The number of figurines on a Chinese temple roof is not decorative — it is a strict code that communicates the building's rank in the imperial hierarchy.
Stand in front of any historic Chinese building and look up. Along the ridge of the roof, you will see a row of small figurines — animals, mythical creatures, a warrior on horseback. Most visitors assume these are decorative. They are not. They are a precise communication system, encoding the building's rank in the imperial hierarchy in a language that every educated Chinese person could read for 2,000 years.
Imperial Chinese architecture operated under a strict regulatory system called the 'Yingzao Fashi' (营造法式), a building code first codified in 1103 CE. Every aspect of a building — its height, the color of its roof tiles, the number of bays, the type of bracket sets — was regulated according to the owner's rank. The roof ridge figurines (走兽, zǒushòu, literally 'walking beasts') were among the most visible rank indicators.
The figurines always appear in a specific order, led by a figure called the 'Immortal Riding a Phoenix' (仙人骑凤). Behind this figure come the walking beasts in a fixed sequence: dragon (龙), phoenix (凤), lion (狮), heavenly horse (天马), sea horse (海马), suanni (狻猊, a lion-like creature), yayu (押鱼, a fish-like creature), xiezhi (獬豸, a mythical judge), bullfrog (斗牛), and hangshi (行什, a monkey-like figure). The number of beasts following the immortal indicates the building's rank.
The color of roof tiles was equally regulated. Yellow glazed tiles were reserved exclusively for imperial buildings — the Forbidden City's sea of golden roofs is visible from miles away, a deliberate statement of imperial supremacy. Green tiles were used for imperial gardens and the residences of princes. Blue-black tiles were used for the Temple of Heaven (representing the sky). Gray tiles were used for ordinary official buildings. Commoners were forbidden from using glazed tiles at all.
The Forbidden City in Beijing is the ultimate expression of this system. The Hall of Supreme Harmony (太和殿) — the most important building in the empire, where the emperor held court — has 10 roof ridge figurines, the maximum. The Hall of Central Harmony (中和殿) has 7. The Hall of Preserving Harmony (保和殿) has 9. As you move through the complex, the number of figurines tells you exactly where you are in the imperial hierarchy. The entire city is a three-dimensional rank chart.
Once you understand this system, you can read the rank of any historic Chinese building. A temple with 5 figurines was patronized by a high official. A building with 3 was a minor official's residence. A building with none was a commoner's home. This knowledge transforms visits to historic sites: instead of seeing a collection of old buildings, you see a precisely calibrated social hierarchy made physical. Every building is simultaneously a structure and a statement.
The figurines were made by specialized craftsmen called 'tile masters' (瓦匠), who worked within the imperial construction bureau. The techniques for making glazed tiles were closely guarded secrets — the imperial kilns at Liulichang in Beijing operated for centuries under strict secrecy. Today, a handful of craftsmen still practice traditional glazed tile making, and their work is used in the restoration of historic buildings. The craft is recognized as a national intangible cultural heritage.