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<p>The “zaojing” (decorated ceiling coffer, 藻井) in the Forbidden City, as a quintessential decorative element of Qing Dynasty imperial architecture, embodies profound aesthetic significance and political symbolism. This paper first traces the origin and evolution of <i>zaojing</i> through historical literature review, revealing its connections with primitive dwelling needs and the theory of “mutual generation in the Five Elements” (五行相生). Subsequently, employing a semiotic analysis, the study interprets how the forms and decorative patterns of zaojing in various palace structures visually and functionally express traditional Chinese ritual and religious concepts, while contributing to the visual articulation of imperial authority and sacrality. Finally, from the perspective of visual representation and power construction, <i>zaojing</i> integrates the Confucian ideal of “Great Virtue of Heaven and Earth” (天地大德) with the imperial ethics of “Sage Ruler’s Supreme Treasure” (圣人大宝). This synthesis can be understood as an aesthetic and ritual support for the representation of Qing imperial power, demonstrating how visual spectacle and Confucian ritual systems jointly articulated the cultural ideal of familial-state integration and the political aspiration for perpetual order.</p>

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Confucian ritual spaces in imperial architecture: a case study of the Zaojing ceiling designs in the Forbidden City

  • 期刊论文

  • 出版模式：

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  • 发表日期：

    2026年7月24日

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  • Ning Gao,
  • Yongsheng Tong,
  • An Sui

摘要

The “zaojing” (decorated ceiling coffer, 藻井) in the Forbidden City, as a quintessential decorative element of Qing Dynasty imperial architecture, embodies profound aesthetic significance and political symbolism. This paper first traces the origin and evolution of zaojing through historical literature review, revealing its connections with primitive dwelling needs and the theory of “mutual generation in the Five Elements” (五行相生). Subsequently, employing a semiotic analysis, the study interprets how the forms and decorative patterns of zaojing in various palace structures visually and functionally express traditional Chinese ritual and religious concepts, while contributing to the visual articulation of imperial authority and sacrality. Finally, from the perspective of visual representation and power construction, zaojing integrates the Confucian ideal of “Great Virtue of Heaven and Earth” (天地大德) with the imperial ethics of “Sage Ruler’s Supreme Treasure” (圣人大宝). This synthesis can be understood as an aesthetic and ritual support for the representation of Qing imperial power, demonstrating how visual spectacle and Confucian ritual systems jointly articulated the cultural ideal of familial-state integration and the political aspiration for perpetual order.