Xuanzi Caihua (旋子彩画), also known as Xuezi (学子) or Centipede Circle (蜈蚣圈), is a style of polychrome painting used in ancient Chinese architecture. In terms of hierarchy, it is second only to Hexi Caihua (和玺彩画) and can be widely seen in palaces and residences of high-ranking officials.
Introduction
Xuanzi Caihua is named after the whirlpool flower patterns painted on the head decorations (藻头) of beams and rafters. It is commonly referred to as "Xuezi" or "Centipede Circle." This style of painting originated during the Yuan Dynasty, became standardized in the early Ming Dynasty, and reached its peak of formalization in the Qing Dynasty. It is most commonly used in official buildings. During the Qing Dynasty, the patterns of Xuanzi Caihua were regulated in terms of lines, structure, colors, and the amount of gold used, leading artisans to refer to it as "standardized work." Xuanzi Caihua features overall rounded and interconnected lines, presenting a dazzling and intricate visual effect.
Xuanzi Caihua is primarily painted on the beams and rafters of buildings. The main colors used are yellow (realgar jade) and greenish-blue (stone-ground jade). The lines are outlined in gold and ink, with the centers of the whirlpool flowers filled in with gold. The amount of gold used determines the level of the painting, ranging from high to low: Jin Zhuo Mo Shi Nian Yu (金琢墨石碾玉), Yan Zhuo Mo Shi Nian Yu (烟琢墨石碾玉), Jin Xian Da Dian Jin (金线大点金), Mo Xian Da Dian Jin (墨线大点金), Mo Xian Xiao Dian Jin (墨线小点金), and Ya Wu Mo (雅五墨). The highest grade, Hun Jin Xuanzi Caihua (浑金旋子彩画), involves applying gold leaf to all parts of the pattern without any color background, showing the natural wood color, typically nanmu (楠木). The highest existing example is in the Fengxian Hall of the Forbidden City in Beijing. The lowest grade, Ya Wu Mo, uses only five colors (blue, green, cinnabar, black, and white) with ink outlines and no gold.
The paintings on beams and rafters are usually divided into three sections: the center (枋心), and the two sides (藻头 and 箍头).
Structure
The characteristic feature of Xuanzi Caihua is the central "whirlpool eye" (旋眼), with the inner layer (closest to the whirlpool eye) having two or three layers of petals, and the outer layer having two layers of petals, all in a spiral shape. In practice, the design uses a "one whole two halves" method, with the head decoration featuring one complete whirlpool and two half whirlpools. To adapt to the width and length of the beams and rafters, the outer petals are interlaced with the whirlpool eye to achieve a harmonious and unified pattern.
Central Pattern
The central pattern (枋心) can feature dragons, phoenixes, and brocade patterns, referred to as Jin Long Fang Xin (金龙枋心) and Long Jin Fang Xin (龙锦枋心), which are of higher grades. It can also feature floral motifs (auspicious grass, sea vine, grapes), mythical creatures (Kuailong, Qilin), landscapes, or simply be left blank (known as Kong Fang Xin), which are of lower grades and only used in secondary palaces. In the main beam sections, large beams have dragon patterns while smaller beams have brocade patterns. This arrangement is reversed in secondary sections. In minor sections, large beams have brocade patterns and small beams have dragon patterns.
Head Decoration
The whirlpool flower pattern in the head decoration usually has a round center (whirlpool eye) with one or two layers of petals surrounded by a spiral pattern (whirlpool). The layout can vary, such as "one whole two halves" with one complete whirlpool flower and two half whirlpool flowers. For longer head decorations, one to three additional petals can be added between the whole and half whirlpool flowers, named as "one whole two halves with one/two/three additional petals." For very long head decorations, an extra set of "one whole two halves" can be added, called "added joyous encounter."
History
Xuanzi Caihua, a distinctive style of polychrome painting unique to ancient Chinese architecture, has a history that can be traced back to the Tang and Five Dynasties periods. It evolved through the Song, Yuan, Ming, and Qing dynasties, and its beauty can still be seen in many ancient buildings today. Although the patterns and techniques of Xuanzi Caihua varied across different periods, its core artistic characteristics and aesthetic principles have remained consistent, showcasing the unique charm and profound heritage of Chinese architectural painting.
During the Qing Dynasty, Xuanzi Caihua not only inherited the essence of Ming Dynasty Xuanzi Caihua but also innovated and developed further. This period's Xuanzi Caihua preserved the core elements of the Ming style while refining the use of colors, the delineation of lines, and the layout of patterns, making Qing Dynasty Xuanzi Caihua more colorful and intricate. The flourishing of Qing Dynasty Xuanzi Caihua also promoted the creation, formation, and development of other types of polychrome painting during the same period, providing an important model and reference.
In the Qing Dynasty, Xuanzi Caihua was widely used in auxiliary halls of imperial palace complexes, royal temples, mausoleums, and state-commissioned temples, becoming one of the mainstream styles of architectural painting at the time. These paintings not only beautified the appearance of buildings but also highlighted the majesty and prestigious status of the royal family. Additionally, some significant regional buildings were decorated with Xuanzi Caihua, such as the Mahavira Hall of the Shijia Temple in Yu County, Hebei, and the Drum Tower of the Qutan Temple in Ledu, Qinghai, further demonstrating the extensive application and far-reaching influence of Xuanzi Caihua in ancient architecture.
In summary, Xuanzi Caihua, as an important style of ancient Chinese architectural painting, has a long history and a clear developmental trajectory. From the Tang and Five Dynasties periods to the Qing Dynasty, Xuanzi Caihua has maintained a consistent relationship while continuously innovating and evolving. It has provided an important model and reference for the creation, formation, and development of other types of polychrome painting in the Qing Dynasty. Today, we can still appreciate the unique charm and profound historical and cultural connotations of Xuanzi Caihua in many ancient buildings.
Grades
Xuanzi Caihua is graded based on the amount of gold used, with higher grades using more gold and more complex techniques. The specific grades are:
- Jin Zhuo Mo Shi Nian Yu (金琢墨石碾玉): High grade with gold outlines and realgar jade.
- Yan Zhuo Mo Shi Nian Yu (烟琢墨石碾玉): Second highest grade with ink outlines and realgar jade.
- Jin Xian Da Dian Jin (金线大点金): Large gold dots at key points.
- Mo Xian Da Dian Jin (墨线大点金): Lower grade with ink outlines and some gold dots.
- Mo Xian Xiao Dian Jin (墨线小点金): Even fewer gold dots.
- Ya Wu Mo (雅五墨): Lowest grade with no gold, using only five colors (blue, green, cinnabar, black, white).
Additionally, Hun Jin Xuanzi Caihua (浑金旋子彩画) is the highest grade, with gold leaf applied to all patterns without any color background, showing the natural wood color, typically nanmu (楠木).
Application and Examples
In the Qing Dynasty, Xuanzi Caihua was mainly used in auxiliary halls of imperial palace complexes, royal temples, mausoleums, and designated temples. Notable examples include the Fengxian Hall in the Forbidden City in Beijing. It is also seen in important regional buildings, such as the Mahavira Hall in the Shijia Temple in Yu County, Hebei, and the Drum Tower in Qutan Temple, Ledu, Qinghai.
References:
- Keith Pratt; Richard Rutt; James Hoare (1999). *Korea: A Historical and Cultural Dictionary.* Routledge. pp. 459–460. ISBN 0-7007-0463-9.
- Beijing Institute of Cultural Relics, edited by Lv Songyun and Liu Shizhong, *Dictionary of Ancient Chinese Architecture*, China Bookstore, December 1992, p. 164.
