ARTS AND INTERIORS OF

CHINA
Prepared by: IDr. Diane Arnette A. Bacong
HISTORICAL

BACKGROUND
Historical Background

 Early s et t lem ents bes ide Yellow R iver in

t h e Nor t h , Wei R iver in t h e Nor t hwes t
an d Yan g zi R iver in t h e S ou t h

 Kn own as t h e ‘ Middle Kingdom ’ bec au s e

it was t h ou g ht to be t h e c en t er of t h e
u n ivers e

 Fou r m ain s oc ial c las s es :

 S c h olar- g en t r y
 Peas an t s
 Ar t is an s
 M erc h a n t s
Historical Background

 M any an c ien t objec t s s u r vive, s u c h a s

c ar vin g s in s t on e, objec t s of bron ze, a n d
pot t er y, bu t lit t le rem ain s of an c ien t
bu ildin g s bec au s e of wood as prim ar y
bu ildin g m at erial

 M os t s u r vivin g s t ru c t u res dat e f rom n o

earlier t h an t h e H an dyn as ty of 206 B.C.E.
t o 220 C.E., t h e era of t h e bu ildin g of t h e
Great Wall

 Pot ter y m odels of h ou s es f rom t h is era

were of t en plac ed in t om bs an d h ave
s u r vived t o g ive s om e idea of early bu ildin g
CHINESE

PERIODS
Periods

 Neolit h ic ( 6000 - 1 7 0 0 BC)  3 Kin g dom s ( 265- 4 2 0 )

 Erit ou Period ( 2000 - 1 6 0 0 BC)  Nor t h ern Dyn as t ies ( 386- 5 8 1 )

 S h an g Dyn as ty ( 1650 - 1 0 5 0 BC)  S ou t hern Dyn as t ies ( 420- 5 8 9)

 Z h ou Dyn as ty ( 105 0- 2 2 1 BC)  S u i Dyn as ty ( 581- 6 1 8)

 Q in Dyn as ty ( 221 BC- 20 7 AD)  Tan g Dyn as ty ( 618- 9 0 8)

 H an Dyn as ty ( 206 BC- 22 0 AD)

Shang Dynasty

 Kn own as t h e bronze period

 Kn own f or bron ze c as t in g or t h e
m an u f a c t u re of m et al u s in g c lay m odels

 T h e Royal f am ily lived in s ide a walled

palac e

 F irs t t o brin g order /ru le over warrin g

s t at es
Qin Dynasty

 Th e Kin g was ren am ed S hi ( f irs t ) H uang di ( em peror an d

divin e ru ler)

 Q in S h i H u an g di u n if ied Ch in a by im plem enting s t ric t laws ,

t axin g ever yon e an d in t rodu c ing on e s c ript f or writ in g , on e
s t an dard eac h f or m on ey, weig h t s an d m eas u rem en t

 O rdered t h e bu rn in g of s c h olarly book s

 Terra Cotta Warriors - 3000 lif e s ize f oot s oldiers bu ried in

t h e t om b of Q in
Han Dynasty

 f ou n ded by Liu Ban g

 c on t rol of t h e S ilk Road t h at lin ked As ia an d Eu rope

 Bu ddh is m s t ar t ed t o s pread

 Ext en s ion of an c ien t C h in es e bou n da ries

Tang Dynasty

 G olde n Age of Chinese Ar t

 Ch in es e lit erat u re blos s om ed an d was m ore widely

ac c es s ible wit h n ew prin t in g m et h ods

 Woodbloc k prin t in g is c redit ed f or h elpin g m ake Bu ddh is m

a reg u lar par t of ordin ar y Ch in es e lif e by g ivin g Bu ddh is t
m on k s t h e oppor t u n ity t o m as s - produ c e t ext s
CHINESE

ARTS
Silk Making

 S ilk m a k in g s t ret c h es b ac k 6,00 0 years

 Th e earlies t exam ple of s ilk f abric t h at h as been

dis c overed dat es f rom 3,63 0 BC in H en an

 S ilk c lot h m a n u f a c t u re was well advan c ed du rin g t h e

S h an g Dyn as ty ( 1600 - 1 0 4 6 BC) era

 S ilk g arm en t s were worn by em perors an d royalty, an d it

was a s t at u s s ym bol

 Com m on people were proh ibit ed f rom wearin g s ilk

 S ilk was als o u s ed f or a n u m ber of ot h er applic at ion s

in c lu ding lu xu r y writ in g m at erial

 Wat c h : h t tps ://www.you t u be.c om /wat c h ? v=zg WV JGR s C90

Calligraphy

 Ch in es e writ in g don e on s ilk , t h en lat er paper

 Wat c h : h t tps ://www.you t u be.c om /wat c h ? v=M EN0CzGv5- Y

Paintings

 Were m ade on bot h paper an d s ilk an d u s u ally c on s is t ed of

lon g s c roll f orm s

 Fan pain t in g was als o a s ig n if ic an t f orm

 Blac k an d wh it e lan ds c apes

 Tem pera pain t in g on paper

 Wat c h : h t tps ://www.you t u be.c om /wat c h ? v=WPm ED0GbY Us

Jade Ware

 Jade is a s ym bol of vit ality an d au t h ority

 J ade Cic ada ( a s ym bol of et ern al lif e) is pla c ed on t h e

m ou t h of a dec eas ed pers on

 Wat c h : h t tps ://www.you t u be.c om /wat c h ? v=izDO hy0yCrA

Porcelain

 A ceramic material made by heating raw materials, generally

including clay in the form of kaolin, in a kiln to temperatures
between 1200°C (2192°F) and 1400°C (2552°F)

 B l u e a n d W h i t e Wa r e s a r e g l a z e d u s i n g a t r a n s p a r e n t
porcelain glaze. The blue decoration is painted onto the
body of the porcelain before glazing, using very finely
g r o u n d c o b a l t o x i d e m i x e d w i t h w a t e r.

 Blanc de Chine is a type of white porcelain made at Dehua

in the Fujian province. It has been produced from the Ming
D y n a s t y ( 1 3 6 8 - 1 6 4 4 ) t o t h e p r e s e n t d a y.

 Po l y c h r o m e - c o l o r e d Po r c e l a i n i s a type that uses

technique of onglaze enameling Jingdezhen porcelain began
i n t h e e a r l y M i n g d y n a s t y. T h e c o l o r s w e r e d e r i v e d f r o m
m e t a l l i c o r e s , i n c l u d i n g : i r o n , m a n g a n e s e , c o b a l t a n d c o p p e r.

 Wa t c h : h t t p s : / / w w w. y o u t u b e . c o m / w a t c h ? v = v D w O Z g l 4 r H 8
CHINESE

CERAMICS
The Neolithic Period
 pot t er y was m ade by c oil bu ildin g an d
t h en beat in g t h e s h apes wit h a paddle

 t oward t h e en d of t h e period ( 2 n d
m illen nium BC) ves s els were beg u n
u s in g t h e h an d- bu ilt t ec h nique, t h en
f in is hed on a wh eel
The Neolithic Period
YANGS H AO WAR ES

 exh ibit a variety of s h apes , s izes an d

des ig n s , an d ag e

 m os t ly h an dm ade

 t h e pot t er y was f ired at 1000 - 1 5 0 0 ° C

The Neolithic Period
LUNGS H AN POT TERY

 u n dec orat ed an d alm os t m et allic in

f orm

 wh eel m ade, well- propor t ion ed wit h

walls t h at are t h in an d g los s y an d
m ark s a h ig h level of c raf t s m an s h ip
Shang Period
 the Neolithic prototypes became the
b a s i s f o r b r o n z e ve s s e l s d u r i n g t h i s
period

Fo u r b a s i c t y p e s :

 the first continued the Neolithic

f u n c t i o n a l t ra d i t i o n i n c o a r s e g ray c l ay ;
d e c o ra t e d w i t h i m p r e s s e d c o r d s o r
incised geometric patterns

 t h e s e c o n d c o n s i s t e d o f d a r k g ray
i m i t a t i o n s o f b r o n z e ve s s e l s

 the third, white pottery with finely

c a r ve d d e c o ra t i o n r e s e m b l i n g b r o n z e
designs

 t h e l a s t , g l a z e d s t o n e wa r e
Chou /Zhou Dynasty
 produ c ed u t ilitarian pot t er y – f u n erar y
u rn s , c ook in g ves s els an d libat ion jars

 m ade of h ard g rey c lay wh ic h h ad n o

g laze on it s s u r f ac e

 piec es were u s u ally m olded by h an d

 orn am en t at ion c on s is t of h at c h in g an d
s om et im es c ros s - h at c h in g

 lozen g e- s h aped pat t ern m ay als o be

f ou n d
Qin Dynasty
TER R A- COT TA AR M Y O F S H I H UANGDI

 dis c overed in 1974

 S h i H u an g di was t h e f irs t em peror of

t h e Q in dyn as ty ( 221- 2 0 6 BC)

 an im perial leg ion of m ore t h an 6000

lif e- s ize s oldiers , in c lu ding c h ariot s ,
arc h ers an d h ors es bu ried in m ilit ar y
f orm at ion
Han Dynasty
 in c lu de ear t h enware m or t u ar y ves s els
an d g lazed wares

 h eavy jars an d in c en s e bu rn ers s h aped

like h ills

 jars an d c en s ers , t og et her wit h f ig u res

of s er van t s an d g u ardian s , an im als
an d h ou s es , were f or bu rial u s e an d
were c overed wit h a brown or g reen
lead g laze wh ic h bec am e irides c en t
wit h t im e
Han Dynasty
 it was ver y c om m on du rin g t h is period
t o apply c olored pain t t o ready- m ade
pot t er y wares an d t h es e appear m os t ly
on t h e c over, n ec k , s h ou lder an d belly
of pot t er y wares an d f ig u res

 popu lar pat t ern s are drag on s , t ig ers ,

zh u qu e ( a leg en dar y bird g u ardin g t h e
wes t ) an d c lou ds

 blu e porc elain f irs t appeared as early

as in t h e S h an g Dyn as ty bu t it reac h ed
it s m at u rity in t h e Eas t ern H an

 wh at m akes t h e blu e porc elain s pec ial

is t h e u s e of iron in t h e pig m en t
Six Dynasties Period
 Th e S ix Dyn as t ies period t akes it s
n am e f rom t h e s ix ru lin g dyn as t ies of
t h e era: t h e Eas t ern Wu ( 222– 2 8 0) ,
Jin ( 265– 4 2 0 ) , Liu S on g ( 420– 4 7 9) ,
S ou t hern Q i ( 479 – 5 0 2 ) , Lian g ( 502 –
557) , an d Ch en ( 557– 5 8 9) Dyn as t ies .

Y ÜEH WAR E

 g reen ware

 c eladon - g lazed s t on eware

 a prec u rs or of lat er porc elain

c eladon s , wh ic h beg an t o appear in
S ou t hern Ch in a
T’ang Dynasty
 pot t er y piec es were u s ed a s t om b
f ig u res an d f u rn is h in g s f or prom in en t
m em bers of Tan g s oc iety

 in c lu ded s om e Wes t ern f orm s

 inven t ion of c olored g lazes – g reen ,

yellow, blu e an d g olden b rown ( eit h er
m on oc h rom es or s plas h ed an d
dappled)

 S an c ai – a t ec h n ique wh ic h u s es t h ree-
c olored g lazes wit h a lead - s ilic at e bas e
T’ang Dynasty
 Blu es = t ran s paren t g laze + c obalt
oxide

 Green s = t ran s paren t g laze + c opper

oxide

 Brown s = t ran s paren t g laze + iron

oxide

 Brown g lazes h ad t h e wides t c olor

ran g e, ran g in g f rom lig h t yellow t o
oran g e an d deep brown
T’ang Dynasty
 T ’a n g wa r e s h ave a h i g h l y a b s o r b e n t ,
b u f f, e a r t h e n wa r e b o d y

 G l a z e s n o r m a l l y e x h i b i t a f i n e c ra c k l e

 Dappled glazes are also found on tomb

figures shapes as camels, horses and
demons

Tw o t y p e s :

 f i n e w h i t e e a r t h e n wa r e c ove r e d w i t h a
l e a d g l a z e o f g l o w i n g ye l l o w a n d g r e e n
tints, often in mottled patterns

 porcelain made into thin, delicate bowls

a n d va s e s w i t h c l e a r, b l u i s h o r g r e e n i s h
glazes
Sung /Song Dynasty
 Ves s els were eleg an t ly s h aped

 Dec orat ion – m olded, c ar ved or

pain t ed – in c lu ded drag on s , f is h ,
lot u s es a n d peon ies

 Kiln s were es t ablis h ed t h rou g h ou t

Ch in a

 Nor t h ern S on g s tyles : T in g , J u , an d

Ch ü n

 S ou t hern S on g s tyle: Lu n g - Ch ü an
Sung /Song Dynasty
CELADON

 a g r e e n - g l a z e d s t o n e wa r e o f h i g h q u a l i t y

 simple but refined shapes

 j a d e - l i ke g l a z e

 Chinese name is qingci which means

“g r e e n i s h p o r c e l a i n”

 N o r t h e r n S o n g c e l a d o n s a r e g ray
s t o n e wa r e c ove r e d i n t ra n s p a r e n t o l i ve
o r l i g h t b r o w n w h i c h t e n d s t o b e g ray i s h -
green

 Southern Song celadons are white

p o r c e l a i n w i t h l i g h t b l u i s h - g r e e n j a d e l i ke
c ra c k l e d g l a z e s
Sung /Song Dynasty
TZ U’ CH O U

 c h arac t erized by u n derg laze blac k

dec orat ion on wh it e or g lazed
porc elain

 c om bin es t ran s paren t g lazes wit h bold

s lip pain t in g , s g raf f it o, c ar vin g ,
in c is in g , im pres s in g an d m oldin g as
well as polyc h rom e overg laze
en am elin g

 u s ed by all s oc ial c las s es

Sung /Song Dynasty
JU YAO O R JU

 h as a bu f f s t on eware body an d is
c overed wit h a c eladon - like blu is h - g ray
g laze wit h a f in e c rac k le
Sung /Song Dynasty
CH I - CH O U

 wh it e porc elain wit h a s lig h t ly blu is h

or g reen is h g laze

 expor t ed t o I n don es ia, S ou t h eas t As ia,

an d t h e Ph ilippines
Sung /Song Dynasty
KUAN

 body is s t on eware was h ed wit h brown

s lip an d t h e g laze varies f rom pale
g reen t o laven der wit h a wide- m es h ed
c rac k le
Sung /Song Dynasty
TING/DING

 white and coarser ones are dour-colored

 m o s t p o p u l a r S u n g wa r e

 h a s t ra n s p a r e n t g r e e n g l a z e

 u s u a l l y d e c o ra t e d w i t h va r i o u s m o t i f s
t h a t i n c l u d e d d ra g o n s , f i s h , l o t u s e s a n d
p e o n i e s t h e n c ove r e d w i t h a s m o o t h
i vo r y g l a z e

 in-demand abroad partly because of the

superstition that a celadon dish would
break or change color if poisoned food
were put into it
Sung /Song Dynasty
CH UN

 m os t popu lar in t h e Wes t ; a g rayis h -

wh it e s t on eware c overed wit h a t h ic k
g laze t h at ran g ed f rom blu e t o
laven der an d s u f f u s ed wit h a c rim s on
pu rple
Sung /Song Dynasty
CH I EN YAO ( JI AN)

 a dark ware wit h a ver y dark brown ,

alm os t blac k g laze; t ea bowl is t h e
m os t c om m on

 dec orat ion is don e by plac in g a leaf or

paper- c u t on t h e in t erior bef ore f irin g
Yuan Dynasty
 S h u Fu – wh it e ware

 Un derg laze – a n ew porc elain m ak in g

ar t

 S ize of ves s els in c reas ed

 Pot ters experim en t ed wit h brig h t

en am el overg laze c olors

 A pu rely Ch in es e pic t orial an d f orm a l

des ig n lat er evolved in t h is period
Ming Dynasty
 Blu e- an d- wh it e ware of t h e Yu an
dyn as ty bec am e a m ajor expor t it em

 Th e s t aple produ c t was f in e wh it e

porc elain wh ic h m ade “Ch in a” a
h ou s eh old t erm over t h e world

 Pain t ing on pot t er y an d porc elain

bec am e ric h ly c olor f u l

 Dec orat ive bru s h pain t in g direc t ly on

t h e baked c lay reac h ed it s zen it h in
Ch in a
Ming Dynasty
 Tou - t s ’ai – a g las s y porc elain wit h
overg laze en am el pain t in g

 Th e overg laze en am el dec orat ion s

exec u t ed du rin g t h e reig n of Ch en g h u a
( 1465 - 8 7 ) in c orporat ed f lowers ,
f oliag e, an d f ig u re s u bjec t s ag ain s t
bac k g rou n ds of arabes qu es , Arabic
in s c ript ion s an d s c rollwork

 Pot ter y was m arked wit h d at es of t h e

em perors ’ reig n s
Ming Dynasty
WAN LI

 f ive- c olor ware

 t h e palet t e of u n derg laze blu e,

t og et her wit h g reen , yellow, eg g plan t
pu rple an d iron red
Ming Dynasty
BLANC DE CH I NE

 orig in at ed in Deh u a in t h e provin c e of

Fu jian

 s of t , c reamy wh it e g lazes on a wh it e
porc elain body; delic at e in s c ale an d
m odelin g
Ming Dynasty
FAM I LLE R O S E

 a n ew en am el s tyle in t rodu c ed f rom

Eu rope wh ic h h as as it s prin c ipal c olor
a delic at e opaqu e pin k an d t h e m et allic
pig m en t f or wh ic h was derived f rom
c olloidal g old
Qing Dynasty
 Popu lar polyc h rom e en am el s tyles
were f am ille ver t e ( g reen , yellow, an d
au berg in e pu rple) an d it s derivat ives ,
f am ille n oir ( blac k g rou n d) an d f am ille
jau n e ( yellow g rou n d)
Qing Dynasty
PEACH BLO O M

 a g laze of pin k is h red m ot t led wit h

ru s s et s t ops an d t in g ed wit h g reen

 h as pu re wh it e body

 s een m os t ly on s m all it em s f or a
s c h olar ’s des k

TEA- DUS T

 a g reen is h opaqu e g laze

CLAI R E DE LUNE

 a c obalt g laze of pales t blu e

CHINESE

ARCHITECTURE
Key Characteristics of Chinese Architecture

 T h e in dividu al bu ildin g is c om m on ly c om pos ed of t h ree par t s :

podium , m ain body, an d pitc h roof

 As f ar as layou t is c on c ern ed , t h e m a in bu ildin g an d it s

au xiliar y par t s are c om bin ed s ym m et ric ally alon g a n or t h - s ou th
axis an d en c los e at leas t t h e privat e c ou r tyard

 T h e s t ru c t u ra l s ys t em is t im ber

 T h e dou g on g bra c ket s ys t em

 Bold orn am en t at ion

 Th e s t ru c t u ral s ys t em is exp os ed t o t h e ou t s ide in an elaborat e

m an n er
Architectural Elements

 The dougong brac ket – a s t ru c t u ral m em ber f ou n d

bet ween t h e t op of a c olu m n an d a c ros s beam . Eac h is
f orm ed of a double bow -shaped arm (gong), wh ic h
s u ppor t s a bloc k of w ood (dou ) on eac h s ide. F ixed layer
u pon layer, t h e arran g em en t s bea r t h e load of t h e roof. I t
c an be f ou n d on ly in t h e m os t m a g n if ic en t bu ildin g s s u c h as
palac e an d t em ple h alls . Th e n u m ber of layers of t h es e
brac ket s t ru c t u res a ls o depen ded on t h e im por t an c e of t h e
bu ildin g s .
Dougong
 a n c i e n t C h i n e s e t i m b e r b u i l d i n g b ra c ke t
system

 design that is able to withstand extreme

seismic activity

 a series of interlocking beams cut to

precise measurements, that when
compressed under the weight of the
b u i l d i n g s ' h e av y t i m b e r r o o f s , a r e s t r o n g
e n o u g h t o w i t h s t a n d e a r t h q u a ke s

 by using a large number of pieces in the

design, the weight is shared and so
individual elements are not prone to
s p l i t t i n g o r c ra c k i n g
Architectural Elements

 Zaoj ing or c aisson c eiling – t h e

c en t ral deepes t par t is t h e round w ell
( j ing), t h e m iddle par t is t h e oc tagona l
w ell, a n d t h e ou t erm os t par t , c om in g
down t o t h e s am e level as t h e res t of
t h e c eilin g , is a square. Th e wh ole
des ig n s ym bolizes t h e a n c ien t C h in es e
belief t h a t “H eaven is above and the
Ear th is below ” an d t h a t “H eaven is
rou n d an d t h e Ear t h is s qu a re.”
Dom in a t in g t h e c en t er of t h e c ais s on is
a c oiled dragon look in g down in t o t h e
h all an d h oldin g s u s p en ded in it s m ou t h
a h u g e s ilver- wh it e pearl.
Architectural Elements

 Cu r ved roof

 Glazed t iles – t h e g lazed t ile, as a h ig h - g rade

m at erial in old Ch in a, was u s ed exc lu s ively on
palac e bu ildin g s of t h e im perial h ou s e of t h e
big m an s ion s of n obles an d h ig h of f ic ials

 Pres en c e of g arden or la n ds c ap in g
Architecture

 The indigenous architecture of vast countr y in eastern

Asia

 Te m p l e s , p a l a c e s a n d h o u s e s a l l s h a r e d a b a s i c s y s t e m o f
construction using wooden columns supporting beams
with bracketed connections, often richly carved

 Sloping roofs covered with tiles

 Buildings were most often only one story in height

 The interiors of typical Chinese buildings reveal the

structural elements, fully exposed

 The need to paint wooden elements to aid lasting

qualities gave rise to rich and colorful painting

 Interior walls became mere partitions, fitted between

structural columns
Architecture

 O u t s ide wa lls of h ou s es were of m a s on r y, bu t

were n ot u s ed f or s t ru c t u ral s u ppor t

 A s in g le door led t h rou g h an t eroom s t o a

c en t ral c ou r tyard wit h s u rrou n din g open
porc h es of veran das ; t h es e led, in t u rn , t o m ore
privat e room s

 Sym m et r y of plan layou t was c aref u lly obs er ved

 O rien t at ion was in f luenc ed by t h e c on c ept s of

f en g s h u i t h a t g ave mys t ic al s ig n if ic an c e t o all
as pec t s of plan n in g

 I n t eriors h as been in f lu en c ed s t ron g ly by t h e

s ys t em of roof c on s t ru c t ion, wh ic h is in t ern ally
expos ed
Architecture

 Colu m n s s u ppor t h orizon t a l elem en ts a t t a c h ed wit h brac ket s , an d

addit ion al ver t ic al s u ppor t s res t on t h e h orizon t als , f orm in g u pward
s t eps t h a t s u ppor t t h e an g le of t h e roof

 Th is c on s t ru c t ion s ys t em is a g ood res is t a n c e t o ear t h qu ake dam ag e, as

t h e wooden elem en ts an d join ts c an f lex wit h ou t break in g

 S t ru c t ural s t if f nes s is en t irely depen den t on t h e join er y of h orizon t als

an d ver t ic als obt ain ed t h rou g h c aref u lly in t erloc ked join t s at t h e
c on n ec t in g bra c ket s

 S in c e c eilin g were rarely u s ed, t h e vis ible c on s t ru c t ional g rid is a m ajor

elem en t in t he c h arac t er of in t erior s pac es

 Roof s were u s u ally g iven a projec t in g ext erior overh an g an d t ake an

u pward c u r ve t h at g ives ext erior arc h it ec t u re a dis t in c tive qu ality
Architecture

 A s in g le c en t ral s pac e m ay be
s u rrou n ded by open vera n da h s

 Larg er s pac es m ay u s e m u lt iple

rows of c olu m n s , f orm in g ais le- like
s pac es on eit h er s ide of t h e c en t ral
room

 Garden s open t o t h e s k y are plac ed

bet ween t h e f ron t an d rear room s

 Palac es an d c ou n t r y villas u s ed
c ou r tyards , pavilion s , an d g arden s
arran g ed in s ym m et ric a l pat t ern s t o
f orm vir t u al s m all c it ies
Forbidden City
 ak a I m perial City

 Beijin g

 1406 an d af t er

 Palac e c lu s t er

 Wit h s u rrou n din g m oat an d walls

 M ajor pavilion s of t h e palac e plac ed

alon g t h e c en t ral axis

 Tem ples ( Bu ddh is t , Ta ois t or

Con f u c ian ) were s im ilarly plan n ed, bu t
on a s m aller s c ale
Forbidden City
 Present structures are replacements of
older buildings either rebuilt to the taste
o f s u c c e s s i ve i m p e r i a l g e n e ra t i o n s o r
because they feel victim to some form of
destruction, usually fire

 E n c l o s e d b y b a t t l e m e n t e d wa l l s f u r t h e r
protected by a moat, establishing an
interior precinct of 178 acres

 O ve r 9 8 0 s e p a ra t e s t r u c t u r e s , i n c l u d i n g a
d r u m t o w e r, a b e l l t o w e r, f o r m a l s t a t e
reception rooms and residences
associated with particular emperors and
their associates, family members, and
s e r va n t s
Forbidden City
 I n dividu al bu ildin g s are pain t ed in
brig h t c olors , a f avorit e bein g s c arlet
red, an d t h e roof s are of t h e c olor f u l
t iles , u s u ally in t h e im perial yellow

 Cou r t s an d g arden s are arran g ed in

s pac es bet ween t h es e bu ildin g s

 Th e s t ric t ly axial plan n in g was adopt ed

f or m ore m odes t h ou s es an d was als o
t h e bas is f or t h e plan n in g of t h e en t ire
c ity
Principles in Chinese Architecture

TAOIS M

 Teac h es in dividu alis m a n d t ran s c en den c e t h rou g h d irec t c on n ec t ion with t h e n at u ral world

 Tao – in c om preh en s ible n at ural f orc e wh ic h all even t s in t h e u n ivers e u n f ailing ly f ollow

 dec orat ion ref lec t s Taois t pu rs u it of lu c k an d f u lf illm ent, lon g lif es pan , an d en c los in g in t o
t h e f air ylan d

 res or t t o n at u re t opog raphy t o bu ild t owers , pavilion s , lobbies an d ot h er g arden s t ru c t u ral

u n it s , dec orat ed wit h m u rals , s c u lpt ures an d s t eles t o en t er tain people, f u lly in t erpret in g
Taois t ph ilos ophy of n at u re
Principles in Chinese Architecture

TAOIS M

 Y in- Yan g – balan c e an d s ym m et r y

 Tradit ion al arc h it ec t u ral layou t , wh ic h is s ym m et ric ,

will be applied

 Bag u a s tyle in wh ic h a ll s t ru c t u res s u rrou n d t h e

Dan lu ( s t ove t o m ake pills of im m or t ality) in t h e
c en t er a c c ordin g t o Bag u a’s pos it ion requ es t . Th e
c en t er axis f rom t h e s ou t h t o t h e n or t h is ver y lon g
an d s t ru c t u res f lan k t h e ax is . Th e s tyle ref lec t s
Taois t ph ilos ophy t h at t h e h u m an c os m os f ollows t h e
n at u ral c os m os t o in t eg rat e en erg y, qi an d s pirit
Principles in Chinese Architecture

CONFU CIANIS M

 em ph as ized s t ric t adh eren c e t o s oc ial c onven t ions an d

rit u als f or t h e prop er f u n c tionin g of t h e s t at e

 t h e m ain s t ru c t u re is t h e m a in a x is ; s ec on da r y s t ru c t u res
are pos it ion ed as t wo win g s on eit h er s ide

 c u r ved roof s

 Feng shui t radit ion al c on c ept s of f ive elem en ts t h at were

believed t o c on s t itute t h e u n ivers e
Principles in Chinese Architecture

CONFU CIANIS M

 Nu m ber n in e – es pec ially applied in im perial a rc h it ec t u re, odd n u m bers were c on s idered
m as c u lin e

 Con c en t ric or s ym m et ric al s h apes

 S ig n if ic an c e of c olors :
 Yellow – s ole u s e of t h e em peror
 Green – on palac e bu ildin g s
 Red – h appin es s an d s olem n ity; g en erally u s ed on doors

 Zoom orph ic s ym bolis m s :

 Drag on – em peror
 Ph oen ix – em pres s
 Lion – g u ardian of palat ial s t ru c t u res
Principles in Chinese Architecture

B U D D H IS M

 a pat h of prac t ic e an d s pirit u al developm en t leadin g t o

in s ig h t into t h e t ru e n at u re of reality
Architectural Forms

TEMP L E

 Bu ddh is t t em ples in c lu de a t em ple,

pag oda an d g rot t o, wh ic h are c alled S i,
Ta, an d S h ik u in Ch in es e res pec t ively.

 Taois t arc h it ec t u re is variou s ly c alled

Gon g , Gu an or An in C h in es e.

 Con f u c ian t em ples , s u c h a s Kon g M ia o,

Yon g h e Tem ple ( H arm ony an d Peac e
Palac e Lam as er y) an d t h e Tem ple of
H eaven are c alled M iao, Gon g , or Tan in
Ch in es e.
Architectural Forms

PAG O DA

 t h e g e n e ra l t e r m i n t h e E n g l i s h l a n g u a g e f o r a t i e r e d t o w e r w i t h
m u l t i p l e e ave s c o m m o n i n C h i n a , J a p a n , Ko r e a , N e p a l a n d o t h e r
parts of Asia; erected as a memorial or to hold relics; originally
b u i l t t o p r e s e r ve B u d d h i s t r e l i c s

Pa r t s o f a Pa g o d a

 To p – r e s e m b l e d t h e o r i g i n a l i m a g e o f t h e s t u p a f r o m I n d i a

 T h e b o d y, o r m a i n p a r t , o f t h e p a g o d a – o f t e n u s e d t o e n s h r i n e
a s t a t u e o f B u d d h a , h e l d t o va r i o u s s t y l e s o f t ra d i t i o n a l C h i n e s e
architecture, unless the pagoda had a domed steeple

 The base – for burying Buddhist relics, usually took the form of
an underground chamber or underground hole attached to a
tomb in ancient China
Architectural Forms

PAI-LOU OR PAIFANG

 m on u m ental arc hway or g at eway

wit h on e, t h ree, or f ive open in g s ;
erec t ed as a m em orial at t h e
en t ran c e t o a palac e, t om b, or
proc es s ion al way. Us u ally bu ilt of
s t on e in im it at ion of wood
c on s t ru c t ion
Architectural Forms

PAVIL ION

 c overed s t ru c t u res wit h s u rrou n din g walls , were

u s ed t o allow obs er vat ion of t h e s u rrou n din g
Islamic Architecture in China

 Af t er 14 t h c en t u r y, Is lam ic is m was
in t rodu c ed in t o Ch in a

 Ch in es e des ig n ideas were s om et im es

m odif ied by Is lam ic prac t ic e, c om bin in g
Ch in es e s t ru c t u ral t ec h n iqu es wit h a n
overlay of dec ora t ion u s in g t h e abs t rac t
f orm s an d c allig raph ic in s c ript ion s of
M u s lim des ig n

 H u aju exian g M os qu e in Xi’an

CHINESE

INTERIORS
Interiors

 I n t erior c ou r t s – n ec es s ar y f or t ran qu ility, c on t em plation an d

ven t ilat ion

 Th e c en t er of t h e bu ildin g wou ld be a s h rin e f or t h e deit ies an d

t h e an c es t ors , wh ic h wou ld a ls o be u s ed du rin g f es t ivities

 O n it s t wo s ides were bedroom s f or t h e elders ; t h e t wo win g s

of t h e bu ildin g ( k n own a s “g u a rdia n dra g on s ” by t h e Ch in es e)
were f or t h e ju n ior m em bers of t h e f am ily, as well as t h e livin g
room , t h e din in g room , an d t h e k it c h en , alt h ou g h s om et im es
t h e livin g room c ou ld be ver y c los e t o t h e c en t er

 Th e room s of t h e oldes t h ou s eh old m em ber /s are plac ed at t h e

in n erm os t plac e f or s ec u rity an d privac y
Interiors

 Room s are f u rn is h ed s pa rin g ly

 S eg m en ta l c u r ves a n d rec t an g u la r
f orm s were vig orou s ly avoided

 Sym m et r y was obs er ved

 An g les an d c orn ers were rou n ded

 All bu ildin g s were leg ally

reg u lat ed, an d t h e law h eld t h at
t h e n u m ber of s t oreys , t h e len g t h
of t h e bu ildin g an d t h e c olors
u s ed depen ded on t h e own er ’s
c las s
CHINESE

FURNISHINGS
Furnishings

 Bef ore 2 n d c en t u r y C.E., Ch in es e c u s t om m ade n o u s e of

f u rn it ure

 M at s or s ac k s of f abric on t h e f loor were u s ed f or

s eat in g

 S t ools , c h airs an d c h es t s s k illf u lly m ade in wood, wit h

f in e join ts m ade wit h ou t g lu e or n ails , were developed

 Bes t exam ples are f rom M in g Dyn as ty

 Arm c h airs of t reat eleg an c e were produ c ed in h ardwoods

s u c h as c er t ain ros ewoods an d s a n da lwoods

 Cou c h es , beds , c abin et s an d t ables were als o m ade t o

s er ve in palac e in t eriors a n d in t h e h ou s es of t h e
wealt hy
Furnishings

 Lacquer finishes in red and other colors also came

into use

 Furniture uses little or no ornament

 C a r ve d s c r e e n s a n d b ra c ke t s a r e s o m e t i m e s u s e d
t o h e l p w i t h t h e b ra c i n g o f t a b l e s t r u c t u r e s

 C a b i n e t s a r e u s u a l l y o f g r e a t s i m p l i c i t y, w i t h
p o l i s h e d b ra s s h a r d wa r e f o r m i n g t h e o n l y
ornament

 C h i n e s e p a i n t i n g h a s a t ra d i t i o n o f f i n e w o r k u s i n g
ink on paper and lacquer on screens and panels

 C h i n e s e wa l l p a p e r, w i t h i m a g e s o f l a n d s c a p e s ,
animals, and human figures, appeared in the 18 th
c e n t u r y, a n d wa s p r o d u c e d f o r e x p o r t a s w e l l a s
being used in Chinese interiors
Furnishings

 S i l k t e x t i l e s w e r e m a d e i n C h i n a a s e a r l y a s t h e 2 n d c e n t u r y B. C . E .

 C h i n e s e r u g s w e r e g e n e ra l l y w ove n i n s i l k , a f ra g i l e m a t e r i a l t h a t d o e s
not last long

 M a ny r u g s f r o m t h e M i n g d y n a s t y w e r e m a d e f o r t h e i m p e r i a l c o u r t
a n d f o r w e a l t hy c i t i z e n s

 B o r d e r s a r e u s u a l l y n a r r o w a n d i n c o r p o ra t e s y m b o l i c r e l i g i o u s
elements

 M e d a l l i o n s a p p e a r i n C h i n e s e r u g s i n b o r d e r s a n d i n c e n t ra l a r e a s , a n d
t h e y o f t e n f o r m a l a r g e c e n t ra l f e a t u r e

 T h e c o l o r s o f C h i n e s e r u g s a r e g e n e ra l l y p a l e r t h a n t h o s e o f o r i e n t a l
types

 Ye l l o w a n d p a l e g r e e n a r e c o m m o n , w h i l e b l u e a n d w h i t e , o f t e n u s e d
t o g e t h e r, a l s o a p p e a r
CHINESE

FURNITURE
TYPES
Chinese Yoke Back
 res em bles t h e yoke in t h e plow
Luo Han Chair
 pres en c e of a s plat in a s em i- c irc u lar
bac k t h at c on t inu es as arm res t s , wit h a
s qu are s eat an d s t raig h t leg s

Horseshoe Chair
 s im ilar t o Loh an bu t wit h a s plat
Rose Chair
 wit h a low s qu are bac k
Southern Official’s Chair
K’ang Table
 low c of f ee or t ea t able wit h h ors e h oof
leg s
Throne Sofa
 Ch in es e daybed wit h low bac k an d
arm res t s

 leg s are s qu are an d s qu at en din g in a

h ors e h oof f oot
Altar Table
 f or wors h ip
Pa-shein Cho / Baxianzhuo
Table
 table with Eight Immortals

 d i n i n g t a b l e s w e r e a l m o s t a l way s s u i t a b l e
f o r 8 - 1 0 p e o p l e s i n c e e ve r yo n e s h o u l d b e
able to reach the main dishes without
chopsticks

 u s e d i n f e s t i va l s a n d b i r t h d ay s
Drum Table /Stool
Incense Stand
Coromandel Screens
 a Chinese folding screen coated in black or dark
lacquer

 named so because they used to be gathered into

shipments with other Chinese arts and crafts
bound for Europe at ports along the Coromandel
Coast in south-easter India

 usually symbolical with wishes of health, wealth

and long life
Canopy Bed
Ta Daybed
Square-edged Cabinet
Round-edged Cabinet
Wedding Cabinet
 f or weddin g g if t s

 of t en t h e c en t erpiec e of a bride' s dowr y

Apothecary Cabinet
 h as drawers t o s t ore m edic in al h erbs
Kitchen Cabinet
 h as s lot t ed doors t o allow ven t ilat ion f or
f ood

 s om e h ave s t orag e u n dern eat h f or live

f owls an d ot h er an im als
CHINESE

SYMBOLISMS
Symbolisms

 F ive- c lawed drag on f or t h e em peror

 Ph oen ix f or t h e em pres s

 Fou r- c lawed dra g on f or t h e res t of t h e im perial f a m ily

 Wh it e c ran e an d u n ic orn f or t h e F irs t - ran ked of f ic ials

 Golden ph eas an t an d lion f or t h e 2 n d - ran ked of f ic ials

 Peac oc k an d pan t h er f or t h e 3 rd - ran ked

Chinese Style Now

 Awa r e n e s s o f C h i n e s e d e s i g n i n t h e We s t e r n w o r l d wa s l i m i t e d
t o t h e f e w f ra g m e n t s ( a n d ve r b a l a c c o u n t s ) c a r r i e d b y M a r c o
Po l o a n d l a t e r e x p l o r e r s a n d p i o n e e r s t rave l i n g t h e ove r l a n d
silk route from the 13 th C

 D e ve l o p m e n t o f t e a t ra d e

 D e ve l o p m e n t o f p h o t o g ra p hy

 We s t e r n i n f l u e n c e o n d e s i g n i n C h i n a b e c a m e o b v i o u s i n t h e
1 9 t h C , w h e n m a ny C h i n e s e a r c h i t e c t s w e r e t ra i n e d a t We s t e r n
u n i ve r s i t i e s a n d s u b s e q u e n t l y c a r r i e d b a c k t o C h i n a t h e t h e n -
current ideas of Beaux-Arts Eclectic Architecture

 I n t h e 2 0 t h C , C h i n e s e a r c h i t e c t s h ave e m b ra c e d I n t e r n a t i o n a l
Style Modernism

 F ra g ra n t H i l l H o t e l , B e i j i n g b y A m e r i c a n I . M . Pe i
THANK
YOU!
References

Book:

 Pile, J. & Gura, J. (2014). A history of interior design (4th Edition). USA: John Wiley & Sons, Inc.

Internet Sources:

 Antique Chinese Apothecary. Retrieved from The Silk Road Collection website:
http://asianart.com/silkroadcollection/d13177.html

 The History of Chinese Cabinets. Retrieved from The Silk Road Collection website:
http://www.silkroadcollection.com/chinese-furniture-history.html

 Lang, G. (2018, January 15). Polychrome decoration on Chinese porcelain. Retrieved from Anita Gray: Oriental Works of
Art website: https://www.chinese-porcelain.com/news/5-polychrome-decoration-on-chinese-porcelain-by-gordon-lang/

 Miley, J. (2017, July 27). Dougong: these ancient Chinese brackets make buildings earthquake-proof. Retrieved from
Interesting Engineering website: https://interestingengineering.com/dougong-ancient-chinese-brackets-make-buildings-
earthquake-proof

 (2019, July 2). Chinese silk — Silk history, production, and products. Retrieved from China Highlights website:
https://www.chinahighlights.com/travelguide/culture/chinese-silk.htm

 http://www.chinaonlinemuseum.com/