Pine and cypress trees were considered long-lived trees and were often used as symbols of longevity. According to Chinese legends, peach trees took 500 years to bloom and 500 years to bear fruit, making fruits of them revered as a symbol of longevity. Turtles can live for 100 years or more. Cranes were also revered as symbols of longevity as they were considered pets of Shouxinggong, the god of longevity.
These auspicious animals and plants demonstrated that Chinese art is a discipline that uses symbolic methods to express wishes and desires. Each pattern represents good luck and propitiousness.

Ancient people loved flowers. They would imbue their wishes on the flowers they favoured and convey asuspicious meanings through the impressions of flowers. For example, peony symbolised wealth and prosperity, lotus was associated with chastity and purity, and orchids represented virtuousness. Bamboo corresponded to dignity and perseverance, while plum blossoms related to endurance. Chrysanthemums symbolised longevity and water lilies represented elegance and refinement. Osmanthus flowers related to official success and peach blossoms corresponded to good fortune.
Birds also have symbolic meanings. Eagles represented heroes and bravery, while magpies brought good news. Quail related to peaceful abode, while ducks symbolised academic achievements.

The ancients came up with using objects to express auspicious phrases, hence the widespread use of homophonic characters in auspicious words. For example, "fu" (fortune) is associated with bats, "ji" (auspicious) with chickens, "lu" (prosperity) with deer and also with the colour green, "huan" (joy) with badgers, "yu" (abundance) with fish, "gui" (wealthy) with woven palm leaf fan, "hou" (marquis) with monkeys, "qing lian" (integrity) with mackerel and catfish, "congming" (clever) with green onions, and "lingli" (smart) with water caltrops. This enables uneducated people such as farmers to recognise the auspicious meanings behind through the motifs.

Since the Ming dynasty, the Jingdezhen kiln has been leading in ceramic production in China. In addition to successfully replicated the ceramic from renowned kilns of ancient times, it can also emulate the styles of other kilns, resulting in a wide variety of products. In terms of glaze colours, apart from “wucai” (five-colour, famille verte), famille-rose, blue-and-white, and monochrome porcelain, it also developed special formulas and achieved colours that imitate jade, wood, bamboo, and stone. In the late Qing dynasty, the Jingdezhen kiln made another achievement by painting on porcelain plaque, instead of traditional paper. This form of painting offers long-lasting preservation, with colours that remain eternal. Porcelain painting combines the art of painting and ceramic, making it difficult to master. The term "Zhushan" is another name for Jingdezhen. During the early 20th century, there were eight renowned porcelain painters, including Wang Qi, Wang Yeting, He Xuren and Liu Yucen, are known as the "Eight Friends of Zhushan."

Ivory carving was one of the representative works of Guangdong craftsmanship. The shapes of the objects were often ivory balls, fan bones, box covers, fruit baskets and small card cases. Most of these objects were created to cater to the Western market. In terms of craftsmanship, the carved patterns were often intricate and transparent, with a high level of detail. The craftsmen could also achieve an impressive semi-transparent effect which was similar to woven fabric.

Excellent works of Chinese embroidery included those come from Beijing, Sichuan, Suzhou and Guangdong, each with its own unique characteristics closely related to the painting style of the region. Guangdong embroidery thrived during the Qing dynasty, with many Westerners visiting Guangzhou to order special designs. To cater to their tastes, Guangdong embroidery is rich in colour, with a sense of perspective similar to oil painting. Traditional motifs of auspicious flowers and birds are a staple in Guangdong embroidery, with the peacock displaying its feathers being the most popular theme. The stitching is intricate and detailed, creating a complex yet ordered appearance. Gold and silver threads are often used to enhance the ornate and colourful look of the embroidery. On the other hand, Chaozhou embroidery showcases creativity by incorporating fabric or cotton within the embroidered patterns to create a three-dimensional effect, adding a unique touch to the art form.

In ancient times, people would build archways at key points along roads. On the horizontal beam of the archway, they would place plaques with inscriptions that indicated the name of the location and introduced its unique characteristics, such as "historic landmark" or "residence of the principal graduate", with the intention of promoting or attracting tourists. Plaques were primarily wood carvings and were often used as signs for buildings and shops. In addition to their functional purposes, plaques could also be inscribed with blessings. As gifts, imperial courts would present plaques with congratulatory messages to distinguished individuals, scholars or officials.
The plaque itself was actually a calligraphy work in form of wood carving. The text was primarily written in lishu and kaishu scripts. The carving method was similar to that of seals, divided into raised yang characters and recessed yin characters. The most notable feature of this kind of plaque was the inclusion of dates of creation or dedication, as well as the names of the sender and recipient.

Due to concerns about security and privacy, windows were a rare feature in traditional Chinese residences. For example, the traditional courtyard houses in northern China, known as "siheyuan", typically featured a large gate facing south, with east and west wings on either side. The north side was reserved for the main hall and living quarters, and the central was for courtyard. As the house was surrounded by walls, the doors and windows of the rooms that faced the courtyard were elaborately decorated with intricate carvings. From indoors, people could appreciate the beauty of the courtyard through the latticed design. These decorative elements are commonly referred to as "chuanghua", which means window grilles.
Chuanghua usually adorned with auspicious motifs such as flowers and birds, and scenes from Chinese literature. It was considered as fine works of art with its exceptional craftsmanship. Notably, the ice crackle pattern was often found in study rooms and classrooms. This design was inspired by the ancient Chinese concept that wisdom and knowledge take time to develop, much like the formation of ice. As such, the ice crackle pattern was a symbol of perseverance and diligence. Typically, chuanghua featured gold and colourful paints. Chuanghua of the late Qing period even developed decorations of stained glass with carvings or inscribed poetic phrases.

In ancient China, seals were typically made of iron and were used as official stamps to verify identities. During the Tang dynasty, Emperor Taizong began using personal seals to mark his collection of paintings, aiming to ensure their authenticity. Collectors followed the emperor and started to use seals as a way to claim ownership. This practice also affected painters to use seals to indicate their original works. The art of seal-making became an integral part of Chinese painting.
The raised red text on seals is categorised as yang characters. In contrast, the white indented seal text is categorised as yin characters. The typical calligraphy style for seals was xiaozhuan, hence they were also referred to as "zhuanke". As jade is considered a valuable material, stone instead is the common material for seal-making. The seal stones from Qingtian of Zhejiang and Shoushan of Fujian are among the famous.

In traditional crafts, dragons, phoenixes, lions, and tigers were the most common auspicious symbols. However, some small items also played important roles. Ancient people valued male child highly. Since the Chinese word of lantern and boy shared the same pronunciation, people would often hang lanterns to symbolise the arrival of a boy. Mice were associated with the "zi" year in the animal calendar, so people would often use "mice climbing up to oil lamps" to symbolise the birth of a son. Squirrels also carried the similar meanings.
Fruits were popular symbols for marriage and childbirth. Pomegranates and grapes were used to represent having many children. Lychees related to having a son, dates represented early childbirth, coconuts corresponded to having grandchildren, and peanut was a symbol of pregnancy.

As early as the Neolithic era, the wild horses, cattle, sheep, chicken, dogs, and pigs had already been tamed and domesticated as livestock. The ancients had a strong emotional connection with these six animals. Therefore, they enjoyed designing motifs based on the characteristics of these animals, aiming to pursue a better life. They believed that horses embodied strength and vitality, sheep were associated auspiciousness, pigs brought about prosperity and abundance, while chicken symbolised liveliness and vigour. Thus, they adorned various objects with the motifs of these animals, hoping to bring their aspirations to life. However, cattle and dogs were less commonly used as motifs in designs.

There are two floral painting techniques are commonly found on porcelain. One is the "folded branch" method, where a single branch of flowers is depicted. The other is the "entwined branch" method, where flowers are connected horizontally, symbolising the idea of perpetual vitality. However, this phenomenon is not entirely rational, as it is unlikely that flowers such as lotus would grow in such a way. To express the desire for everlasting vitality, ancient people simplified related motifs. For example, meander motif in China, known as "huiwen," representing an endless cycle without a beginning or end. There are also wave motif, as well as scrolling vine or cloud patterns, representing the idea of endlessness. These geometric motifs share similarities with the intertwining branch patterns. In addition, the Tang dynasty was fond of using the "swastika" (wanzi) motif, which resembling the character for "ten thousand," and believed to have originated from Buddhism. The symbol represented the meaning of "myriad" or "numerous," signifying abundance and auspiciousness. Besides, circular shapes created with lines represent "heaven," while square shapes symbolise "earth." On some marble wall hangings, there are often fan-shaped stone decorations placed between circular and square insets. Ancient people enjoyed using fans, so the fan-shaped symbol represents "human." "Heaven," "earth," and "human" are collectively referred to as the "Three talents." Ancient people believed that only these three fundamental elements could wield immense power and construct a harmonious world. Therefore, the lines of circles, squares, and fan shapes embody unique cultural ideas in Chinese art.

Merchants from the West would often purchase ceramics from Jingdezhen kiln in Jiangxi province. Transportation difficulties led to increased production costs, prompting the Guangzhou kilns to develop a solution. They would order white ceramic wares from Jingdezhen and then process them in Guangzhou, adding coloured glazes and firing them in local kiln. This type of ceramic was called "guangcai".
Guangcai was characterised by its vibrant glazes. Gold was one of the featured colours, so guangcai was also known as "zhijin caici". The typical guangcai pattern blended Chinese and Western scenery and figures, with coats of arms from European families appearing notably. The designs often featured symmetrical compositions, densely populated with flowers and birds, with roses and butterflies being particularly striking. These characteristics were hallmarks of guangcai.

During the Song dynasty, only non-foldable circular fans, known as "pingshan," were used. This is the oldest style in Chinese history. As for folding fans, it is said that they were introduced from Korea to China and began to gain popularity during the Ming dynasty, gradually replacing the circular fans. In the Qing dynasty, trade with the West flourished, with brise fan made from ivory being a major commodity. Brise fans are made entirely of wide fan sticks connected by ribbons and overlapped to form the equivalent of a leaf when opened. This style originated from the West and was first produced in China during the 17th century. Besides, in ancient China, feather fans made from bird feathers were used for ceremonial purposes. Although they were unfoldable, they became popular in the United States in the 19th century. Fans were a symbol of status for European women. They appreciated the fans from Guangzhou with exquisite craftsmanship and having fan leaves with oriental aesthetic. As the prices of those fans were affordable, leading to a large number of orders from Europe. These commercial activities actually promoted cultural exchanges between China and the West.

The earliest stone carvings were monumental works, often found in famous Buddhist temples such as the Yungang Grottoes and the Longmen Grottoes. Stone statues featuring human figures and animals were found standing along the path of imperial tombs as guardians. Lion was introduced to China from India during the Tang dynasty. It was regarded as the most formidable auspicious creature. Starting from the Song dynasty, ancient craftsmen carved lions from stone and placed them at the entrance, replacing watchdogs as guardians. They believed that lions could ward off evil spirits and demons because of their fearsome appearance. Having never seen a lion in real life before, the craftsmen could only depict its face as a ghastly visage. A renowned vanquisher of ghosts, Zhong Kui was also depicted with a grotesque face. It is interesting that malevolent spirits, benevolent Zhong Kui, and lions all shared the same terrifying visage. The stone guardians at the entrance include playful cubs and their nurturing lionesses. The copper bells tied around their necks signified their domestication. These guardian lions best exemplify the traditional Chinese stone carving techniques.

In addition to window grilles, wood carvings were also used as architectural ornaments. Styles in Northern China emphasised auspicious meanings than craftmanship. Styles in Southern China were influenced by painting styles, focusing on expressive rather than realistic depictions. In Fujian province, people employed a unique technique of adding silver shells to wood carvings, creating a contrast between the silver shell's luminosity and the golden lacquerware's richness. Chaozhou people of the Guangdong province have a tradition to build ancestral halls, aiming to reinforce bonding between the clans and to demonstrate their noble status. Apart from ornaments of windows and doors, they produced a large quantity of ritual objects with golden foil applied to the surface. The Chaozhou people would carve out multiple stories or scenarios from operas, arranged in a sequence like a scrolling picture, making the content richer and more abundant compared to similar works from other regions.

Before the Tang dynasty, ancient people usually rested and ate on the floor which low-footed furniture was the majority. The "hu cang" invented by ethnic groups was not a bed but a chair with a folding back. The ancient people inherited the design of high-backed chairs and transformed the shapes of chairs, beds, and desks, which changed the lifestyle from Tang dynasty onwards.
The structure of Chinese furniture was derived from architecture. For example, the four legs of a chair represented the four pillars of a Buddhist temple entrance "kunmen". The horizontal wood connecting the pillars represents the roof beam. The design of rear legs being higher than the front legs was a symbol of promotions. If the top of the chair back extended upwards, it represented an official hat or a lamp post. The armrests on both sides of the chair resembled walls of buildings.
Large-scale high-backed chairs are commonly referred to as "tai shi" chairs. Chinese chairs typically have additional feet to support their height, whereas European chairs are generally lower and more functional. Since the Qing dynasty, people have been imitating and producing these European-style chairs, commonly referred to as "xiaojie" chair. Beijing, Suzhou, and Guangzhou were the centres of traditional furniture production during the Qing dynasty. The products from Beijing catered to the tastes of the royal court and high-ranking officials, often featuring large-scale furniture made of purple zitan wood. The products from Suzhou were favoured by literati in Jiangnan, often using yellow huanghuali wood. The products from Guangzhou were mainly made of red wood, commonly referred to as "suanzhi" and were popular among Westerners. The Guangzhou style is not bound by traditional styles, combining elements from Beijing and Suzhou, but it is characterised by the reclining chair with a backrest that tilts backwards.

The early Chinese calligraphy style came from the inscriptions on Shang and Zhou dynasties bronze vessels, known as "zhong ding wen." Later, this complex script was simplified into "xiaozhuan" and then further simplified into "lishu". During the Jin dynasty, lishu was refined into "kaishu". The term "xingshu" did not refer to a specific calligraphy style, but rather referred to works written in kaishu at a faster pace. During the Tang dynasty, "caoshu" emerged, but this abstract calligraphy style did not become popular at the time.
Calligraphy is primarily done with ink and water. The words written by black ink represents reality and is considered "yang". The blank spaces represent emptiness which is considered "yin". The composition of calligraphy reflects the concept of yin and yang, which great calligraphy piece is characterised by the skilful expression of contrasting ink colours, varying brushstrokes, and mastery of dotting and slashing techniques.