Chinese traditional house types offer deep insight into the nation’s long architectural history, shaped by its dynastic systems, cosmological ideas, and social hierarchies. The naming of these structures often reflects not only their function but also their symbolic position in Chinese society. This article introduces four classic types of Chinese traditional houses, showcasing their meaning, structure, and historical evolution. The discussion draws from ancient Chinese texts and archaeological evidence to illustrate how the Chinese architecture naming system encodes political and cultural values.
‘Gong’ (宫, palace), the Highest Ranking of Chinese Traditional House
The concept of “Gong” (宫) stands at the top of the Chinese traditional house hierarchy. The earliest explanation of this term can be found in the ancient dictionary Erya (《尔雅》), where it says: “宫谓之室，室谓之宫” — “Gong means chamber, and chamber means Gong.” This repetition reflects the interchangeable yet reverent use of the word, emphasizing that “Gong” is not just any house, but one imbued with formality and status.
Historically, “Gong” referred specifically to imperial palaces or the residential compounds of royals and high-ranking nobles. During the Zhou dynasty, the concept of Gong began to take architectural form as large enclosed compounds divided into multiple courtyards and halls, each with specific functions and symbolic orientations. These compounds followed strict regulations on axis alignment, spatial hierarchy, and ceremonial routes.
In imperial capitals like Chang’an and Luoyang, palaces named with the character “Gong” — such as Weiyang Gong (未央宫) or Daming Gong (大明宫) — served as the political and ceremonial heart of the empire. Their construction followed principles from the Kaogongji (《考工记》), which prescribed layouts for royal palaces. The scale, symmetry, and central positioning of these Gong buildings exemplify the embodiment of order and authority in Chinese traditional house culture.
‘Que’ (阙), the Loft Beside the Gates of Chinese Palaces
The architectural term “Que” (阙) describes tall towers or lofts flanking the entrance gates of palatial and religious compounds. According to the Erya (《尔雅》), “观谓之阙” — “A tower for observation is called Que.” These structures were primarily used for watchkeeping and ceremonial display, serving both defensive and symbolic purposes.
In the Han dynasty, Que structures flourished in both civil and funerary architecture. Archaeological remains and stone reliefs from Han tombs frequently depict paired Que flanking wide, formal gates. Often richly carved with mythical animals, celestial patterns, and auspicious symbols, these towers emphasized the sacred and powerful nature of the spaces they guarded.
Han palaces and ancestral temples often featured Que as architectural markers of authority. A notable example includes the Qianling Mausoleum, where tall Que loomed over the approach to the tomb site, framing the sacred axis. In this context, Que served as a gateway between realms — human and divine, temporal and eternal.
The architectural type of Que eventually faded in later dynasties, but its ceremonial symbolism persisted. Elements of Que evolved into the paired watchtowers and gate platforms seen in Ming and Qing city walls and palaces, continuing the visual language of entrance grandeur rooted in Chinese architecture naming conventions.
‘Dian’ (殿, palace), The Core Building of a Chinese Palace
Among the various components of a Chinese palace, the “Dian” (殿) plays the central role. The Yixun (《义训》) offers a distinction in the term’s usage: “汉曰殿，周曰寝” — “In the Han, it is called Dian; in the Zhou, it was called Qin (寝).” This reveals that while the function may be similar — a grand chamber for ruling or resting — the terminology evolved to reflect shifts in architectural norms and ritual emphasis.
Dian buildings are typically the main halls of palace complexes, placed on central axes and raised platforms to symbolize power. The most iconic example is the Hall of Supreme Harmony (太和殿) in Beijing’s Forbidden City. This massive Dian functioned as the ceremonial throne hall where emperors held court, received envoys, and marked major festivals.
Structurally, a Dian is characterized by its timber frame, grand roof with dougong (斗拱) brackets, and multiple bays. The use of yellow glazed tiles, marble platforms, and gilded beams in such halls marked them as elite structures. The clear axial symmetry and spatial dominance of Dian architecture reflect core values in Chinese traditional house design: hierarchy, centrality, and harmony between Heaven and Earth.
Beyond imperial palaces, Dian also appears in temples and ancestral halls, always as the central space for veneration, governance, or ritual. Its repeated use across civil and religious settings underlines the term’s prestige in the Chinese architecture naming tradition.
‘Lou’ (楼, loft), The Hall with Multiple Layers
The “Lou” (楼) is a type of multi-storied building in traditional Chinese architecture. As described in the Erya (《尔雅》): “狭而修曲曰楼” — “Narrow and tall with a curved shape is called Lou.” Originally, Lou referred to vertically extended structures built to view the surroundings, similar to towers.
In palace and temple complexes, Lou buildings often appear at corners or flanking gates, complementing the flat horizontal profile of surrounding halls. A classic example is the Wanchun Lou (万春楼) in the Forbidden City, which offers both residential quarters and strategic views over the compound.
Lou structures found widespread application during the Tang and Song dynasties. In Chang’an, the Mingde Lou served as a public bell tower, while other Lou housed libraries, archives, or entertainment spaces. Their vertical form created both visual landmarks and practical functions in densely planned cities.
In vernacular architecture, especially in southern China, Lou took on regional characteristics. The Diaolou (碉楼) of Guangdong and the Tulou (土楼) of Fujian are notable adaptations. Though different in material and scale, both maintain the core concept of multi-layered living and defense. These variations demonstrate the flexibility of Lou as a Chinese traditional house type.
Lou thus bridges the royal and civilian worlds, its form shifting with function but always preserving its architectural identity. The persistence of this naming reflects a lasting principle in Chinese architecture naming: harmony between form and purpose.
Conclusions
The diversity of terms used in Chinese architecture naming reflects a deep understanding of social order, cosmology, and aesthetics. Whether it is the commanding Gong of emperors, the sentinel Que at sacred thresholds, the central Dian that anchors palaces, or the layered Lou that reaches skyward, each Chinese traditional house type carries a legacy of meaning.
These architectural terms are more than labels — they represent thousands of years of construction practice, ritual behavior, and philosophical ideals. For modern researchers, heritage professionals, or curious travelers, understanding these names opens a window into how ancient China viewed space, power, and life itself.
