Fresco occupies an important position of ancient architecture in China. It is extensively used in memorial archway, column and wall. With proper combinations of colors reflect either contrast or complement could produce an appealing visual effect.

　　Fresco serves as an artistic decoration in architecture. It dates back to Ming Dynasty and meets the heyday in Qing Dynasty. It appears mostly in temples and clan halls. The contents and shapes are in accordance with architectural intent.

　　In order to protect cultural heritage and boost the development of tourism, Chaozhou government transformed the pavilion “Phoenix for Harvest”, built in Ming Dynasty and known as one of the “Eight Sights in Chaozhou”, into a park in 1999. The constructing work is divided into several stages. Kui Pavilion, Phoenix Palace and Temple of the Queen of Heaven were rebuilt firstly based on the original design so that the style and features of architectures in Ming and Qing Dynasty could be reproduced. Such buildings became embodiments of the traditional architectural and cultural connotation. The park is now the symbol of the prosperity of humanist culture in the region.

　　Followed the principle of “reproducing the original” Kui Pavilion is a three-storey, octagonal building with a pointed roof. Its harmonious proportion and exquisite form reflect elegancy and simplicity.

　　The pavilion is dedicated to Guan Yu, the eudemon of the fighters. Therefore during the execution the stories of Guan Yu and spatial condition need to be taken into account. Each fresco tells a story of this eudemon, such as “swearing brothers in Taoyuan Town” and “Drown the Seven Forces from Enemy”.

　　Selection of Materials and Process

　　Selection of pigments

　　Different from the pigments used on paper, canvas or oil, mural pigment needs to meet the requirement of durability. Therefore mineral materials that resist acid and alkali are ideal. Main pigments include: concrete red, concrete green, concrete yellow, ultramarine, light green, dark green, mineral red and smoky black. All colors are mixed with gelatin, which are called primary colors and from which more compound colors could be produced.

　　Materials for detailed decoration mainly come from local region. Since Chaozhou locates at the seaboard, seashells become the binding material for fresco. The process goes as follows:

　　1. Lime: first fire the selected seashells and mix the ashes with water. Sieve the mixture to get Shell Lime.

　　2. Valerian Mortar: smash the rotted He Grass or Mapi Herb dipped beforehand with a hammer or knife. In order to enhance the viscosity and tenacity of materials, this process must be done by hand slowly only.

　　Then add the smashed and rotted He Grass (or Mapi Herb) into Shell lime in proportion of 1:1; smash till the two materials mix evenly and gain a proper tone.

　　3. Big-white Mortar:

　　First grind dipped rice paper or Gaolian paper into foam; bask the white and viscous shell lime made from choice sea shell for 100-200 days and then add foam; smash till the mortar is formed and no viscosity is felt.

　　Process:

　　1. Ground Coat

　　Paint with Valerian Mortar first and then cover it with Big-white Mortar; piant with colors after burnishing and drying. Using Valerian Mortar and Big-white Mortar as the ground coat can soften the wall surface and avoid cracking.

　　2. painting

　　Pay attention to the composition before painting; skills of painting varies from tacit stroke, spiritual stroke, watercolor, outlining to lining and so on. Use the force of waist to paint.

　　The time control of painting is the key part. Paint will stumble and pigments will melt if the ground coat is still wet; but color will fade if the ground coat is too dry. The timing decides the effect, namely its durability of color.

　　The fresco in the rebuilt Kui Pavilion preserves the original layout and vividly renews the traditional architectural feature of Chaozhou temples.

　　The fresco in Phoenix Palace, in another way, is executed with ink and water, known as “traditional ink painting”: to paint soft and elegant colors on the wall after outlining the picture with ink. Such an esoteric technique, named “one brush” (for it was painted in just one brush), is mastered by a few one only. This technical feature reflects the mural feature and style in Chaozhou traditional architecture.

　　The Zigzag Veranda links Phoenix Palace and Kui Pavilion at the seaside is painted with landscapes and figures, which are elegant and fresh. Such paintings embellish the veranda and embody the idyllic beauty of “the harmony of nature and human”. As the viewers walk through it, they gain an opportunity to appreciate the paintings. If they sit on benches, the scenery with curving bridge over water, ancient castle at the hillside, the grand gate tower, the green mountains, the lights from cities and the breeze accompanied by the bright moon will amuse them profoundly.

　　The colorful and attractive frescos painted in Kui Pavilion, Phoenix Palace, and the Zigzag Veranda embody the aesthetic taste and help improve aesthetic appreciation, leaving an unforgettable impression of the ancient architectures in Chaozhou region.

　　Fenghuang-zhou Park has made a contribution for the refinement of Chaozhou and revived the traditional scenery. With its regained beauty the park is attracting more and more overseas Chinese and tourists from inside and outside to pay a visit. It is boosting the development of tourism in Chaozhou.

　　Lu Zhigao

　　Jinhu Engineering Limited of Chao’an County