The research highlights traditional Chinese architecture and art's cultural, spiritual, and symbolic background. The main features of objects in different regions and regional features are determined. The hidden meaning of certain colors and the difference between Chinese and European principles of creativity are confirmed. The philosophical and religious basis for the principle of artistic creation "from heart to heart" is summarized. The specificity of the genesis of traditional Chinese architecture was the continuity of traditions from dynasty to dynasty. Forms, structural schemes, and color palettes were inherited over the centuries, with each color having a certain symbolic meaning. It should be noted that such a characteristic feature should be called "ensemble thinking", that is, the interpretation of the building as a harmonious combination with the environment while implementing the synthesis of arts. The canons remained unchanged and variations took place within its limits. Symbolism, form, and color are the personification of unity in traditional Chinese architecture. It should be noted that gradually the tradition of pagoda construction gave way to the tradition of pavilion temple construction and decoration and polychrome came to the fore (it should be noted that the same trends are observed in traditional Chinese clothing of the Ming and Qing periods compared to clothing of the Liang, Wei, Sui, and Tang periods). An important role is given to ornamentation and polychrome ornamentation. Although each province had certain regional characteristics, there were a number of specific features that were common to China. Speaking of pagodas, the national Chinese type of Buddhist pagoda gradually developed as a multi-story high-rise building with an active silhouette, local design schemes, and an image that is identified with China. In fact, the pagoda was the most pronounced high-rise type of public building in China, as multi-tiered pavilions were much lower. However, it is worth noting one more characteristic feature of ancient Chinese architecture – if in the case of pagodas, the compositional features (active silhouette, proportions, metro-rhythmic construction) come to the fore. The morphology of forms and decoration are secondary (for example, little attention was paid to openings and their decoration, polychromy in pagodas). The vertical vector of composition development is replaced by a horizontal one in palace and temple pavilions with a limited number of tiers (usually one, rarely two).
Yueling et al. (Fri,) studied this question.