The Museum of the Imperial Palace of Manchukuo

Introducing The Museum of the Imperial Palace of Manchukuo
The Museum of the Imperial Palace of Manchukuo is a city landmark located in Changchun. The Museum of the Imperial Palace of Manchukuo is housed within the former imperial palace of Puyi, the last emperor of China and puppet emperor of the Japanese-controlled state of Manchukuo (1932-1945).

Established in 1962, this expansive museum, encompassing 250,000 square meters (61.78 acres), offers a multifaceted understanding of the Manchukuo period through the experiences of Puyi. It explores not only the political landscape of the era but also the intimate details of daily life within the palace walls. The museum’s rich collection comprises artifacts from the Manchukuo imperial court, complemented by Japanese, Northeast Chinese, and folk artifacts, each contributing to a nuanced perspective on this complex and turbulent period.

The Museum of the Imperial Palace of Manchukuo Fast Facts
• AKA: Puppet Emperor’s Palace
• Chinese Name: Wěi Mǎn Huáng Gōng Bó Wù Yuàn 伪满皇宫博物院
• Date Established: 1962
• Best Time to Visit: All year around
• Recommended Visiting Hours: 2 - 3 x hours
• Things to Do: Photography, Culture and History, Architecture
• Opening Hours: Tuesday to Sunday, 8:30 – 17:20 (Apr – Oct), 8:30 -16:50 (Nov – Mar)
• Entrance Fee: CNY70
• Address: 5 Guangfu North Road, Kuancheng District, Changchun, Jilin Province

The History of Museum of the Imperial Palace of Manchukuo
In 1931, Japan seized control of Northeast China (Manchuria/Manchukuo), encompassing the modern-day provinces of Liaoning, Jilin, and Heilongjiang. To legitimize their puppet state of Manchukuo, they installed Puyi, the last Qing emperor (1644-1912), as its nominal ruler. While Puyi held the title of Emperor, his power was severely limited, extending primarily to the design of his new palace. Two competing designs emerged: a modern, integrated structure proposed by the Mantetsu (a powerful Japanese corporation), and a traditional, south-facing palace reminiscent of Beijing’s Forbidden City, championed by the Construction Corps Bureau and preferred by Puyi himself.

Initially, a western site was chosen for the new palace, with a temporary palace planned for the city center. However, the western location was abandoned, leaving the central site as the permanent location. World War II further hampered construction, diverting resources and ultimately halting the project in 1943.

Unable to occupy his intended palace, Puyi resided in the former Salt Gabelle offices, a building located near the railway and ironically nicknamed the “salt palace.” This cramped and unsuitable building served as his residence from 1932 to 1945. The Soviet invasion of Manchuria in August 1945, following their declaration of war against Japan, swiftly brought an end to the puppet state of Manchukuo. Puyi’s attempt to flee to Japan was thwarted when he was captured by Soviet forces. The unfinished palace and the surrounding city were subsequently looted.

In 1962, the remaining palace structures were repurposed and transformed into the Museum of the Imperial Palace of Manchukuo. The museum’s collection was significantly expanded in 1982 with the incorporation of exhibits from the Jilin Provincial Museum. This was followed by renovations in 1984 and a more comprehensive renovation in 2004, further enhancing the museum and its offerings.

What to Expect at the The Museum of the Imperial Palace of Manchukuo
For history lovers who are interested in China’s last emperor Puyi, the museum offers valuable context surrounding the tumultuous Manchukuo period and Puyi’s controversial role within it, providing insightful information.

From Emperor to Citizen: Exhibition of The Life of Aisin-Gioro Puyi
This exhibition objectively chronicles the extraordinary life story of Puyi, the last emperor of the Qing Dynasty. Through 421 photographs and over 260 artifacts, it traces his journey from emperor, to deposed royalty, puppet emperor of Manchukuo, war criminal, and finally, citizen of the People’s Republic of China. By focusing on this controversial figure (Puyi is often seen as both a traitor and a victim of circumstance), the exhibition illuminates a period of immense upheaval and explores how circumstance can shape human destiny.

Imprints of History: Exhibition of Qing Dynasty’s Imperial Seals
Imperial seals, also known as imperial chops, were the official seals, stamps, and signets used by emperors throughout history, particularly in East Asia (China, Japan, Korea, and Vietnam). These seals represented the emperor’s authority and were used to authorize documents, decrees, and other official acts.

This exhibition, a joint presentation by the Museum of the Imperial Palace of Manchukuo and the Palace Museum (Forbidden City) in Beijing, showcases eighty meticulously selected imperial seals from the Palace Museum’s collection, offering a glimpse into the symbolic and political power of the Qing Dynasty through displays of various seal types, including Imperial Seals of the Emperors, Seals and Registers of the Empresses and Consorts, Palace Seals, and Official Seals and Tallies; the exhibition also showcases Seal Impressions and Materials.

Jixi Building
The Jixi Building, a striking example of Russian-style architecture from the early 20th century, had a fascinating history. Originally constructed as the office building for the Jilin-Heilongjiang Exclusive Transportation Bureau, it was later transformed into the private residence of Emperor Puyi. Within the building, Puyi established his personal domain, including a private bedroom and reading room. The Jixi Building also accommodated Empress Wanrong and Concubine Tan Yuling in separate living quarters, and housed a family hall and a Buddhist chapel, reflecting the imperial family’s needs.

Zhixiu House
Zhixiu House, a detached structure built in the early 1930s, served as an informal dining hall for Emperor Puyi. He also stored a portion of his cash and jewels in two safes located in the back apartment. Following the marriage of Puyi’s second younger sister to Zheng Guangyuan, the couple resided there for a period. After the completion of the Tongde Hall, Zhixiu House was repurposed into a school for the children of the palace staff.

Changchun House
Changchun House, a detached structure designed as a mirror image of Zhixiu House to maintain the palace’s symmetrical layout, initially housed Puyi’s fourth and fifth younger sisters. In July 1937, it served as the residence of Puyi’s father, Prince Chun, during a brief visit to congratulate Puyi on his ascension to the throne.

Tongde Hall (Hall of Concordant Virtue)
Completed in 1938, the Tongde Hall is the largest building within the Manchukuo Imperial Palace and one of the museum’s most representative structures. Built by the Japanese as a temporary palace for Puyi and his family, the three-story structure covers 3,707 square meters. Its design blends traditional Chinese palace design with elements of ancient Japanese architecture and Western influences, resulting in an eclectic style. The reinforced concrete frame is clad in beige brick and topped with yellow tiles bearing the seal script characters “弌德” (yì dé, meaning “one virtue”) on the eaves and “弌心” (yì xīn, meaning “one heart”) on the roof pendants, symbolizing the “Japan-Manchukuo unity of virtue and heart.”

Qinmin Building
The Qinmin Building, a two-story square structure of brick and wood, was originally built in 1914 as office space. After Puyi became the puppet emperor of Manchukuo in 1932, he renamed it Qinmin, meaning “diligent for the people,” a name derived from the ancestral motto “revere heaven, respect ancestors, diligently govern, and love the people.” Puyi used the building for a variety of purposes, including holding ceremonies, receiving guests, hosting banquets, and performing ancestral rites.

How to Get to The Museum of the Imperial Palace of Manchukuo
• By Bus: Take bus 116, 257, 279, 357, G225, Z318 to Guangfulu (Guangfu Road) Station.
• By Subway: Take subway line 3, 4 to Weimanhuanggong (The Imperial Palace of Manchukuo) Station.