇趣), and Yuanyangguan (遠瀛觀). The names and images alone might not evoke much emotion, but I highly recommend watching the film. Today's visible ruins, such as Xieqiqu, Hai'antang, Fangwaiguan, Dashuifa, and Yuanyangguan, are mostly from the Yongzheng period. Among these, the Dashuifa and Hai'antang areas are particularly famous. Dashuifa is an artificial fountain located in the Western Mansions within the Old Summer Palace, and the area around it is called Hai'antang. Surrounding Dashuifa are the twelve Chinese zodiac animal statues, representing the twelve two-hour periods of the day. Water was sprayed from the mouths of these animal head statues every day at noon.

Chinese dramas such as

(Empresses in the Palace)

also appears. (See episode 5 of the drama!) Afterward, Emperor Qianlong further expanded the Yuanmingyuan by adding Baroque architectural elements. From 1709 to 1860, emperors resided here and handled state affairs. Due to its scale and beauty, the Yuanmingyuan earned the nickname 'The Garden of Gardens' (萬園之園).

If you are curious about the appearance of the Yuanmingyuan during the flourishing period of the Qing Dynasty, we recommend the documentary titled "Yuanmingyuan," produced by China's CCTV in 2008. You can easily find it by searching for 'Yuanmingyuan' on YouTube.

5. The Old Summer Palace, Symbol of a Century of National Humiliation: A Re-examination Through the Eyes of 21st Century Envoys to Beijing However, after the glorious zenith of the Qing Dynasty, China found itself in crisis by the mid-19th century. The fate of the Old Summer Palace was inevitably tied to the fortunes of the Qing. The First Opium War in 1840 marked the beginning of this decline. Until then, foreign troops had not penetrated the heartland of the Chinese continent, Beijing, engaging primarily in battles along the coast. However, by the time of the Second Opium War in 1860, the situation had drastically changed. Triggered by the Arrow Incident in 1856, Britain and France formed an alliance and attacked Qing China. The Anglo-French allied forces advanced all the way to Beijing, and it was during this time that the Old Summer Palace was burned down. Numerous sites, including Xieqiqu and Dashuifa, were destroyed, and cultural artifacts from the Old Summer Palace were looted and taken abroad.

However, as the glorious golden age of the Qing Dynasty passed, China faced a crisis in the mid-19th century. The fate of the Yuanmingyuan was inevitably tied to the rise and fall of the Qing. The First Opium War in 1840 marked the beginning. At this point, foreign troops had not yet penetrated the heart of the Chinese mainland, Beijing, and engagements were primarily fought along the coast. However, by 1860, when the Second Opium War broke out, the situation had completely changed. The Arrow Incident in 1856 1 http://www.youtube.com/watch?v=vH9XYyq57iE (Accessed: January 18, 2014).

The movie 'CZ12' (Chinese Zodiac), released in 2012, is based on the looting and return of the Dashuifa zodiac statues. This film, which also featured Korean actor Kwon Sang-woo, became well-known in Korea. Did you happen to see it? The reason I eagerly volunteered to present on the Old Summer Palace during our trip was precisely because of this movie. 'Zodiac' refers to the twelve signs of the zodiac, and the Chinese zodiac is symbolized by twelve animals, including the rat, ox, tiger, and rabbit. This film follows the protagonists as they track down the whereabouts of twelve bronze statues, Chinese national treasures that were scattered abroad due to wars in the 19th century and are now being traded at high prices in auctions worldwide, over 150 years later. The rabbit and rat head statues among those featured in the movie were each sold for 14 million Euros (approximately 27 billion Korean Won) at a French auction in February 2009. The two statues were previously owned by fashion designer Yves Saint Laurent and his partner Pierre Bergé, and were put up for auction along with 732 other items from their collection (Korea Economic Daily, 2009/03/06). This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

The Old Summer Palace and the Chinese Zodiac statues are the subject of the movie 'CZ12' (Chinese Zodiac), released in 2012. This film, which also featured Korean actor Kwon Sang-woo, became well-known in Korea. Did you happen to see it? The reason I eagerly volunteered to present on the Old Summer Palace during our trip was precisely because of this movie. 'Zodiac' refers to the twelve signs of the zodiac, and the Chinese zodiac is symbolized by twelve animals, including the rat, ox, tiger, and rabbit. This film follows the protagonists as they track down the whereabouts of twelve bronze statues, Chinese national treasures that were scattered abroad due to wars in the 19th century and are now being traded at high prices in auctions worldwide, over 150 years later. The rabbit and rat head statues among those featured in the movie were each sold for 14 million Euros (approximately 27 billion Korean Won) at a French auction in February 2009. The two statues were previously owned by fashion designer Yves Saint Laurent and his partner Pierre Bergé, and were put up for auction along with 732 other items from their collection (Korea Economic Daily, 2009/03/06). This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

ruins

The bronze statues featured in the movie, specifically the rabbit and rat head statues, were each sold for 14 million Euros (approximately 27 billion Korean Won) at a French auction in February 2009. The two statues were previously owned by fashion designer Yves Saint Laurent and his partner Pierre Bergé, and were put up for auction along with 732 other items from their collection (Korea Economic Daily, 2009/03/06). This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

The rabbit and rat head statues among those featured in the movie were each sold for 14 million Euros (approximately 27 billion Korean Won) at a French auction in February 2009.

each sold for 14 million Euros (approximately 27 billion Korean Won) at a French auction in February 2009.

designer Yves Saint Laurent and his partner Pierre Bergé, and were put up for auction along with 732 other items from their collection (Korea Economic Daily, 2009/03/06).

This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

This led to a tense situation between the Chinese government, demanding the return of cultural artifacts, and France, refusing to do so.

The Old Summer Palace in the Eyes of Modern Chinese People

'The fire burned the face of all Chinese people and engraved deep shame in the hearts of all Chinese people. The fire destroyed the Old Summer Palace, but it awakened countless dreamers. The people of the Yellow River and the Yangtze River could only watch with bound hands and tearful eyes as the beautiful garden burned.'

This is the final narration from the Chinese film 'The Burning of the Old Summer Palace' (火燒圓明園) (1983). It clearly expresses strong animosity towards Westerners and shame for being powerless before them. Have you heard the term 'Century of National Humiliation' (百年國恥)? This term is often used, especially among intellectuals, to describe the self-perception of modern Chinese people. Through the Opium Wars of the 19th century, China was, for the first time, relegated from the upper echelons to the lower strata of the world. During its peak, the Qing Dynasty was the wealthiest nation globally, but overnight, it lost its standing due to the rapid advancements of Western societies. The pride and self-esteem that Chinese people once held were shattered by Western weaponry, leaving an indelible scar on the historical memory of the Chinese people. For the Chinese, the Old Summer Palace is a place that starkly represents both this original national pride and the century of humiliation experienced through encounters with the West.

The people of the Yellow River and the Yangtze River could only watch with bound hands and tearful eyes as the beautiful garden burned.'

The people of the Yellow River and the Yangtze River could only watch with bound hands and tearful eyes as the beautiful garden burned.'

The people of the Yellow River and the Yangtze River could only watch with bound hands and tearful eyes as the beautiful garden burned.'

This is the final narration from the Chinese film 'The Burning of the Old Summer Palace' (火燒圓明園) (1983). It clearly expresses strong animosity towards Westerners and shame for being powerless before them. Have you heard the term 'Century of National Humiliation' (百年國恥)? This term is often used, especially among intellectuals, to describe the self-perception of modern Chinese people. Through the Opium Wars of the 19th century, China was, for the first time, relegated from the upper echelons to the lower strata of the world. During its peak, the Qing Dynasty was the wealthiest nation globally, but overnight, it lost its standing due to the rapid advancements of Western societies. The pride and self-esteem that Chinese people once held were shattered by Western weaponry, leaving an indelible scar on the historical memory of the Chinese people. For the Chinese, the Old Summer Palace is a place that starkly represents both this original national pride and the century of humiliation experienced through encounters with the West.

have you heard this term? Among contemporary Chinese, especially intellectuals, it is often used to express their self-perception. After the Opium Wars in the 19th century, China was, for the first time, pushed from the top tier of the world to the lower tier. During the Qing Dynasty's peak, it was the wealthiest nation globally, but overnight, it lost its standing due to the rapid development of Western societies. The pride and self-respect that Chinese people had held were shattered by Western weaponry, leaving an indelible scar on Chinese history. For the Chinese people, the Yuanmingyuan is a place that starkly symbolizes both this original national pride and the hundred years of humiliation experienced through encounters with the West.

5. The Yuanmingyuan, a Symbol of a Century of Humiliation: A Re-examination through the Eyes of 21st Century Envoys

Because of this symbolism, there are still many controversies surrounding the Yuanmingyuan in China today. Numerous special reports and video materials about the Yuanmingyuan are featured in Chinese media, including the People's Daily (人民日報) and CCTV. In 2010, the 150th anniversary of the outbreak of the Second Opium War, the Yuanmingyuan garnered particular attention. The controversies surrounding the Yuanmingyuan can be broadly categorized into two main issues: one concerning the repatriation of cultural artifacts, and the other regarding whether the destroyed site of the Yuanmingyuan should be preserved as is or restored.

Let us first consider the issue of cultural artifact repatriation. The Yuanmingyuan is at the center of the debate on the return of Chinese cultural artifacts. A special report by CCTV commemorating the 150th anniversary of the looting and destruction of the Yuanmingyuan reported as follows:

In 2006, UNESCO estimated that approximately 1.6 million Chinese cultural artifacts are currently housed in 47 museums worldwide.

It is known that one million of these were looted from the Yuanmingyuan.

For example, a 2-meter-tall Buddhist stupa

is attracting tourists in the Chinese Pavilion at the Palace of Fontainebleau in France.

This Chinese Pavilion houses over 1,000 Chinese cultural artifacts, with 320 items on public display,

all of which were looted from the Yuanmingyuan (CCTV October/20/2010).

The motif of the Twelve Earthly Branches, which inspired the movie "CZ12" introduced earlier, was particularly highlighted among the cultural relics of the Old Summer Palace. According to another report from CCTV in the same year, the Twelve Earthly Branches were called "symbols of China's lost cultural relics" and became popular items in the global auction market (CCTV October/20/2010).

Another controversy concerns whether to preserve or restore the destroyed state of the Old Summer Palace. In October 2004, 20 Chinese experts gathered in Beijing for a heated debate on the reconstruction of the Old Summer Palace. Those who argued against reconstruction asserted that the destroyed site of the Old Summer Palace symbolizes the painful history of Western imperialist forces in the 19th century and should therefore be preserved as a reminder for posterity. They considered the Old Summer Palace an optimal site for patriotic education, as it starkly illustrates the transgressions of the West. Opposition also arose regarding harmony with the surrounding landscape and the costs of reconstruction. Conversely, the argument for restoration was equally strong. Proponents argued that if it could be beautifully reconstructed to elicit admiration, it could also serve as a means to reflect on the wicked deeds of the Western powers that destroyed such a magnificent landscape (People’s Daily Online January/21/2005).2

Why are the issues of cultural relic repatriation and the preservation or restoration of the Old Summer Palace so controversial today? The sheer scale of cultural relic loss and the severity of the Old Summer Palace's destruction certainly contribute to the controversy. However, a more significant issue lies in the symbolism of the Old Summer Palace. Let us consider this in connection with the Chinese sentiment of "a century of humiliation" discussed earlier.

2 http://www.chinadaily.com.cn/english/doc/2005-01/21/content_411124.htm (Accessed: April 18, 2014). 5. The Old Summer Palace as a Symbol of a Century of Humiliation: A Re-examination Through the Lens of 21st Century Diplomatic Missions

On May 21, 2013, Professor James Hevia of the Department of History at the University of Chicago gave a lecture titled "The Afterlives of Ruins: The Yuanmingyuan in China and the West." Professor Hevia is the author of "Cherishing Men from Afar: Qing Guest Ritual and the Macartney Embassy of 1793," which Professor Ha Young-sun introduced with great interest among the readings for this semester's "Sarangbang" (salon). Videos of Professor Hevia's lecture are also easily accessible on YouTube.3 Hevia explained the Chinese government's current focus on the Old Summer Palace as stemming from the deep-seated sentiment of a century of humiliation and nationalism among Chinese policymakers. Let us apply this to the two controversies mentioned above.

First, regarding the repatriation of cultural relics, the Chinese government has organized various events at the Old Summer Palace to foster patriotism. Notably, in 2010, a ceremony commemorating the 150th anniversary of the looting of cultural relics during the Second Opium War was held at the Old Summer Palace (CCTV October/20/2010). At this event, the famous actor Jackie Chan sang a song titled "National Anthem" to inspire patriotism among the Chinese people. This event called for the return of cultural relics looted by the West and simultaneously condemned the auction of Old Summer Palace cultural relics taking place worldwide. At the event, Jackie Chan announced his decision to produce a film urging the return of looted cultural relics from the Old Summer Palace; this resulted in the movie "CZ12," released in 2012. He particularly explained that this endeavor was not solely for China but also for countries like Egypt and Cambodia. It was interesting to see the solidarity sought with these nations against past Western powers. The singers who participated that day performed pro bono, and the singers gave interviews stating that the past would be remembered as part of the collective memory of the Chinese people. It was an event that strongly reflected nationalistic sentiments. It is well-known that the Old Summer Palace was most severely damaged and its cultural relics lost during the Second Opium War. However, the severe destruction that led to its current state was also due to the Boxer Rebellion in 1900 and the great chaos during the Cultural Revolution from 1966 to 1976 (Lee 2005, 155-156). It is worth noting the Chinese government's intention in emphasizing "the 150th anniversary of looting" to highlight only the history of Western invasion.

Next is the issue of restoring the site destroyed by Western invasion. The Chinese government appears to be striving to establish normative superiority over 19th-century Western imperialist forces by highlighting the issue of the Old Summer Palace's preservation/restoration. Consider the current relationship between China and the United States. The two countries are in a confrontational stance not only in military and economic spheres but also in terms of values and norms. Historically, China has been at a disadvantage in terms of values and norms. For instance, the Western world has consistently raised human rights issues regarding the Chinese government's control to prevent ethnic minority independence. China has been quite vulnerable to attacks claiming that democratic values are not upheld, not only concerning ethnic minorities but also overall. However, the Chinese government is currently emphasizing the 19th-century Western invasion symbolized by the Old Summer Palace. For China, this site serves as a means to urge a degree of reflection from the West on its past actions. This can be interpreted as a counter-argument: while China faces much criticism today in terms of values and norms, the Western world was not entirely blameless in the past.

Conclusion: How Should We View the Old Summer Palace? Thus far, we have examined the Old Summer Palace from a Chinese perspective. However, the perspective on the Old Summer Palace is not solely Chinese. How do Westerners view the Old Summer Palace? When I visited the Old Summer Palace this time, I was eager to ask Western tourists strolling through the grounds about their thoughts. What happened? I did not see a single Western tourist. Was I unlucky, or are Westerners genuinely not very interested in this site? As revealed in the title of Hevia's lecture, the Old Summer Palace viewed by Chinese people and the Old Summer Palace viewed by Westerners must differ. Even when experiencing the same events in the same time and space, the history of the Second Opium War as experienced by the Chinese and the history as experienced by the Anglo-French allied forces have been reproduced separately.

The question we asked ourselves upon entering the Old Summer Palace was precisely, "Through what lens should we view the Old Summer Palace?" The Chinese have their own perspective, and so do Westerners. Is it natural to empathize with the Chinese perspective, recalling our own 19th-century history and experiencing the joint invasion by multiple powers?

Or, conversely, should we align ourselves with the Western perspective, which suppressed the Qing Dynasty that had made Joseon its vassal state? If neither, what would be our own third way of interpretation? ■ 5. The Old Summer Palace as a Symbol of a Century of Humiliation: A Re-examination Through the Lens of 21st Century Diplomatic Missions References Lee, Haiyan. 2009. “The Ruins of Yuanmingyuan: Or, How to Enjoy a

National Wound.” Modern China 35, 2: 155-156.

Maeil Business Newspaper. 2009. “This Time It’s a Cultural Heritage Battle… China-France ‘Third Cold Front’.”

March 6.

CCTV. 2010. “Gala Marks 150th Anniv. of Looting of Yuanmingyuan.”

October 20.

───. 2010. “Yuanmingyuan Animal Head Sculptures: Symbol of

China’s Lost Relics.” October 20.

───. 2010. “1.6 million Chinese Relics Held by 47 Museums

Worldwide.” October 20.

People’s Daily Online. 2005. “Should Yuanmingyuan be rebuilt?” January 21. http://www.youtube.com/watch?v=vH9XYyq57iE (Accessed: January 18, 2014). http://www.youtube.com/watch?v=hAiLsuk_gLo (Accessed: January 18, 2014).