A city, a building, what gives people a sensory impression besides the shape is color. The progress of an era and the evolution of a city reflect the popularity of urban architectural colors.

Tang Dynasty: Colors Reflected Hierarchy

Architect Wang Hui introduced that Chinese architectural colors initially reflected natural functions. Before the Tang Dynasty, there were no colors; the prominent feature was the natural color of materials. In the Tang Dynasty, architecture had unified planning and was managed by the 'Ministry of Rites,' with a hierarchy system. Buildings of the Tang period uniformly adopted a combination of vermilion and white, creating a bright, pleasing, concise, and lively color beauty.

Yellow became a color exclusively used by the royal family. Palaces and temples used yellow and red tones; red, cyan, and blue were colors for princely mansions and officials; commoners' houses could only use black, gray, white, etc. It can be said that the Tang Dynasty used color to safeguard the interests of the ruling class.

Tang Dynasty architecture was grand in momentum, simple in shape, and vigorous in posture. In this period, bricks were more widely used, glazed tile firing was more advanced, and the proportions of building components gradually became standardized. The Tang Dynasty was the peak of architectural development in Chinese history. Relatively intact surviving examples include the main halls of Nanchan Temple and Foguang Temple on Mount Wutai, and many that could not be preserved are recorded in murals. In addition, relic pagodas are found everywhere. The thick, tall, and simple-style building components and the beauty of strength and richness gave Tang decorative art a striking elegance.

The Tang Dynasty popularized straight lattice windows, with patterns on the window lattices including tortoise-shell brocade patterns and densely flowered ball patterns. Interior walls often had murals, and ceiling forms were very simple. At this time, the composition of painted decorations had initially used 'halo,' which had a certain enlightening effect on Song Dynasty paintings that were based on the basic principles of paired halos and graded halos. In terms of patterns, besides lotus petals, narrow and long floral borders often used scrolling grass to form band patterns, or figures were interspersed within scrolling grass patterns. These patterns not only had full compositions and smooth, elegant lines but also often used alternating half-medallions and whole medallions, as well as rich and plump decorative patterns such as fretwork, linked pearl patterns, tassel patterns, flame patterns, and flying immortals.

Song Dynasty: Colors Reflected the Mainstream

The Tang and Song dynasties were continuous; Song architecture was the inheritance and development of Tang architecture. With the extensive use of paint and the influence of Indian Buddhism, architectural colors prominently featured red. The colors of this period reflected the mainstream culture of the time. The Song Dynasty favored stable, simple, light, and elegant tones, which was caused by Song social thought based on Confucian rationalism and Zen philosophy.

Song Dynasty building specifications were generally smaller than those of the Tang, but more delicate, brilliant, and varied, with various complex forms of halls, pavilions, and towers appearing.

Song Dynasty architecture was greatly influenced by the Tang, mainly represented by halls, temple pagodas, and tomb chamber buildings. Decoration often used colored paintings, carvings, and glazed bricks and tiles. Building components began to tend toward standardization, and summary architectural works such as the 'Mu Jing' and 'Yingzao Fashi' appeared. The organic combination of decoration and architecture was a major feature of the Song Dynasty. The decoration scale of temple pagodas was reasonable, and the shapes were complete and solid. The Huqiu Pagoda in Suzhou and the Renshou Pagoda in Quanzhou are typical works. The stone carvings of Zhaoling and the patterns of tomb chambers all have a beauty of strength and richness, which had guiding significance for the later development of folk patterns.

In terms of renovation, this period saw extensive use of openable doors and windows with extremely rich combinations of lattice bars. Compared with the plank doors and straight lattice windows of Tang and Liao architecture, this not only changed the building's appearance but also improved indoor ventilation and lighting. The sumeru pedestals at the lower part of houses and the Buddha pedestals inside Buddha halls were mostly made of stone, with rich and varied compositions and exquisite carvings. The forms and carvings of column bases tended toward diversification. In addition to circular, square, and octagonal columns, melon-ridge columns appeared, and stone columns were widely used, with various patterns often carved on the column surfaces. At the same time, interior spaces were enlarged, giving people a bright and cheerful feeling. Roofs were either entirely covered with glazed tiles or used glazed tiles combined with blue tiles to form trimmed-edge roofs. The proportions, compositions, and colors of painted decorations and ornaments achieved certain artistic effects, thus giving the architecture of that time a soft and brilliant impression.

Yuan Dynasty: Elegant and Brilliant Style

Yuan Dynasty palace architecture also inherited the tradition from the Tang and Song. After the Yuan Dynasty, decorative patterns tended toward a plain and realistic route. The colors and patterns of palace buildings were precisely studied, and the style was elegant and brilliant.

With the fall of the Song and rise of the Yuan, architecture was once influenced by foreign craftsmen, mainly northern craftsmen. Its architectural structures were mostly bold and rough, and its artistic style was also unrestrained. Due to the many ethnic groups in the Yuan Dynasty, each with different religions and cultures, mutual exchange added several new factors to the art of traditional architecture. At this time, religious architecture was quite developed. Many Lamaist monasteries and pagodas were built from Tibet to Dadu, bringing new decorative themes and new techniques for sculpture and murals. Islamic mosques were successively built in Dadu, Xinjiang, Yunnan, and some cities in the southeast, beginning to combine with Chinese architecture to form an independent style, with decoration and color gradually integrating. The street-crossing tower is another type of Lamaist architecture, with the Cloud Platform in Beijing being the most famous. On the arch stones and inner walls of the archways of the Cloud Platform, Lamaist patterns such as heavenly gods, garudas, dragons, and clouds, as well as scriptures in six scripts, are carved. These carvings are all high reliefs, with vigorous postures and expressions of figures, and various patterns have a lively and jumping warm atmosphere, different from traditional Han style; they are outstanding works in Yuan Dynasty carving. The themes and techniques of Lamaist carving gave considerable influence to Ming and Qing architectural art, especially to official architecture.

Ming Dynasty: Rich and Pleasing Colors

At the beginning of the Ming Dynasty, the capital was established in Nanjing, mainly relying on Jiangnan craftsmen. When Yongle moved the capital to Beijing, the construction of Beijing's palaces and gardens was also mainly by southern craftsmen. Ming Dynasty architecture was rigorous, refined, elegant, and graceful, quite possessing the style of Jiangnan art. However, after being embellished by the royal family and nobles, the volume became huge and the colors rich, far removed from the elegant and light style of Jiangnan. But its roots are actually close to Jiangnan architecture. Brick production increased greatly, and the quantity and quality of glazed tiles exceeded any previous dynasty. Official architecture had become highly standardized and stereotyped. The main parts of the house, i.e., the parts that often receive sunlight, generally used warm colors, especially vermilion; the shadowed parts under the lattice used cool colors matching green and blue. Thus, the warmth of sunlight and the coolness of shadows were emphasized, forming a pleasing contrast. The use of color in feudal society was restricted by hierarchy. In ordinary residential buildings, blue-gray brick walls and tile roofs were mostly used, and beams, pillars, doors, and windows mostly used natural wood surfaces, which also appeared very elegant.

During the Ming and Qing periods, Tibetan and Mongolian Lamaist architecture further developed on the basis of the Yuan Dynasty. Due to some relatively complete and standardized decorative techniques, many buildings in monasteries had common artistic characteristics in appearance. Walls were thick with a large batter, windows were small, so the buildings appeared majestic and solid. Large numbers of horizontal decorative bands on eaves and walls gave a multi-layered feeling. These characteristics artistically increased the sense of scale of the buildings. In color and decoration, contrasting techniques were adopted. Doctrinal rules stipulated: scripture halls and pagodas were painted white, Buddha temples red; white walls had black window frames, red wooden door porches, and brown decorative bands; red walls mainly had white and brown decorative bands. Roofs and decorative bands were highlighted with gilded ornaments or gilded roofs. These strong contrasts in decoration and color helped highlight the importance of religious buildings.

Islamic architecture of the Ming and Qing periods was represented by Uyghur mosques and mazars. The combination of window lattice bars in such buildings used various exquisite geometric patterns. Uyghur architectural decoration had many types, but the most outstanding were brick拼 patterns, plaster decorations, colored paintings, and window lattice combinations. Multiple decorations were often used together, creating a gorgeous and delicate artistic atmosphere.

Qing Dynasty: Prevalence of Painted Decorations

By the Qing Dynasty, the use of color became increasingly complex, and architecture increasingly emphasized decoration. The most prominent aspect of this period was 'painted decorations.' Around painted decorations, a series of contents related to architectural culture formed, and certain functions of painted decorations evolved into ornamentation. In the late Qing Dynasty, the hierarchy system polarized architectural colors, and artistic expression was寓于 content requirements. For example, palaces had the most important status and the strongest colors; sequentially, altars, temples, tombs, and monasteries had decreasing color intensity; residential buildings were the most common and had the simplest colors. For example, the Forbidden City in Beijing is red and yellow; some important buildings around the Forbidden City are all red, with roofs showing green, while other Beijing buildings are mostly gray.

Ming and Qing architectural decoration was the last peak in the history of ancient Chinese architecture. Many grand palaces, gardens, and mausoleums were built, excellent in both quantity and quality. In the expression of decorative style, it was deep and profound, reflecting the prestige of imperial power in the heyday of the Ming and Qing. After the mid-Qing Dynasty, the decorative patterns or painted decorations of architecture lost vitality. The elegance of Tang and Song decoration had completely disappeared. Excessive pursuit of delicacy led to a situation of triviality and lack of vitality.

Modern and Contemporary: Rise of Retro Style

After the Xinhai Revolution, influenced by the West, the architectural system changed, and color relationships also changed. Concessions appeared in some parts of China, and these buildings highlighted essential colors. At that time, architectural colors set off the functions of the building carrier.

Under the influence of Western countries canceling architectural decoration, modern and contemporary Chinese architecture embarked on a stage of emphasizing modern technology and new materials rather than decoration. Decorative patterns were no longer common. Apart from functional and construction technical requirements, the beautification of architecture could only seek ideal layouts in doors, windows, and solid walls that conformed to function and technology.

After the founding of the People's Republic of China, during the 'Cultural Revolution,' as in other fields in China, architectural creation was greatly devastated and was very inappropriately required to embody certain distorted and inflated 'political' concepts. Thus, in the so-called 'Long Live Halls,' central city squares, or other city landmark buildings built in various places, there appeared 'creative methods' that could be called political concrete symbolism or abstract symbolism, as well as unprincipled imitation of Beijing's Ten Great Buildings for National Day. Architectural colors became single and dull.

Retroism can be said to be a continuation of the previous 'national form' architectural movement. Its proposition was roughly to hope to give the narrow 'national form,' i.e., traditional architectural styles, to new buildings, with little consideration for the unity of form and content of new buildings. One of its commendable ideological foundations was the inspiring effect of the fact that 'the Chinese people have stood up' on patriotic architects. However, 'architecture' is a very complex thing. Attempting to forcibly add styles such as palaces and temples, which were once suitable for wooden structures and manual operation methods, to new buildings with greatly different functions, materials, structures, construction methods, and people's aesthetic tastes is certainly a wrong path. The external condition for the prevalence of retroism was the movement of learning from the Soviet Union advocated at that time, and Soviet architecture at that time was on the path of retroism. Influential works of this period include the Beijing Xiyi Hotel, Chongqing People's Hall, Changchun 'Geological Palace,' and Beijing Sanlihe 'Four Ministries and One Commission' office building. They mostly had huge roofs like palaces, covered with colored glazed tiles, with reinforced concrete dougong under the eaves. All reinforced concrete beams and columns imitated wooden structural components and were covered with painted decorations. Doors and windows were also in the style of ancient wooden doors and windows.

After the 1980s: Return to Nature

Starting from the 1980s, the irreversible reform and opening up promoted active thinking. Chinese architects and architectural theorists have deeply realized that architectural art should closely synchronize with the times, should be based on the solid soil of modern Chinese life, and persist in creating a new architectural culture that has both contemporary characteristics and Chinese style. All architectural works can be roughly divided into ancient style, neoclassicism, new vernacularism, new nationalism, and local modernism.

Ancient style is a serious creation that draws more on the external image of traditional architecture under special circumstances, almost all reconstructed or newly built as tourism buildings in scenic spots where original ancient buildings have been destroyed, such as the Yellow Crane Tower in Wuchang, the Confucius Temple and Qinhuai River in Nanjing, the Liulichang Cultural Street in Beijing, and the Tianfei Palace Cultural Street in Tianjin.

Neoclassicism makes more transformations to the external image of traditional architecture, focusing on drawing on its demeanor and charm. Representative works include the Queli Guesthouse in Qufu, Shandong, the Shaanxi History Museum in Xi'an, the Yuhuatai Memorial Hall in Nanjing, and the Beijing West Railway Station.

New vernacularism takes a different path, not turning to the traditional mainstream of palaces and temples but to local folk architecture to gather essence. Representative works include the Wuyi Mountain Villa Hotel in Fujian with strong northern Fujian residential flavor, the Huangshan Yungu Villa Hotel with southern Anhui residential characteristics, and the Dunhuang Terminal Building in Gansu showing the style of Hexi earthen fortress dwellings.

New nationalism refers to creations with local ethnic characteristics that emerged in ethnic minority areas in the 1980s. Representative works include the Xinjiang Guesthouse in Urumqi, the Xinjiang People's Hall, the Lhasa Hotel in Tibet, and the scheme for the Xishuangbanna Gymnasium in Yunnan.

With the participation of Western architects and the market-oriented operation of real estate enterprises, architectural colors have become richer, such as the orange-red of Modern City. Today's houses are relatively clear in color concept, such as white.

Entering 2005, what will be the popular colors of Chinese architecture?

Song Jianming believes that the color style of returning to nature and traditional culture will continue to be a trend, that is, people choose colors that resemble natural materials to shape architectural images, such as Beijing's 'Phoenix Totem.' In addition, the 'modern' European continental style still has a large market, so it will continue to be popular, such as Beijing's 'Olympic Garden' and Shenyang's 'Riverside New City.'