Zhengzhou Hotels
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Crowne Plaza Zhengzhou Zhengzhou from $46.33 USD • Dahe Jinjiang Hotel Zhengzhou
from $51.00 USD • Crowne Plaza
Zhengzhou is an almost entirely modern city, rebuilt virtually from scratch after
suffering heavily in the war against Japan. Its main streets have the slick look of
prosperous Chinese cities, but there is still a little catching up to do - some of the
citizens, still dressed in Mao suits, don't look entirely comfortable with the new
China, and plenty of the streets, including some small, useful roads in the centre, are
narrow, muddy tracks that regularly get blocked by cars. Although there are plenty of
modern facilities, the town's few old sights are neglected. Droves of foreigners come
here to do business, but no one expects them to go sightseeing.
At the hub of downtown Zhengzhou, the Erqi Pagoda (daily 8am-5pm; ¥5) is a
seven-storey structure built to commemorate those who were killed in a Communist-led
strike of rail workers in 1923 that was put down with great savagery by the warlord Wu
Pei Fu. As the exhibition of photos inside is badly maintained and has no English
captions, the pagoda is best thought of as a landmark. The streets that lead off it are
modern, store-lined boulevards, the largest and most interesting being Erqi Lu and
Renmin Lu , which lead north to the east-west Jinshui Lu , the most exclusive district.
East of the huge and complex roundabout at the junction of Jinshui Lu and Renmin Lu (and
a host of smaller streets) is a string of classy restaurants and hotels. Just on the
west side of the roundabout, a statue of Mao, whose view of the gleaming, foreign-owned
luxury monoliths on the east side is fortunately obscured by a flyover, stands outside
the old city museum, now closed. Most taxi drivers will bring you here if you ask to go
to the museum and don't specify where it is. A giant glass pyramid at the end of Jing Qi
Lu, the new Henan Provincial Museum boasts a good collection of Shang-dynasty relics.
The old city to the east is cut through by the Shang city walls , rough earthen
ramparts 10m high, originally built more than two thousand years ago, though frequently
repaired since. They were made by constructing a wooden frame, filling it with earth,
pounding it down, then removing the frame, a technique that is still used in domestic
architecture. There is a path along the top, and you can walk for about 3km along the
south and east sections; the west section has been largely destroyed by development. The
south section is open to the street, and you can scramble up anywhere. You have to
descend to cross Nan Dajie, then walk through an alleyway to pick up the path again, and
repeat the process at Shangcheng Lu. Planted with trees, the walls are now used by the
locals as a short cut and a park, and in the early evening the path is full of courting
couples, kids who slide down the steep sides on metal trays, and old men who hang their
cagebirds from the trees and sit around fires cooking sweet potatoes. Some people grow
vegetables at the wall's base, others throw their rubbish here. Indeed, the charm of the
wall comes from the way it has been incorporated by the inhabitants - it doesn't seem to
occur to anyone to treat the walls as a historical monument.
A short walk from the eastern wall, on the north side of Shangcheng Lu, the
Chenghuang Miao (Temple of the City God; daily 8am-4.30pm; ¥6) is worth a look around.
The attendants regard visitors as an interruption in their day's knitting and usually
keep the doors closed; you have to shout through the gap to gain admittance. Though the
temple has the look of an abandoned warehouse (which it probably is), with tumbled trees
and odd boxes lying around and, outrageously, a toilet built right next to the Main
Hall, it retains a glimmer of its past glory in the roof decoration. Well-observed
images of birds decorate the eaves of the first hall, underneath roof sculptures of
dragons and phoenixes. The East Hall now contains a small art gallery; upstairs is one
of those exhibitions of African body art that the Chinese seem so fascinated by. The
interior of the Main Hall is modern, with a mural on three walls whose style owes much
to 1950s socialist realism. In the centre a sculpture of a stern-looking Chenghuang,
magisterial defender of city folk, in a judge's costume, sits flanked by two attendants.