









































Communication, Society and Media 
ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) 

Vol. 6, No. 3, 2023 
www.scholink.org/ojs/index.php/csm 

50 
 

Original Paper 

A Study of Overseas Construction of China National Image in 

Architecture Writing of Lin Yutang 
Yang Sisi1 & Dan Cui* 

1 College of Languages and Cultures of Ningde Normal Univeristy 
* Dan Cui, Corresponding Author, E-mail: summerelephant@126.com 

 

Received: June 18, 2023          Accepted: July 1, 2023         Online Published: August 7, 2023 

doi:10.22158/csm.v6n3p50                       URL: http://dx.doi.org/10.22158/csm.v6n3p50 

 

Abstract 

Lin Yutang’s writing of Chinese architecture in My Country and My People is a short chapter, but it 

reflects his unique studies into Chinese personality and national spirit. Through the study of Lin 

Yutang’s architectural writing, we can see the Chinese national spirit and image overseas. Many 

scholars have studied My Country and My People from different dimensions. However, literary writing 

of Chinese architrave hasn’t been conducted so much since the popularity of Fan Zhongyan’s Notes of 

Yueyang Tower. And therefore Lin’s writing is conceived to be of high significance through which the 

Chinese personality has been analyzed thorougly. By conparison and contrast, based on the thoughts of 

Chinese sages, this paper aims to (1) analyze the marrow of Chinese national spirit through Lin 

Yutang’s architectural writing and (2) argue how Lin Yutang through his particular English expression 

of architecture has successfully delivered the image of China overseas, which has thus exerted a 

far-reaching impact on its overseas transmission. Through exploration and interpretation of Lin Yutan’s 

writing, the authors aim to excavate Lin’s appropriate in-depth interpretation of Chinese spirit 

embedded in Chinese architecture abroad in order to modify certain misunderstandings and mistaken 

cognition with the expectation to gain deeper comprehension of Chinese spirit internationally. 

Keywords 

Chinese architecture, Chinese national spirit, Lin Yutang, China image 

 

1. Introduction 

As an important figure transversing China and the West during the history of cultural exchange in the 

20th century, Lin Yutang has made his due contribution to making the world get to know China in a 

deeper sense through his works, among which My Country and My People has aroused great 

repercussions in the United States in particular. Many researchers have agreed on the influence of this 



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work in view of comprehending China, “Whether it is to understand ancient or modern China, it is 

enough to read My Country and My People” (Duan & Zhao, 2007, pp. 4-6). 

In My Country and My People, Lin Yutang calmly and sharply analyzes the spiritual characteristics of 

Chinese people, and also indicates in certain specific detail various aspects of society, literature and 

lifestyle of China. In “Chinese architecture”, he compares Chinese and Western architecture, highlights 

the characteristics of Chinese architecture, and reflects over the national spirit of China. Through Lin 

Yutang’s English writing of architecture, he successfully spread the image of China overseas, which 

exerted a far-reaching impact on the overseas construction of China’s image. Through the analysis of 

the architectural characteristics written by Lin Yutang, we can excavate the Chinese national spirit and 

deeply think about the overseas shaping of China’s image. 

Lin Yutang’s description of Chinese architecture mainly involves a comparative approach with Western 

architecture. Through contrasting these two architectural styles, he highlights the unique personality 

and national spirit of the Chinese people that is reflected in their architecture. To fully comprehend the 

distinct features of Chinese architecture, it is necessary to have knowledge of various architectural 

theories such as Building Architecture, Urban Design, and Chinese Ancient Architecture History. The 

essence of Chinese architecture is deeply rooted in traditional Chinese culture and philosophy, which is 

influenced by the teachings of ancient Chinese sages like Confucius and Laozi. Confucius proposed the 

doctrine of the mean, while Laozi advocated for the harmony and unity of man with nature, which are 

reflected in Chinese architectural designs based on Lin’s analysis. The differences between Chinese and 

Western cultures have resulted in distinctive architectural styles for both cultures. 

Due to the huge gap existing between the East and West in view of geographical conditions and the 

pertinent other aspects, China had for long term left a mysterious impression on the west in view of 

Chinese architectural culture including symbolism, Chinese Pantheism and Chinese geomantic culture, 

meanwhile stereotypes “the Yellow Peril theory” (Li, 2014, p. 4) constructed by the west press led to 

misunderstanding of China’s image overseas. Lin Yutang made contributions to change the impression 

of China image with My Country and My People published in 1935. From the perspective of the 

characteristics of Chinese architecture, it is helpful to analyze the overseas image of China from the 

cross-cultural perspective.Different from western architecture that demonstrates “the power of money” 

(Lin, 1935), the beauty of Chinese architecture lies in its embodied traditional culture. The simplicity of 

western skyscrapers does not conform to Chinese aesthetic traditions and conventions. Chinese 

aesthetic tradition from ancient times to the present includes a kind of art, ranging from doors, roofs 

and windows to palaces, gardens to the temples. Perceived from the changing trend, western 

architecture has been greatly influenced by the religious sense while the cultural inheritance of Chinese 

architecture tends to be civilian and life-oriented. Chinese architecture shoulders the responsibilities of 

Chinese culture, contains cultural heritage and tradition and spreads Chinese spirit. The cultural appeal 



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embodied in Chinese architecture is a kind of world appeal. The personality of Chinese people 

influences the world’s view of China image through the characteristics of Chinese architecture. 

 

2. The Beauty of Construction 

Lin Yutang mentions that “yet because we have to look at the houses we build for ourselves every day 

and have to spend most of our days in them, and because bad architecture can cramp the style of our 

living, there is a very human demand to make it beautiful” (Lin, 1935). As he writes, Chinese architecture 

represents Chinese residents’ way of living. Chinese people expect the architecture to stand for the sense 

of family belonging and reunion apart from the residential function. As what Lin Yutang describes in this 

part, “a roof is not just a roof to shelter us from sun and rain, but something that effects our conception of 

a home, A door is not just an opening to get inside, but should be the ‘open sesame’ that leads us into the 

mysterious of people’s domestic lives” (Lin, 1935). Hence one can see that the functions of Chinese 

architecture are not only to shelter Chinese people and protect us from being burned or wet, but to bear 

the wright of the personality of speaking the language of beauty in Chinese people’s mind. 

Lin Yutang compares Western church architecture with Chinese one. He claims that “as European 

cathedrals are informed with a spirit and speak a silent language of the greatest beauty and sublimity to us? 

Chinese people adopts the best solution of this problem. Chinese architecture seems to have developed 

along a line different from that of the West” (Lin, 1935). Here still we take the door culture as a typical 

example. Since ancient times, China’s traditional architectural center is mobile, and its essence is not 

space, but the psychological space that is formed in the process of use, with rich psychological feelings, 

just like many arts. The functions of doors are not only for people to go in and out, but also for the 

communication between indoor and outdoor space. While, the Gothic church is a representative one of 

western church. The slender and crystal clear entrance of Gothic church is combined with religious belief, 

which is the expression of people’s spiritual yearning (Yu & Liu, 2020, p. 5). 

Compared with the characteristics of Western cathedrals as the representative construction style, the 

characteristics of Chinese architecture mainly lies in conveying language of beauty on communication 

among people and people and space. Western architecture stresses on showing off the richness and 

wealth that represents the level of architecture, but Chinese architecture often attaches importance to 

representing communication aestheetics. The construction of the city often eliminates beauty as one of 

the elements that forces Chinese people to escape to the country. The negation of western urban 

construction and the persistence of Chinese architectural characteristics reflect the recognition and 

persistence of Chinese people. Furthermore, the recognition of Chinese architecture and this confidence 

in Chinese architecture has been spread abroad through Lin Yutang’s writing. This kind of generous 

national self-confidence also affects the construction of China’s image overseas. 



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In My Country and My People, Lin Yutang acknowledges that “its first principle was utility, and was 

often purely so even to today. Hence the unmitigated ugliness of the best modern factory buildings, 

school-houses, theaters, post offices, railway stations and rectilinear streets, whose oppressiveness 

accounts for the fact that we constantly feel the need to escape to the country” (Lin, 1935, p. 128). In his 

view, utility is the primary and leading principle that western architecture adheres to. 

Western architecture has been characterized by the principle of utility, which emphasizes the functional 

needs of a building’s occupants. This principle has been evident in designing various structures such as 

factories, schools, post offices, and railway stations, which have been built to optimize the practical 

needs. Additionally, public spaces such as parks and plazas have been designed with utility in mind, 

providing functional spaces for people to gather and socialize. 

However, Lin Yutang’s critique of modern Western architecture is that the principle of utility has been 

taken to the extreme, resulting in buildings that lack aesthetic appeal. According to Lin, modern factories, 

school-houses, and other structures are oppressively uninviting due to the emphasis on functionality 

above all else. This has contributed to a desire to escape to the countryside, as people seek relief from the 

oppressive nature of modern buildings. Lin’s argument is that, while the principle of utility is essential in 

designing functional buildings, it should not come at the expense of aesthetics. A balance should be 

struck between utility and aesthetic appeal, creating buildings that serve their purpose while also being 

visually pleasing. This balance can be achieved through the incorporation of decorative elements, the use 

of tasteful color schemes, and the integration of nature into building design. the principle of utility has 

been a guiding principle in Western style architecture, resulting in designing functional buildings that 

serve the practical needs of their occupants. However, Lin Yutang argues that this principle has been 

taken to an extreme, resulting in buildings that lack aesthetic appeal. A balance should be struck between 

utility and aesthetics, creating buildings that are both functional and visually pleasing. 

Lin also points out that “The modern industrial age has aggravated the situation, especially with the 

invention of reinforced concrete” (Lin, 1935, p. 128). In 1750-1848, modern Britain was the pioneer of 

industrialization and urbanization in the world. Among the emerging industrial cities represented by 

Manchester, Birmingham and Liz, the problem of “urban disease” was particularly serious, thus leading 

to the urgent need for urban governance (Liang, 2015, p. 3). However, contrary to the standards held by 

Chinese architecture, as Lin Yutang stresses, “Utility is the answer. But utility is not art” (Lin, 1935, p. 

128). In the process of urbanization, the serious impact of urban diseases under the western industrial 

revolution is also the consequence of over emphasis on utility principle. The reflection of the huge 

population of industrial city in the urban spatial structure is the dense interweaving of all kinds of urban 

buildings. In Manchester, within large factories with 500 or 1000 employees, there are extremely simple 

working class houses, grouped in rows or piles. There are also many small-scale cloth cutting fields, 

spinning mills, dyeing workshops and printing factories in the living rooms of the citizens (Liang, 2015, 



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p. 4). Therefore, during that period, Chinese people inevitably desired to escape to the country. Then Lin 

Yutang specifies that “Some even processed to see an inspiring beauty in the New York skyscrapers. If so, 

I have not seen any. The beauty is the beauty of the gold: they are beautiful because they suggest the 

power of millions. They express the spirit of the industrial age” (Lin, 1935, p. 128). When architectural 

standards focus on practicality, it goes against the personality and temperament of Chinese people and 

the aesthetics of Chinese architecture. As a matter of fact, Chinese architecture is often characterized by 

its use of natural materials, such as wood and stone, and its integration with the surrounding environment. 

The principles of feng shui are often applied in designing buildings, emphasizing the importance of 

harmony and balance. Traditional Chinese architecture also places great importance on symbolism and 

meaning, with buildings often designed to convey a particular message or represent certain values. In 

contrast, western architecture, particularly modern architecture, tends to prioritize practicality and 

functionality over aesthetics. This is exemplified by the skyscrapers of New York, which Lin Yutang 

argues are not beautiful in themselves but can only conceived to represent the power and wealth of the 

industrial age. This type of architecture reflects a different set of values and beliefs than those of 

traditional Chinese architecture. Furthermore, Lin Yutang argues that this focus on practicality and 

functionality goes against the personality and temperament of the Chinese people. Chinese culture places 

a great emphasis on harmony, balance, and the natural world, and these values are reflected in traditional 

Chinese architecture. When buildings prioritize practicality over aesthetics and harmony with nature, 

they fail to resonate with the Chinese cultural identity. Chinese architecture places a greater emphasis on 

aesthetics, harmony with nature, and symbolism, reflecting the values and beliefs of the Chinese culture. 

When these values are not reflected in buildings, they fail to resonate with the Chinese cultural identity. 

 

3. Nature Spirit 

As Lin Yutang comments “its essential spirit is the spirit of peace and contentment, with its best private 

product in the private home and garden. Its spirit does not, like the Gothic spires, aspire to heaven, but 

broods over the earth and is contented with its lots” (Lin, 1935, p. 128). Lin Yutang contrasts Gothic 

architectural style against Chinese architecture, highlighting the difference between the atmosphere of 

Chinese architecture and Western architecture lies in “the spirit of peace and contentment”, “ broods over 

the earth and is contented with its lot”. Therefore, as Lin concludes, Chinese architecture is informed 

with the spirit of nature. Lin Yutang writes that, “The best architecture is that which loses itself in the 

natural landscape and becomes one with it, belongs to it” (Lin, 1935, p. 128). It may be inferred that 

nature spirit of Chinese architecture determines the distance and integration with nature. According to 

Lin Yutang, the best architecture loses itself in natural landscape and becomes one part of it, which 

emphasizes harmony with nature. This idea is rooted in traditional Chinese culture, which places great 



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importance on the relationship between humans and the natural world. By highlighting this aspect of 

Chinese architecture, Lin Yutang is showcasing the unique cultural identity of China and its people. 

However, Chinese people used to be conceived ignorant and vain, perpetuating stereotypes and 

prejudices. However, the idea of the unity of heaven and mankind in Chinese traditional culture, which 

Lin Yutang refers, showcases the objective side of the personality of Chinese people. This idea 

emphasizes the interconnectedness of all things and the importance of balance and harmony, reflecting a 

deep respect for the natural world. By combining the concept of the unity of heaven and mankind with 

the spirit of Chinese painting, Lin Yutang’s works showcase the unique cultural traditions of China and 

deepen the understanding of China’s image overseas. By highlighting the importance of harmony with 

nature in Chinese architecture, Lin Yutang is challenging western perceptions of Chinese culture and 

demonstrating that China has a rich and unique cultural identity. By emphasizing these aspects of 

Chinese culture, Lin Yutang corrects western stereotypes and prejudices and deepens the understanding 

of China’s image overseas. 

3.1 “Jing” as Serenity 

Lin Yutang proposes that “the problem of revealing or canceling skeleton structures is exactly similar to 

the problem of ‘touch’ in painting” (Lin, 1935, p. 128). Static “Jing” in painting can be interpreted to be 

a kind of voice, with pen and ink as the means and the picture as the carrier, all of which combine 

together to come up with them charm beyond the form. We can gain static state—“Jing” in Chinese 

painting aesthetics. In brief, the “touch” in Chinese painting is “Jing” (Feng, 2017). It can be seen that 

the tranquility of Chinese architecture reflects the inner “Jing” of Chinese people through the “touch” 

of Chinese painting. As a practice and spiritual belief, Laozi, the originator of Taoism, believes that 

emptiness and quietness is the origin of life, but people are vulnerable to external interference and 

temptation and lose their original mind. Laozi put forward the way of cultivating truth, that is, to teach 

people not to be confused and obsessed by the external material world, to seek from the outside to the 

inside, from the satisfaction of material desires to the improvement of spiritual cultivation, and to 

return to simplicity (Lu, 2015, pp. 26-27). 

“Jing” permeates all aspects of the Chinese cultural spirit and leaves a deep mark on the national 

psychological structure. From the perspective of artistic expression, Chinese art appreciates “quietness”, 

which is determined by thousands of years of historical accumulation and our cultural tradition. 

Chinese landscape painting pays attention to “verve”, and Chinese architecture emphasizes “Jing” 

atmosphere (Vago & Zaidan, 2016, pp. 96-113). From the perspective of cultural tradition, “Jing” is not 

only the means that Chinese people adopt to comprehend and speculate this world, but also the way 

through which Chinese people conduct spiritual practice. It gives Chinese traditional culture a unique 

spiritual temperament (Li, 2015, pp. 67-73). 

 



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3.2 Unity of Heaven and Mankind 

According to Lin Yutang, “its lines should soothe but not obtrude, its roofs should be nestle: quietly 

beneath the kind shade of trees and soft boughs should gently brush its brow. The Chinese roof does not 

shout out loud and does not point its finger at heaven. It only shows peace and bows in modesty before 

the firmament” (Lin, p. 321). As Lin points out, Chinese architecture is deeply influenced by Chinese 

painting aesthetics. It does not pay much attention to the volume, shape or perspective effect of a single 

building, but focuses on the feeling of “changing scenery step by step” thorough the sense of space 

between human and architectural environment. 

The sense of space in Chinese architecture is determined by people’s perception of heaven. “There are 

many thoughts about space in ancient Chinese architecture. The height of architecture is determined by 

looking up into the sky, and the depth of architecture is determined by looking down onto the earth. It 

can be said that the Chinese people’s grasp of the natural distance shows the natural spirit of Chinese 

architecture” (Liu, 2015, p. 4). Therefore, Chinese architecture is mainly embodied in “emptiness” of 

space. It reflects the inaction of Taoism, and the characteristics of Chinese architecture in his works are 

also influenced by Taoism. In the writing of Chinese architecture, the integration of Chinese 

architecture and nature reflects a Taoist view of “the unity of heaven and mankind”. Lin Yutang also 

mentions, “It is a sign of the place where we human live, and it suggests a certain amount of decency 

by covering up our human habitations”. However, Chinese architecture attaches importance to the 

effect of internal space, showing some introverted and closed characteristics. Compared with the west, 

Chinese architecture emphasizes the external space as the main part, reflecting “the spirit of the 

opposition between the heaven and mankind and the determination that the human being conquers 

nature” (Wang, 2010, p. 45). The emphasis on internal space in Chinese architecture can be seen that 

Chinese people’s temperament is more introverted than the westerners. 

3.2.1 The Origin of Unity of Heaven and Mankind 

The unity of heaven and mankind" is a concept rooted in Taoism, which emphasizes the connection 

between humans and the natural world. It highlights the idea that humans are not separate from nature, 

but rather an integral part of it. This concept is reflected in various aspects of Chinese culture, including 

architecture. Chinese architecture often emphasizes harmony between man and nature, striving to 

create a balance between human-made structures and the surrounding environment. This reflects the 

belief that humans should coexist harmoniously with nature, rather than dominate or exploit it. The 

unity of all things and the emphasis on harmony in Chinese architecture are influenced by the Taoist 

principle of embracing the wonder and mystery of the natural world. As Lin points out, “Taoism, 

therefore, accounts for a side of the Chinese character which Confucianism can not satisfy. There is a 

natural romanticism and a natural classicism in a nation, as in an individual” (Lin, 1935, p. 300). Thus, 

Chinese architecture reflects Chinese people’s romantic thoughts in living through the combination of 



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Chinese architectural aesthetics and “the unity of heaven and mankind”. 

3.2.2 The Application of the Unity of Heaven and Mankind 

Lin Yutang once expresses that “taoist philosophy explains the unsatisfied aspect of Confucius in 

Chinese nationality, that is, imagination and romantic thought”. Therefore, Chinese architecture 

attaches importance to harmony with heaven, which reflects the imagination and romantic thought 

through the reservation of Chinese people. “from the harmonious development of the nature view, 

which is ‘Unity of Heaven and Mankind’ as the guiding ideology, with the Taoist architecture 

integration research and overall analysis reveal the application in spatial distribution” (Zhao & Shan, 

2015, p. 2). 

For example, the porch, hall and cornice in the North show the infinite sense of architectural space, and 

the visual experience is skillfully realized through the stone and wood structure. The Chinese garden 

architecture in the South shows originality, which increases the imagination of space through “changing 

scenery step by step” (Zhong, 2020, p. 18). Chinese people are obviously introverted. This can be 

explored in terms of Chinese garden architecture changes the landscape. “The changing scenery of 

Chinese architecture is not directly seen by opening the door or walking down the stairs, but indirectly 

felt through the contact between man and nature, which is also a way for Chinese people to express 

their romance and freedom implicitly” (Xu, 2019, p. 1). It is the influence of “the unity of heaven and 

mankind” that enriches the imagination and romance of Chinese architecture. The charm of Chinese 

architecture based on the idea of “the unity of heaven and mankind” also shows the imagination and 

romantic spirit of Chinese people. “From the architectural point of view, the spatial layout Chinese 

religious culture ecological thought related achievements applied in architectural environment, thus, 

carry on and promote the development of man, society and ecological environment construction” (Zhao 

& Bian, 2015, p. 2). 

In contrast, traditional Chinese architecture is characterized by its enclosed and compact design, 

creating a sense of privacy and intimacy. The buildings are constructed around a central courtyard, 

which serves as a gathering place for family and friends, and the walls are often adorned with intricate 

carvings and paintings. The use of wooden beams and brackets, rather than columns, allows for flexible 

and adaptable spaces that can be easily reconfigured to suit changing needs. The Great Wall of China 

and the Forbidden City in Beijing are iconic examples of traditional Chinese architecture, evoking a 

sense of grandeur, stability, and harmony with nature. Overall, while Western architecture emphasizes 

individuality and openness, traditional Chinese architecture values community and harmony. 

As a result, traditional Chinese architecture employs a more subtle approach to incorporating romantic 

ideas into its internal structure, often relying on the presence of people to bring the space to life. Lin 

Yutang’s depiction of Chinese architecture captures the essence of Chinese culture, which values peace 

and security within the home and stability and caution outside of it. The intricate carvings and paintings 



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on the walls and the use of natural materials such as wood and stone reflect a deep reverence for nature 

and a desire to live in harmony with it. In contrast to western architecture, which emphasizes 

individuality and openness, traditional Chinese architecture values community and privacy. Overall, the 

romantic ideas in Chinese architecture are more understated, reflecting the modest and reserved nature 

of the Chinese people. 

 

4. Chinese Architectural Structure 

The western perception of Chinese architecture often centers its role in manufacturing rather than 

innovation, particularly in the realm of original design. Although China has produced many exceptional 

architectural works in recent years, however, the majority of them are public or commercial buildings, 

and residential buildings’ occupancy rate is relatively low. This lack of quantity seems to reflect a lack 

of quality and originality in design. 

Chinese architects frequently prioritize studying western architectural design over incorporating 

Chinese characteristics into their work. They often view tradition as a relic of the past and discard it in 

favor of modern Western design, believing it is the best way to connect with the world. However, this 

approach does not always hold true. 

It is crucial to recognize the value of Chinese traditional architecture and design and integrate it into 

modern architecture. By doing so, designers can create unique and innovative designs that reflect 

Chinese culture and values. Striking a balance between tradition and modernity is essential in creating 

original and functional designs that meet the needs of contemporary society. By following this 

approach, Chinese architecture will gain recognition and respect on a global scale, not just as a “made 

in China” product but as an original and innovative creation that contributes to the world’s architectural 

heritage. Chinese designers often focus on studying western architectural design and neglect the 

importance of incorporating Chinese characteristics into their work. They tend to view tradition as the 

past and discard it in favor of modern western design, believing that this is the best way to connect with 

the world. However, this belief is not always true in certain circumstances. 

However, there still exists the misunderstanding of lacking of creativity in overseas impression of 

China architecture. While Chinese architecture introduced by Lin Yutang shows the creativity that 

Chinese architecture needs instead of the commercial values as is demonstrated in western architecture. 

Lin Yutang stresses, “among the various strokes of a character, we usually choose a horizontal or a 

vertical stroke, or sometimes an enveloping square, which is regarded as giving support to the rest, and 

this stroke we must make powerfully and longer, more obvious than the others” (Lin, 1935, p. 130). 

Obviously, Chinese people use Chinese character structure in architectural structure. 

Lin takes the example of the Palace Museum which “is located in the north to the south. The main 

buildings are arranged on a main axis, and other secondary buildings are distributed on both sides of 



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the main axis, facing each other from east to west, forming a concise organizational law. This neat 

arrangement is derived from the symmetry of Chinese characters” (Lin, 1935, p. 129). As we can see, 

the structure of the Palace Museum is created from Chinese characters. Ancient Chinese people gained 

much inspiration from Chinese traditional culture. Thus, Chinese architecture has the structure of 

Chinese characters, traditional color decoration and cautious layout influenced by the doctrine of the 

mean, breaking the stereotype of China overseas. 

4.1 Color Decoration of Chinese Architecture 

Lin Yutang simply describes decorative details of Chinese architecture. There are many innovations in 

the decoration of Chinese architecture. “Roof ridge decoration refers to the decorative components on 

the roof of ancient China. It has both humanistic connotation and aesthetic taste. It is called ‘top 

scenery’, which integrates traditional art aesthetics, national culture, feudal rituals, etc. Among them, 

totem culture temple is an ancient phenomenon. The original function of roof decoration is to press and 

hold the roof tiles, and then gradually evolved into a decorative symbol” (Jian, 2019, p. 8). In choosing 

color, ancient Chinese architecture is good at integrating a variety of colors, such as the color of the 

roof of Chinese architecture will change with the seasons (Gou & Wang, 2010, pp. 246-266). 

In comparison of Chinese and Western architectural color decoration, the Forbidden City of China and 

the Palace of Versailles of France are often regarded as typical examples. The Forbidden City 

commonly adopts yellow, red, and white in its decoration. The reason why the Palace Museum chooses 

yellow glazed tiles is due to the symbolic significance of the color. Yellow represents the color of land 

and sunlight, embodying the central government, imperial power, hierarchy, order, and supremacy. 

According to Wang Daili (2015), red is another significant color used in the Forbidden City’s 

decoration. Red is a full color that conveys warmth and awe and is recognized as the oldest color used 

by human beings. The use of red in the Forbidden City’s decoration signifies prosperity, auspiciousness, 

and happiness. In contrast, the Palace of Versailles in France features a more vibrant and diverse range 

of colors in its decoration. The interior features a wide range of colors, including gold, blue, and green, 

which reflect the luxurious and extravagant aesthetic of the French monarchy. 

The differences in color decoration between Chinese and Western architecture reflect the differing 

cultural values and aesthetics. Chinese architecture emphasizes the symbolic significance of colors and 

their association with imperial power and hierarchy. In contrast, Western architecture emphasizes 

luxury and extravagance, with a focus on a diverse range of colors and materials to create a visually 

stunning effect. In ancient China, red also signifies the highest status. The white stone base decoration 

of the Forbidden City was also very exquisite. “In ancient Chinese Taoism philosophy, white and black 

represent Yang and Yin, and are regarded as the source of all things.” Among them, white is called 

“Yang color”, which represents the positive, enterprising, strong characteristics and the things and 

phenomena with these characteristics. While in the 17th century, the architecture of Versailles is 



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characterized by the worship of Roman style and rationality. “The appearance colors of Versailles 

Palace are mainly red, yellow and blue bricks, decorated with gold, giving people a grand and 

magnificent feeling” (Wang, 2015, p. 6). However, it does not have the rigorous color level as the 

appearance colors of the Forbidden City. 

The decoration color of Chinese palaces is closely related to China’s political and cultural systems. It is 

symbolic, geomantic, and ethical, and has been used to signify superiority, inferiority, and social class 

division. As a result, the color decoration of Chinese palace architecture is rich and colorful but can 

appear relatively singular due to the rigid hierarchical system that existed in the past society. In contrast, 

the color and decoration of western palace buildings exhibit a greater degree of diversity and rationality, 

reflecting the pluralistic and ever-changing social culture of Western countries. As Wang Daili (2015) 

notes, western palace buildings tend to pursue artistic freedom and individuality, resulting in a more 

varied and diverse approach to color and decoration.The difference in color and decoration between 

Chinese and western palace buildings reflects the contrasting cultural values and aesthetics. Chinese 

architecture emphasizes the symbolic and hierarchical significance of color, while Western architecture 

values individuality, artistic freedom, and diversity. 

4.2 Chinese Architectural Layout 

Lin Yutang gives an example of the Forbidden City. There is a hidden axis in the design of Beijing, and 

the layout is symmetrical. The different layout of Chinese and Western architecture reflects the 

different expressions of national spirit: “in a large range and for a long time, ancient Chinese 

architecture was influenced by the Chinese doctrine of the mean and developed in a stereotyped style” 

(Wang, 2009, p. 14). 

In the history of Chinese ancient architecture, Liu Dunzhen classified Chinese architecture into official 

architecture, residential architecture and garden architecture influenced by the doctrine of the means. In 

his article, Liu Dunzhen writes: “all these structural and external features, together with the balanced 

and symmetrical layout method, have formed the unique style of Chinese architecture, making it unique 

in the world architecture” (Shan, 2020, p. 5). As Liu Dunzhen points out, this kind of balance of layout 

is actually the expression of the Chinese people’s doctrine of the mean. Chinese culture is influenced 

by the doctrine of the mean, and Chinese people attach importance to checks and balances. 

Confucius and Mencius believe that man is between heaven and earth, and “Zhi Zhong” is the best way 

of existence. “This concept determines that the characteristics of Chinese traditional architecture in site 

selection, planning, layout and shape are ‘seeking the middle’, with ‘middle’ as the standard of 

planning architecture, and all buildings are carried out with the middle line as the standard” (Yang, 

2012, p. 24). 

The rigorous layout of Chinese architecture reflects the doctrine of the mean. The core idea of the 

doctrine of the mean is to live in the right way, not biased, with natural pure human nature to improve 



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self-cultivation, treat everything. According to the doctrine of the mean, people’s cultivation should be 

based on persistence and self-discipline. It should be consistent with the doctrine of justice and 

neutralization. “The layout of Chinese classical architecture is always based on a main axis, the main 

building is arranged on the main axis, and the secondary building is arranged on both sides in front of 

the main building, facing east and west, forming a square or rectangular courtyard” (Wang , 2009, p. 

14). As long as desire and demand are moderate and in line with the doctrine of the means, they will 

also be in line with the principle of heaven.  

Chinese architectural culture reflects the formation of Chinese architectural style, the reason of Chinese 

personality structure, and the influence on the overseas construction of image of China. Chinese 

geomantic culture has been misunderstood by western society, but it has been imperceptibly 

influencing the style of Chinese architecture. For Chinese people, it is more or less influenced by 

geomantic customs, such as unique views on the location of houses, the placement of furniture, and the 

location of doors. Furthermore, it plays a certain role in the yearning for good luck in Chinese 

personality. It is common for good luck symbols to appear in Chinese architecture, which reflects the 

application of symbolism to cause in-depth thinking. The role of Pantheism in Chinese architecture is 

also an indispensable part of Chinese architectural culture. As Lin Yutang writes, “It has supplemented 

this by the constant use of symbolic motives. And it has, through the superstition of geomancy, 

introduced the element of pantheism, which compels regard for the surrounding landscape” (Lin, 1935, 

p. 129). In short, Chinese architecture is influenced by these three factors: symbolism, pantheism and 

geomancy culture. With the continuous use of symbolism, pantheism emerged through geomancy. 

 

5. Reflection on Chinese Architectural Culture 

As Lin Yutang writes “it has supplemented this by the constant use of symbolic motives. And it has, 

through the superstition of geomancy, introduced the element of pantheism, which compels regard for 

the surrounding landscape” (Lin, 1935, p. 129). In short, Chinese architecture is influenced by these 

three factors: symbolism, pantheism and geomancy culture. With the continuous use of symbolism, 

pantheism has emerged through geomancy. 

5.1 Reflection on Application of Symbolism 

According to Lin Yutang’s observation, Chinese architecture seeks relief from straight lines and makes 

use of symbolism to convey a psychological message. Animal images in Chinese architecture often 

symbolize the Chinese people’s good wishes for life. For instance, Lin notes that the bat is a popular 

decoration motif in Chinese architecture because of its curved wings’ versatility in design and its 

homonym for “good luck”. Similarly, the lion’s image appears in front of houses, gardens, and 

mausoleums in China, reflecting the Chinese people’s optimism about life. Residential buildings often 

feature gentle and lovely lion images, giving people a sense of joy (Zhong, 2020, p. 18). 



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In ancient Chinese palaces, dragon is considered to be one of the most important symbols in Chinese 

classic culture, connoting power and longevity. According to Lin Yutang, symbolism in Chinese 

architecture contains within a few conventional lines the thoughts of age and the dreams of the race. 

Dragon is the most revered animal in China and a symbol of the emperor who always had the best of 

everything. The role of symbolism in Chinese architecture reflects the Chinese people’s cultural values 

and beliefs and contains the age and hope of the nation (Lin, 1935, p. 300). Furthermore, one of the 

most representative works of symbolism in China is The Classic of Mountains and Seas Anonymou, 

which describes many rare animals in ancient China, for example, a crafty and villainous person and 

unicorn “Zheng”. In fact, in Han Dynasty, a crafty and villainous person should have the meaning of 

auspiciousness. “In Han Dynasty stone reliefs, a crafty and villainous person often accompanied the 

Queen of the West. The reason why a crafty and villainous person is so extraordinary may be related to 

the fox’s cleverness and beauty. Take red fox as an example. Red fox has a long fluffy tail. Its swinging 

posture can easily arouse people’s imagination of ‘nine tails’” (Xu, 2019, p. 4). In The Classic of 

Mountains and Seas Anonymous, the constituent elements of the images of rare animals are basically 

limited to the category of real existence in nature, and these constituent elements are basically real 

concrete images. Therefore, the way to endow surreal things with authenticity is often to transfer the 

concrete authenticity to imaginary things, which also shows the characteristics of sensibility and 

intuition. 

However, the symbolic images of Western architecture are not as sensible and intuitive as those of 

China. The Chinese architectural symbolic images are abstract, and they were made up by rich 

imagination, while the symbolic images of western ancient buildings are more concrete, and most of 

them directly imitate the things in nature. “In the early days, they imitated the weaving patterns of 

flowers and leaves of plants, such as water plants, reeds and vines. In the Greek period, there were 

columns. In the middle ages, the church was dominated by saints or New Testament stories” (Yu & Liu, 

2020, p. 5). Symbolism in Chinese architecture expresses Chinese people’s good wishes for life and 

great imagination, through the mysterious symbolic images such as bat, dragon and a crafty and 

villainous person. 

5.2 The Influence of Pantheism 

Lin Yutang writes, “but then the dragon is not a purely mythological or antediluvian. To the Chinese, 

the mountains and rivers are alive, and in many of the winding ridges of mountains we see the dragon’s 

back, and where the mountains gradually descend and merge into the plain or the sea we see the 

dragon’s tail. That is Chinese pantheism, the basis of Chinese geomancy”. 

One of the mythical animals in Chinese architecture mentioned by Lin Yutang is the dragon. Dragon is 

the most revered animal in China. It is a symbol of the emperor. It is the most widely used in ancient 

Chinese architectural decoration, partly because it symbolizes imperial power, and partly because with 



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the passage of time, the image of the dragon is no longer a pure mythical animal, but is composed of 

the concept of the Chinese people. The Chinese people believe that mountains and rivers have gods, 

which is the manifestation of Chinese pantheism in Chinese architecture. The Chinese regard the 

dragon as a deity, and at the same time expand to mountains and rivers to charge them with deities. 

Therefore, Chinese architectural culture is also influenced by pantheism. Chinese people’s view of 

mountains and rivers as gods has a profound impact on China’s image abroad. Maxine Hong Kingston, 

a famous Chinese American writer, once said: “for the west people, when I hear the word ‘China’, I 

immediately think of ancient rituals, exotic tea and superstition” (Wang, 2020, p. 2). The ancient rituals 

and superstitions in the overseas impression of China are influenced by pantheism. The image of the 

Chinese is superstitious in the West. However, Chinese pantheism is not the kind of superstition as 

Westerners think. 

Chinese people believe, the mountains and rivers are alive and dragon is one of the due expressions. 

“But then the dragon is not a purely mythological or antediluvian. To Chinese, the mountains and rivers 

are alive, and in many of the winding ridges of mountains we see the dragon’s back, and where the 

mountains gradually descend and merge into the plain or the sea we see the dragon’s tail. That is 

Chinese pantheism, the basis of Chinese geomancy” (Lin, 1935, p. 310). Not only can dragon be 

viewed as god in China, but also the stove has been influenced by pantheism in Chinese folk culture. In 

ancient China, every house had a stove. The ceremony of offering sacrifices to the kitchen god during 

the Chinese New Year is mainly to “leave the kitchen” and send the kitchen god to heaven. The kitchen 

god went to heaven to report the performance of his family for one year to the Jade Emperor. 

5.3 Chinese Geomantic Culture 

Chinese architecture has been criticized by Western missionaries and colonists for its use of geomantic 

culture, which was considered as witchcraft and deception. However, FengShui, as a traditional 

standard for layout and object placement in the natural environment, has a great spiritual and 

architectural value in Chinese architecture, as noted by Lin Yutang. He acknowledges that geomancy is 

a superstition but emphasized its advantages in Chinese architecture (Mu & Zhang, 2020, p. 3). 

Compared to other cultures, the geomantic omen pattern in Chinese culture has unique features, such as 

a preference for “hiding” and “defending” and an attachment to the nature of mountains and rivers. 

These features deeply reflect the poetic and introverted personality of the Chinese people and are 

different from the characteristics of “showing off”, “attacking”, and “extroverting” of European 

Christian culture (Ding, 2003, p. 2). Therefore, the use of Chinese geomantic culture in architecture 

tends to reflect a personality that is “hiding” “indirect”, and “defending”. 

Through Lin Yutang’s writing on Chinese architecture, the misunderstanding of Chinese culture 

overseas is more clarified, and the important role of geomantic culture in Chinese architecture is 

highlighted. The use of symbolism in Chinese architecture reflects the hopes and cultural values of the 



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Chinese people, while FengShui provides a spiritual and architectural basis for Chinese architecture. 

Since the middle and late 20th century, with the global environmental and ecological crisis highlighted, 

the environmental governance concept of Chinese FengShui conforming to nature and respecting 

nature has been gradually recognized by western scholars. FengShui is regarded as “a way for Chinese 

people to understand, perceive and deal with the real world” (Ding, 2003, p. 1). FengShui culture 

embodied in Chinese architecture has also been recognized to a certain extent. “The aesthetics of 

Chinese geomancy has therefore a very close bearing on Chinese architecture in the broad sense of the 

world. 

 

6. Reflection on Overseas Construction of China’s Image 

The west has historically held a polarized view of China’s image, characterized by two extremes: the 

image of peasants who are perceived as lacking ambition, innovation, and expressiveness, and the 

image of villains who are viewed as being ambitious and destructive. The former is rooted in a lack of 

understanding of China’s development, while the latter is based on demonization fueled by a lack of 

understanding. Lin Yutang’s writing on Chinese architecture offers a unique perspective on China’s 

national spirit and contributes to breaking down these inherent prejudices. By highlighting the 

characteristics of Chinese architecture, Lin Yutang offers insight into the Chinese people’s cultural 

values and beliefs. This, in turn, can increase mutual understanding between China and the West. 

However, it is important to note that the singular image of China overseas is not solely a result of 

western biases. China’s own image transittign strategies, as well as geopolitical factors, should also 

take up the responsiblities for China recognized internationally. Therefore, a more nuanced 

understanding of the multiple factors that contribute to China’s image overseas is necessary. Lin 

Yutang’s writing on Chinese architecture offers a valuable starting point for this understanding. 

6.1 Prejudice, Respect, and Accept 

The characteristics of Chinese architecture in Lin Yutang’s works show the national spirit of China, and 

overseas views on China’s image have changed. The efforts of Chinese architects in Chinese 

architecture have also attracted overseas attention. “Liang Sicheng and Lin Huiyin, the couple of 

architects, received art education overseas, and their understanding of architecture reached a balance 

between Western learning and the study of ancient Chinese architecture”. The west understands 

Chinese architecture, respects and accepts the aesthetics of Chinese architecture, which makes Chinese 

architecture more widely understood and studied. The stereotyped image of China overseas is actually 

the prejudice caused by the lack of cognition of China overseas. Through the efforts of Lin Yutang put 

into the Chinese architects as a way of communication between Chinese and western architecture, the 

prejudice against China has been lightened and China’s overseas image has been refixed to a great 

extent. 



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6.2 Absorption and Impact 

The absorption and impact of Chinese architecture on Western construction styles in Britain during the 

18th and 19th centuries was significant and far-reaching. The influence of Chinese architecture can be 

seen in various aspects of Western architecture, including the use of decorative motifs, the 

incorporation of oriental elements in building design, and the adoption of new construction techniques 

and materials. 

One of the primary ways in which Chinese architecture impacted Western construction styles was 

through the use of decorative motifs. The intricate designs and patterns found in Chinese architecture, 

such as the use of dragons, pagodas, and other ornate motifs, were highly sought after by Western 

designers and architects. These motifs were incorporated into the design of buildings, furniture, and 

other decorative objects, giving rise to a new style known as “Chinoiserie”. Another way in which 

Chinese architecture impacted Western construction styles was through the incorporation of oriental 

elements in building design. Chinese architectural features, such as the use of curved roofs, intricate 

lattice work, and the integration of nature into building design, were admired by Western architects and 

designers. These elements were gradually incorporated into Western building design, leading to the 

emergence of a new architectural style known as “Orientalism”. Finally, the impact of Chinese 

architecture on Western construction styles can be seen in the adoption of new construction techniques 

and materials. The Chinese were pioneers in the use of materials such as porcelain and silk in 

construction, and their use of bamboo scaffolding and other innovative construction techniques were 

also highly influential. Western architects and builders were quick to adopt these new techniques and 

materials, leading to the development of new construction technologies and methods. 

In conclusion, the absorption and impact of Chinese architecture on Western construction styles in 

Britain during the 18th and 19th centuries was significant. The influence of Chinese architecture can be 

seen in various aspects of Western architecture, including the use of decorative motifs, the 

incorporation of oriental elements in building design, and the adoption of new construction techniques 

and materials. The legacy of this influence can still be seen in modern Western architecture today. 

 

7. Conclusion 

My Country and My People had played an important role in transmitting the image of China. Thus, 

many scholars have studied the book on Chinese national spirt and image from different dimensions. 

This paper studies the chapter of architecture in My Country and My People to analyze the 

characteristics of Chinese architecture that reflects the Chinese national spirit, Chinese personality and 

overseas shaping of China’s image through the comparison of Chinese and Western architecture. 

Chinese architecture focuses on representing and conveying beauty and seeking harmony with nature. 

Through Lin’s writing about serenity of Chinese architecture, Chinese architecture expresses nature 



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spirit, reflecting Chinese people’s personality “Jing” and “unity with man and heaven” combined with 

ancient Taoism theory. Furthermore, this paper analyzes Chinese architectural structure, including color 

decoration and layout. Chinese architectural culture influenced by symbolism, pantheism and 

geomantic culture that reflects Chinese unique charms and features. 

 

Acknowledgment 

Writing this paper was like successfully surviving a long and arduous journey. I was able to make it 

through this journey because I had the unwavering support of so many people along the way. The 

deepest and sincerest gratitude goes to my supervisor, Prof. Dan Cui, for her continuous and invaluable 

guidance throughout my research. She gave me much aid through timely responding to my questions, 

providing insightful feedback, offering a number of professional revising suggestions, and leading and 

pushing me to think harder and deeper. I am deeply impressed by her seriousness and rigor of academic 

research.It is of a great honor for me to be given an opportunity to complete my paperunder her 

supervision and guidance. In addition, I extend my gratefulness for my mother for her support, both 

mentally and financially. My final thanks go to all my friends for their encouragement and motivation. 

 

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Note(s) 

Note 1. This paper is the periodical research result of Project on “A Study of English Major Course 

System Construction With Value Shaping Based on ‘Global Village’ as the Foreign Language Lab” 

sponsored by the Academy of Foreign Language Teaching Attached to the Institute of Higher 



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Education of China (No: 21WYJYZD08); of Project on “A Study of Routes Applied to Cultivate the 

Inter-cultural Competence of English Major Students” (No: GJJX20201130); of Project on “The 

Establishment and Practice of Vista Mode of Development and Transformation of English-major 

Teaching Faculty’s Proficiency under New Arts Prospect” sponsored by Chinese Private Higher 

Education Association (CANFZG22417); of Project on “The Construction and Practice of Mode of 

Development and Transformation of Foreign Language Teaching Faculty’s Proficiency in International 

Studies of Universities under Multiple-Discipline Background” sponsored by Jilin Higher Education 

Association (No: JGJX2022D316); of Project on “A Study on Cultivation Mechanism of Foreign 

Language High-quality Students Based on Inter-discipline Crossover and Integration Under Value 

Guiding” sponsored by Jilin Education and Science Leading Office (WT22143). 


