Abstract: The chromatic system in Chinese art exhibits profound intrinsic correlations with chemical processes. The ochre-pigmented pottery from the Neolithic Laoguantai culture established fundamental mineral coloration principles through ligand charge transfer mechanisms. While cinnabar's crystalline structure produces the distinctive Chinese red, the chemical lability of lead red has induced chromatic alterations in Dunhuang murals, underscoring the crucial role of chemical stability in art preservation. Within the blue pigment system, lapis lazuli-derived ultramarine employs S₃^- chromophores for coloration, whereas Chinese blue's copper silicate hexagonal framework demonstrates ancient high-temperature synthesis technology. The serendipitous alignment between its crystal topology and modern chemical markers reveals remarkable trans-temporal wisdom in material design. The millennium-spanning acetate dry process for lead white production, urushiol's laccase-catalyzed radical polymerization forming black films, and the realgar-orpiment transformations all testify to sophisticated ancient chemical practices. Iron yellow synthesis investigations further establish scientific correlations between coloration and phase transitions. These pigments' chromatic mechanisms, synthetic pathways, and degradation patterns not only constitute the material foundation for masterpieces like “A Thousand Li of Rivers and Mountains” but also provide essential chemical reference spectra for cultural relic analysis.

Key words: Pigments, Traditional culture, Crystals, Chinese painting