In Qing dynasty palace dramas, the empresses'''''''' jeweled hairpins and step-shaking ornaments dazzle with intricate craftsmanship. The high-saturation clashing of bright reds and imperial yellows in the classic “Abao” color palette often overwhelms the eyes—so vivid it''''''''s almost unbearable. The reason “Story of Yanxi Palace” reignited Qing dynasty fever lies not only in its fresh plot and character designs but also in its costume and color palette. Breaking from the usual saccharine aesthetic, it ingeniously employs low-saturation hues, bringing an elegant, cinematic vintage charm to the screen. The sophisticated “Yanxi colors” have won over countless fans.

So, what were the authentic colors of the Qianlong era in the Qing Dynasty—the “Morandi colors” or the traditional Chinese palette? Which aesthetic do you prefer?

Morandi Colors

The “Morandi color scheme” originates from the works of Giorgio Morandi, a renowned 19th-century Italian painter. Characterized by light gray tones, these colors incorporate white to soften their intensity. Renowned for his still lifes, Morandi''''''''s works employ muted grays with reduced brightness and saturation, offering viewers visual relaxation and pleasure—making them a top choice for contemporary designers.

Pink tones, blue tones, earth tones, green tones, and raw gray tones. Despite the apparent complexity of the color spectrum, careful observation reveals that the Morandi palette essentially comprises these primary groups. The fashion industry propelled Morandi colors to prominence; their high-end, low-saturation combinations inherently exude sophistication. These hues perfectly embody the minimalist aesthetic, whispering with understated elegance: “I am refined.”

Traditional Chinese Color Spectrum

Traditional Chinese colors lean toward subdued tones, achieved by diluting pigments with water and ink. The Book of Documents states: “Using five hues to manifest the five colors, create garments, and you shall be enlightened.” The Five Colors—red, yellow, blue, black, and white—form the foundation of Chinese color theory. This system carries rich symbolic meanings and ancient philosophical concepts, embodying strong national characteristics and serving as a symbol of Chinese culture. Ancient practitioners discovered that five primary colors—the purest hues—constitute the fundamental elements of color. These could only be extracted from natural sources; no combination of other colors could replicate them. Yet blending these five produced an infinite array of secondary hues.

Throughout five millennia of Chinese history, color preferences varied across dynasties. The Qing dynasty''''''''s color system matured as early as the 17th century. The historical period depicted in “Story of Yanxi Palace” favored more subdued hues, with the so-called “Yanxi colors” widely applied in contemporary attire, interior decor, and detailed brushwork paintings.

True to traditional Chinese aesthetics, “Tianyu” bases its lantern craftsmanship and color considerations on the “Five Colors” of the classical Chinese color spectrum. Modern lanterns transcend the Lantern Festival, becoming a beloved nighttime pastime popularized by Tianyu. Their colors follow distinct principles and characteristics.

First: Decorative colors derived from folk art. Chinese folk art colors stem from the Five Elements philosophy rooted in ancient Chinese yin-yang thought. Eastern blue represents wood, western white represents metal, southern red represents fire, northern black represents water, and central yellow represents earth. The colors of the Five Elements are pure and intense. In Chinese folk art, where Five Elements colors dominate, color usage is largely unrestricted by the subject matter, allowing for considerable freedom. From a human color instinct perspective, this direct expression through color is far more sophisticated than merely imitating external hues. In “Tianyu” lantern design, traditional Chinese red, blue, yellow, white, and black are both inherited and transformed. Since nightfall is dark, large areas of black are seldom used in lanterns, replaced instead by high-purity colors like red, yellow, green, and blue. While maintaining the decorative essence of folk art, color schemes are divided into two primary approaches: first, employing color contrast; second, utilizing monochromatic or analogous color combinations. For instance, Tianyu''''''''s most iconic and critically acclaimed touring piece, the “Dragon Lantern,” masterfully executes the contrast between “orthodox red and yellow.” Notably, Tianyu crafted set pieces for the James Bond film SKYFALL. Its “Dragon Boat” became the film''''''''s most emotionally resonant scene, rich with Eastern flair that immersed audiences in its atmosphere. The dragon, predominantly yellow with subtly accented red, demonstrates Tianyu''''''''s mastery and sophisticated technique in color application.

Second: Contemporary color palettes. Beyond red, yellow, blue, green, and white, Tianyu employs complex hues like purple, pink, brown, and orange in varying shades and intensities. Moving beyond traditional color schemes, new themes and techniques in lantern design have pioneered innovative color applications. Lantern displays inspired by nature—whether plants, animals, or entire environments—often mimic natural color palettes. For instance, Tianyu''''''''s animal and deep-sea installations, set against zoological backdrops, draw their hues directly from nature while seamlessly integrating them into their environments.

Of course, there are also lantern color schemes with lower saturation, exuding a sophisticated feel akin to the “Yanxi Palace colors.” For instance, some lantern installations created by ‘Tianyu’ for the 2017 and 2018 “Sydney Vivid Light Festival” employed relatively subdued color palettes. As they gradually illuminated under the night sky, an air of mystery seemed to emerge.

Which style do you prefer?