Architectural Sculpting
Classical Chinese architecture demonstrates not only concepts of traditional inhabitation but also the personal aesthetic of Chinese people. Furthermore， they integrate the ethics， social structure and world outlook. Architecture didn’t belong to the orthodox arts but some among the literati thought that it was connected with the arts and there was no comparison between it and mainstream arts such as painting and calligraphy. Architecture usually ranks alongside carpenter techniques. Chinese people thought architecture was similar to other technique-based craftwork. In other words， architecture was less elegant and significant than mainstream arts. However， the charm of classical Chinese architecture is still overwhelming. It doesn’t lie in a single piece but in the harmonious integration of the parts and the whole of architecture and a unique view of space layout. Ornamental sculptures used in architecture play an important role in contrasting the charm of architecture.
Classical Chinese architecture was based on wooden frames. Skillful frame structures fully display the wisdom of Chinese craftsmen and the scientific concept of Chinese aesthetics. The palaces built for emperors of different periods are symbolic masterpieces of different periods. They reflect Chinese architectural ideas and philosophy along with changes of social customs and culture.
Qin tile carvings and Han eaves-tile ornaments
Since the early Qin Dynasty， brick carvings and eaves-tile ornaments have been popular. During the Spring and Autumn and the Warring States periods， each vassal state had its own characteristics for palace buildings. After Emperor Shihuang of the Qin Dynasty unified China， those characteristics carried into the Qin Dynasty and continued to evolve. Most of the architectural heritage of the Qin Dynasty uses half-round and round eaves-tile ornaments with distinctive ornamental purposes.
The eaves-tile ornament is also called eave-end， which is the overhang on eaves. It is mainly used to waterproof and for drainage， to protect the wooden frame of roof， as well as for ornamental purposes. During the Warring States Period， most eaves-tile ornaments of of the State of Yan were carved with patterns of twin birds or beasts， while those of State of Qi were carved with patterns of trees and clouds. Some round eavestile ornaments of the State of Qin and the State of Zhao were designed with patterns of birds， beasts or gulosity.
It is said that the State of Qin built the spectacular Epang Palace after it unified China. Although this palace no longer exists， people can still image its magnificence through the site of another ancient palace， the second largest of the Qin Dynasty in Xianyan， Gansu Province. Large numbers of eaves-tile ornaments have been unearthed in Xianyan. They give some clues to image Qin’s architectural styles. The Qin Dynasty was more advanced than the Warring States Period in the palace building. Qin’s eaves-tile ornaments are more exquisite and artistic. They include two designs： Characters and patterns. The patterns include clouds and animals. Such designs demonstrate the simple and concise features of Qin sculptural arts， which are different from the round and mature style of the Han Dynasty.
Qin dynasty big hollow tile is more preferable than eavestile ornaments. Many hollow tiles have been unearthed in Xianyan， Shanxi Province. Some are designed with dragon and phoenix relief sculptures， others use line cutting techniques to display hunting images. The tiles fully demonstrate the level of sculpture and power during the Qin. Therefore， the Qin and Han dynasties are respectively famous for tile carvings and eaves-tile ornaments.
During the Western Han Period， as architectural techniques used in palaces， temples and tombs evolved， tiles carvings and eaves-tile ornaments became popular. Round eaves-tile ornaments entered the mainstream. Character carvings on eavestile ornaments became popular during this period， reflecting splendid achievements in calligraphy and literature. Eavestile ornaments were endowed with special meaning. Various characters and patterns indicated symbolic meanings. Palace buildings used mostly round eaves-tile ornaments carved with four auspicious characters in seal or square styles， such as “长乐 未央，” “长生无极” and “延年益寿” (representing “longevity”). Some were carved with two auspicious characters， such as “万 岁” and “无极，” or messages with three， eight， and even nine auspicious characters. All characters express wishes of longevity or happiness. However， every character has its own layout and style. Therefore， their combinations are of various forms.
Besides characters， there were also animal patterns and combinations of characters and patterns. Among animal patterns， the typical during the Han Dynasty was the pattern of “four divine animals，” including Qinglong (green dragon)， Baihu (white tiger)， Zhuque (red phoenix) and Xuanwu (dark turtle). These are symbols used to exorcising evil spirits and bring in auspiciousness. They represent four directions including east， west， south and north and four seasons including spring， summer， autumn and winter. Each divine animal is carved in a circular shape without any constraint of feeling. The powerful and smooth carvings are brilliant masterpieces of ancient patterns.
Relief sculptures on Que from the Eastern Han Dynasty
Que， similar to a tower， is a unique form of ancient Chinese architecture that includes a passage in the middle. It was usually built on both sides of the palace or tomb for decoration and safeguard. Early que towers use stone and wood structures. Most currently preserved que-towers are stone ones.
