A Study on the Diversity and Cultural Characteristics of Decorative Patterns of Traditional Academies in Eastern China Based on Diversity Index and Social Network Analysis

Abstract

Academies were a distinctive type of educational and cultural institution in ancient China, centers of private education, scholarly debate, and cultural preservation, and their architectural complexes typically integrated lecture halls, library buildings, ceremonial spaces, and gardens. The decoration of academy architecture embodies the essence of national civilization. In order to reveal the diversity of decorative patterns of traditional Chinese academy architecture and its cultural characteristics, this research focuses on traditional academy architecture in eastern China. This study uses diversity index determination to visualize and analyze the diversity of decorative patterns of academy architecture in eastern China and constructs a network model of decorative patterns using the social network analysis (SNA) method. This study reveals that in the traditional academy architecture of five provinces in eastern China, (1) the diversity of decorative patterns is remarkable, with regional characteristics, and shows a trend of unity within the region; (2) the network structure of decorative patterns shows remarkable stability on the whole, and the internal members of the pattern network system constructed with Confucian culture as the core are in close contact with each other; and (3) the cultural characteristics of decorative patterns are mainly reflected in the dominance of Confucian culture, the integration of Buddhist culture, and the uniqueness of regional culture, with Confucian culture occupying the main position that establishes the overall style and spiritual connotation of the decorative patterns in academy architecture. This study provides a new perspective and methodology for the study of traditional architectural decorative patterns, and by using comprehensive data analysis tools and quantitative methods, we are able to intuitively reveal the differences and connections of the cultural characteristics behind decorative patterns.

1. Introduction

Cultural heritage is regarded as the treasure of human civilization. The preservation, transmission, and application of cultural heritage are crucial for protecting human history and nurturing national identity [1,2]. Among many cultural heritages, Chinese traditional academies occupy a pivotal position with their unique architectural styles, profound cultural connotations, and educational functions. As a unique academic institution in ancient China, academies originated in the Tang Dynasty and flourished in the Song and Qing Dynasties. Unlike government-run schools that focused on imperial examinations, they emphasized individualized teaching and academic freedom [3]. Historically, academies like the Bailudong Academy in the Jiangxi Province held a status in China comparable to that of modern elite universities such as Tsinghua and Peking University. Although they underwent tremendous historical changes in the early 20th century, their legacy continues to inspire educational practice and cultural transmission in contemporary China [4]. In recent years, Songyang Academy, Bailudong Academy, and other traditional academies have been inscribed on the World Heritage List by UNESCO [5,6,7].

Architectural decoration is an important part of architectural cultural heritage. The architectural decoration of traditional academy architecture incorporates the essence of ancient Chinese architectural art [8]. Traditional Chinese academy architecture decoration transcends mere esthetics. Unlike warehouses or high-tech office buildings that prioritize functional neutrality, in academy architecture, each decorative element—from the carvings on the roof ridge to the paintings on the windows and doors—is a cultural code that gives the academy building a unique identity and character, becoming a certain region or culture. For example, the “three carvings” (wood, brick, and stone carvings) in the traditional academy architecture in the Huizhou region use the pine pattern of Huangshan Mountain and the water wave pattern of Xin’an River, transforming geographical features into cultural symbols. The choice of architectural style is not only a functional consideration but also a reflection of cultural expression and identity [9]. In an era of global architectural homogenization, the preservation of these decorations is not nostalgia but a strategic resistance to cultural erosion.

However, with the establishment of the modern education system, the social status of traditional academies has diminished [10]. Concurrently, the rapid growth of tourism [11] and the progression of urbanization [12] have contributed to a dilemma. Traditional academies, much like other historic structures, are confronting the erosion of their cultural memories and a growing trend toward homogenization [13]. In recent decades, as awareness of the conservation, planning, and management of architectural cultural heritage has grown [14], numerous studies have endeavored to investigate various themes. These include sustainable development [15,16,17], spatial distribution [18,19], tourism development [20,21], value assessment [22], and craftsmanship [23,24], how to maintain the originality of traditional buildings while preserving their bearing of cultural memory and avoiding the problem of excessive homogenization. Furthermore, some research has examined the interplay between culture and architecture. For instance, Fang et al. analyzed the mechanism and internal logic of the formation of spatial concepts of Huizhou residential architecture in China to gain a deep understanding of the relationship between architectural space and social culture [25].

Although these studies provide valuable insights into the preservation of the cultural characteristics of traditional architecture, most of them focus on the overall analysis of regions and architectural spaces, with less attention paid to the field of architectural decoration. As for the studies related to traditional architectural decoration, some of them try to explore the distinctive features of architectural decoration from the perspective of typological organization; for example, Wang et al. explored the distinctive features of architectural decoration by extracting decorative elements [13]. These studies explain the traditional architectural decoration categories and their cultural connotations through qualitative research. In addition, there are some studies that explore the multiple ways of conservation of traditional architectural decorations from the perspective of conservation methods [26,27,28]. For example, Qiu et al. systematically analyzed the decorative features of village buildings and assessed the existing conservation measures through a combination of field surveys and literature analyses [29].

Although existing studies have played a crucial role in understanding and passing on the value of traditional architectural decoration, these studies are often limited to superficial analysis of the decorative features of a single building or region, and the exploration of its cultural connotation is mostly based on individual perspectives. The uniqueness of traditional academy architecture is reflected not only in its cultural attributes but also in the commonalities and differences among different regions. The quantitative study of the types and spatial characteristics of traditional academy architecture decoration using comprehensive data analysis tools and methods can intuitively reveal the differences and connections of cultural characteristics among different regions, a research perspective and methodology that is missing in previous studies.

In recent years, the diversity index has emerged as an effective quantitative tool and has been increasingly applied in urban space and cultural research, among other fields. Numerous scholars have conducted in-depth discussions using this method. For instance, Li et al. employed the diversity index to elucidate the cultural genealogical diversity and integration characteristics within a specific study area [30]. Zhou et al. integrated the theory of genetic diversity to analyze the spatial genes of typical villages, subsequently proposing strategies for the preservation of traditional villages [31]. Additionally, social network analysis (SNA) has been broadly applied across a range of multidisciplinary fields [32]. Within the domain of architecture, extant research has aimed to fill the void in spatial planning by employing SNA methods in various contexts [33]. Mu et al. used the SNA evaluation model to analyze the development level and fluctuation of new urbanization in the Beijing–Tianjin–Hebei region [34]. Song et al. used the urban spatial gravity model and social network analysis to quantify the impact of the metro network on spatial network structures [35]. They also researched and discussed the characteristics of the vitality of public space networks in tourist villages and the factors influencing the vitality of public space [36]. Song et al. used the SNA method to construct a spatial network structure model and propose a spatial strategy for transforming industrial heritage buildings into public buildings [37]. Although numerous studies in architectural research employ the SNA methodology, comprehensive analyses of complex architectural decoration networks are less prevalent, and the integration with diverse indices for thorough investigations remains uncommon.

By integrating the diversity index with the SNA methodology, this study transforms difficult-to-quantify cultural elements into visual data and models to identify the cultural characteristics of decorative patterns. Using the diversity index, this study is able to provide insights into how cultural factors influence the composition of these pattern types based on the categorization of decorative patterns. Further, through the SNA approach, this study will explore how cultural factors act on the distribution of decorative patterns in space and their inter-relationships. In addition, by integrating the two approaches, this study will be able to compare the decorative patterns of traditional academy architecture from different regions, thus providing a more comprehensive theoretical basis for cultural identity.

This study examines the use of quantitative methods to explore the cultural characteristics of architectural decoration. The innovation of this study is that it broadens the scope of application of biological and sociological theories in the field of architecture and introduces new perspectives and methodologies compared with previous studies. This study provides a systematic quantitative and qualitative analysis of the decorative patterns of traditional academy architecture and visualizes the results of the analysis by means of graphical illustration. In addition, this study aims to construct a theoretical framework, which is intended to serve as a reference model for subsequent studies, which takes into account a wider range of samples and a more comprehensive integration of data. Accordingly, this study provides solid theoretical support for the conservation and sustainable development of architectural decoration as a cultural heritage.

2. Materials and Methods

2.1. Overview of the Study Area

In this study, we selected five provinces in eastern China—Jiangsu, Zhejiang, Anhui, Fujian, and Jiangxi—as the research area (Figure 1). Its topographic features are dominated by hills, basins, and plains, and it is in the subtropical, humid, monsoon climate zone, providing a rich and diverse natural environment background for traditional academy architecture. The region has a coherent and stable history of the rise and development of traditional academy architecture dating back to the Tang Dynasty. Although the academy system was replaced by the modern education system during the Republican period, not all of the academy architecture in the region died out with it but was transformed into new-style academies or other functional venues and, thus, preserved in a relatively intact manner, which provides invaluable physical materials for research. The academic architecture in eastern China shows unique advantages in terms of the natural environment, historical evolution, and cultural accumulation, and it has high research value and is representative.

2.2. Research Object

In selecting the sample academies in eastern China, the first consideration of this study is that the selected academy architecture forms should be complete and have significant artistic and cultural characteristics. In addition, in this study, we used the diversity index for quantitative research. The diversity index is affected not only by the sample size but also by the uniformity of species distribution [38,39]. Therefore, this study also considered the following three points when selecting the research subjects (

Table 1. Traditional academy directory and construction information sheet.

Name of Academy	Address	Construction Time	Founder
Kaishan Academy	Zhuzi Cultural Park, Youxi County, Sanming City, Fujian Province, China	Built in 1764, the twenty-ninth year of the Qianlong reign of the Qing Dynasty.	Shumu Cai
Nanxi Academy	Shui Nan Road, Chengguan Town, Youxi County, Sanming City, Fujian Province, China	Built in the first year of the Song Dynasty (1237).	Xiu Li
Liangjiang Academy	Lianjiang Village, Chengmen Town, Cangshan District, Fuzhou City, China	Date of construction is unknown.	uncharted
Shijing Academy	West Aotou, Anhai Town, Quanzhou City, Fujian Province, China	Built in 1211, the fourth year of the Jia Ding period of the Song Dynasty.	JiangYou
Wuyi Academy	Under Hidden Screen Peak, Wuyi Mountain, Nanping City, Fujian Province, China	Built in the 10th year of Chunxi in Song Dynasty (1183).	Xi Zhu
Songzhou Academy	Songzhou Village, Punan Township, Zhangzhou City, Fujian Province, China	Built in 708, the second year of Jinglong, the reign of Emperor Zhongzong of the Tang Dynasty.	Yuanguang Chen
Xiadong Academy	Yanhuixiang Street, Zhangzhou City, Fujian Province, China	Built in 1706, the forty-fifth year of the Kangxi reign of the Qing Dynasty.	Ying Yao
Zhengyi Academy	Dongjiekou, Gulou District, Fuzhou City, Fujian Province, China	Built in the sixth year of the Tongzhi reign of the Qing Dynasty (1867).	Gui Ying
Zhiyong Academy	Hutou Street, Gulou District, Fuzhou City, Fujian Province, China	Built in the twelfth year of the Tongzhi reign of the Qing Dynasty (1873).	Kaitai Wang
Dieshan Academy	Yiyang County, Shangrao City, Jiangxi Province, east of the city	Built in 1313, the second year of the Yuan Dynasty.	Shunchen Yu
Ehu Academy	Goose Lake Foothills, Goose Lake Town, Leadshan County, Shangrao City, Jiangxi Province, China	Built in the 10th year of Chunyou of the Southern Song Dynasty (1250).	Kang Cai
Xinjiang Academy	South Bank of Xinjiang River, Xinzhou District, Shangrao City, Jiangxi Province, China	First built in 1694, the thirty-third year of the Kangxi reign of the Qing Dynasty.	Guozhen Zhang
Zhushan Academy	Huangling Scenic Area, Wuyuan County, Shangrao City, Jiangxi Province, China	Date of construction is unknown.	Zhenyong Cao
Bailudong Academy	South foot of Wulaofeng, Lushan City, Jiujiang City, Jiangxi Province, China	Built in the ninth year of the Song Dynasty (976).	members of the Jiangzhou gentry
Bailuzhou Academy	Yanjiang Road, Jizhou District, Ji’an City, Jiangxi Province, China	First built in the first year of Song Chunyou (1241).	Wanli Jiang
Yanshan Academy	Wangjia Lane, Jinxi County, Fuzhou City, Jiangxi Province, China	First built in the second year of Qianlong in the Qing Dynasty (1737).	Tingji Yan
Wangsong Academy	Fenghuang Mountain, Xihu District, Hangzhou, Zhejiang Province, China	Built in the 11th year of Hongzhi of Ming Dynasty (1498).	uncharted
Wufeng Academy	Chenglu Village, Fangyan Town, Jinhua City, Zhejiang Province, China	Date of construction is unknown.	uncharted
Chongzheng Academy	Halfway up the eastern foot of Qingliang Mountain, Gulou District, Nanjing, Jiangsu Province, China	Built during the Jiajing period of the Ming Dynasty; the exact date is unknown.	Dingxiang Geng
Zunjing Academy	No. 152 Gongyuan Street, Qinhuai District, Nanjing, Jiangsu Province, China	Date of construction is unknown.	uncharted
Donglin Academy	No. 867, Jiefang East Road, Liangxi District, Wuxi City, Jiangsu Province, China	Built in the first year of the Northern Song Dynasty (1111).	Shi Yang
Nanhu Academy	Hongcun, Yixian County, Huangshan City, Anhui Province, China	Built at the end of the Ming Dynasty; the exact date is unknown.	uncharted
Zhushan Academy	Xiongcun, Shexian County, Huangshan City, Anhui Province	Built in the twentieth to twenty-fourth years (1755–1759) of the Qianlong reign in the Qing Dynasty.	Jingting Cao, Jingchen Cao

): first, we considered the representativeness of the sample size. The sample size does not always directly determine the level of the diversity index. If the sample size is large but not representative, the diversity index obtained may be inaccurate. Therefore, we need to select traditional academies that can adequately represent the region. Second, after the fieldwork, we found that the conservation of traditional academy architecture is different in each province. For example, the only academies in the Anhui Province that can be studied and preserved in their original architectural forms are the Nanhu Academy (Anhui, China) and the Zhushan Academy (Anhui, China). For practical reasons, after discussing with experts, this study selected only 2–3 sample academies in each of the three provincial regions of Anhui, Zhejiang, and Jiangsu. Third, for Jiangxi and Fujian, we chose a larger number of samples (16 in total) because these two provinces have a high degree of diversity and uniqueness in the history and style of academy architecture. Since Fujian is a coastal region with a multi-ethnic population and Jiangxi is a leader in the development of traditional academies, increasing the sample size helps to more accurately capture the diversity of decorative patterns in these two provinces.

Considering the feasibility of this study and resource constraints, such a sample selection ensures the breadth, depth, and quality of the study (Figure 2).

2.3. Overview of Research Sample Classification

The decorative patterns adorning traditional Chinese buildings are found on various architectural components and can be categorized into six types [40,41]. These types include plant pattern (Pl), animal pattern (An), auspicious pattern (Au), geometrical pattern (Ge), natural pattern (Na), and character pattern (Ch). Through field research, we found that the decorative patterns of traditional academy architecture in eastern China cover the above six types. Traditional Chinese architectural components can be divided into six categories: carpentry work, joinery work, decorative painting, tile roofing, stonework, and brickwork [42,43]. Through the field survey, we found that the decorative patterns in the traditional academy architecture in eastern China are mainly distributed on top of these six types of architectural components and show unique distribution characteristics, which provides empirical evidence for constructing the spatial network model of patterns (

Table 2. Classification of traditional Chinese architecture components.

Category Name	Description	Example Images
Carpentry work	Architectural elements such as beams, square beams, and rafter bars in traditional Chinese wood-frame construction.
Joinery work	Includes wood material components such as doors, windows, and partition screens.
Decorative painting	Refers to the application of paint and decorative patterns to wooden surfaces.
Tile roofing	Roof elements of buildings, such as roof ridges, anastomoses, etc.
Stonework	Roof elements of a building, such as ridges.
Brickwork	Refers to the use of bricks in walls and other building elements.

).

2.4. Research Methods

2.4.1. Workflow

Figure 3 shows the workflow of the whole analysis process, including the following steps: first, it involved the systematic collection of images of traditional academy architecture decorations in the study area. Then, this study used the diversity index calculation method to quantitatively analyze the diversity of decorative patterns of traditional academy architecture in eastern China. On this basis, this study utilized the SNA method to construct a spatial network model of decorative patterns. At the same time, in order to visualize the distribution characteristics of decorative patterns, this study carried out visualization processing. Eventually, the cultural connotation of the decorative patterns of traditional academy architecture in eastern China and its main features were explored.

2.4.2. Determination of the Diversity of Decorative Patterns

In this study, we selected frequency, the Margalef index, the Shannon–Wiener index, and Pielou’s evenness index as metrics to assess the diversity of patterns [44,45].

1. Frequency

Frequency refers to the percentage of the number of sample squares in which a certain pattern occurs in relation to the total number of sample squares, and the formula for calculating frequency is as follows:

$$F=(S_i/N)\times 100\%$$

(1)

where S_i is the number of sample squares in which pattern i is observed, and N is the total number of sample squares considered in this study.

2. Margalef index

The Margalef index is used to quantify the diversity of decorative patterns in traditional academy architecture. The index value increases with the diversity of the patterns; a higher index indicates a greater variety of patterns. The formula for calculating the Margalef index is as follows:

$$M=(S-1)/\mathrm{I}\mathrm{n}N$$

(2)

where S is the number of distinct types of decorative patterns present in the traditional academy architecture within each province, and N is the total number of decorative pattern instances observed in the provincial academy architecture.

3. Shannon–Wiener index

The Shannon–Wiener index reflects the evenness of distribution among various kinds; the more evenly distributed the individuals are, the greater the value of H. If each individual belongs to a different species or type, the diversity index reaches its maximum. The calculation is as follows:

$$H=-\sum P_i\mathrm{l}\mathrm{n}{P}_i$$

(3)

where P_i is the relative importance value of pattern i.

4. Pielou’s evenness index

Pielou’s evenness index measures the uniformity of the distribution of patterns within a region. The calculation is as follows:

$$J=H/LnS$$

(4)

where S denotes the number of species or types. In this study, it refers to the number of distinct decorative pattern types in the study area.

2.4.3. Characterization of the Distribution of Decorative Patterns

We analyzed the distribution characteristics of the surveyed decorative patterns, which were sorted and categorized according to each of the five provinces through the survey. Then, in order to further analyze the distribution characteristics of decorative patterns of traditional academy architecture in eastern China and their patterns, we visualized and analyzed the collated data using the Sankey diagram.

2.4.4. Network Modeling of Decorative Patterns

Social network analysis (SNA) is a structural analysis method that combines data, graph theory, mathematical modeling, and software analysis and is used in several disciplines [37]. It studies the relationships within or between individuals in a complex system in order to visualize and quantitatively reveal the relevant characteristics of a given network system [46]. A complex system can be abstracted as a system of various “nodes” interacting with each other “line” into the network. In the traditional academy architecture decorative pattern network, the decorative patterns are regarded as nodes, and the spatial connectivity of the component positions of the patterns are regarded as lines. The network modeling steps can be divided into four steps: data acquisition, information processing, neighbor identification, and modeling analysis. Step 1: We acquired data such as live pictures, types, and numbers of decorative patterns of traditional academy architecture in eastern China through field research. Step 2: We processed the spatial relationship, designating the decorative patterns as “nodes” and the connected space adjacent to the two (the path of the components between the two decorative patterns) as the “connecting line” relationship to establish the spatial connection between the nodes. Step 3: The existence of neighboring relationships between the nodes was recorded as “1”, and vice versa was recorded as “0”; we utilized these node-neighboring relationships to build the adjacency matrix. Step 4: The spatial network model of the decorative patterns of traditional academy architecture in eastern China was established using the network analysis software Ucinet (version 6.0) and the graphics software Netdraw (version 2.148). Based on the SNA method, selected indicators such as network density, K-kernel, and centrality were used to dissect the spatial network structure characteristics of the traditional academy architecture decorative tattoos in eastern China. The overall structure of the tattoo network and the inter-relationships among the tattoos are analyzed as follows:

1. Network density

Network density is defined as the ratio of the actual number of connections between nodes in a network to the theoretical maximum number of connections [47]. Network density can determine whether the social network in a region is complete or not and whether the social relationship between the nodes in this network is close or not. The higher the value of density, the closer the connections between nodes in the network; the more compact the network structure, the more complete the network function. The calculation is as follows:

$$P=m/\left[n\right(n-1)/2]$$

(5)

where m represents the number of connections actually present in the network, and n represents the number of nodes in the network.

2. K-core

The K-core is chosen for cohesive subgroup analysis, where any node in the K-core network structure is adjacent to at least K other nodes. The K-core represents a subgroup of a small collective that has a high density of strong internal connections.

3. Centrality analysis

Degree centrality is a measure of a node’s importance in a network, where a high degree of centrality indicates that the node has a significant influence or “power” within the network. The calculation is as follows:

$$C_{\mathrm{D}}(n_{\mathrm{i}})={\sum }_j X_{\mathrm{i}\mathrm{j}}$$

(6)

where X_ij represents a value of 0 or 1, indicating the degree of relationship between members, and n is the number of nodes in the overall network.

Betweenness centrality refers to the highest status among the decorative patterns of traditional academy architecture in Eastern China, playing a dominant role in the entire pattern network. It is calculated as follows:

$$C_{\mathrm{B}}\left(n_{\mathrm{i}}\right)={\sum }_{g\ne i\ne k} {\displaystyle \frac{{\sigma }_{gk}\left(n_{\mathrm{i}}\right)}{{\sigma }_{gk}}}$$

(7)

where σ_jk is the number of shortest lines between point g and point k.

Closeness centrality describes the degree to which a node is close to all other nodes in the network. It is a measure of the average length of the shortest path from a node to all other nodes. When the closeness centrality is high, it indicates that the node can be reached from other nodes through relatively shorter paths. The higher the closeness centrality, the more central the node is within the network. The calculation is as follows:

$$C_C\left(n_{\mathrm{i}}\right)=\sum d_{ij}\left(n_{\mathrm{i}}\right)$$

(8)

where d_ij is the shortest distance between point i and point j.

3. Results

3.1. Diversity of Decorative Patterns of Traditional Academy Architecture in Eastern China

This study conducted a field survey and statistics on the decorative patterns of traditional academy architecture in eastern China, and by organizing the photographed images of the patterns, a total of 46 categories of patterns were recorded (

Table 3. Records of decorative patterns in traditional academy architecture in eastern China.

Pattern Type	Number of Species
Plant Pattern	12
Animal Pattern	10
Auspicious Pattern	11
Geometrical Pattern	6
Natural Pattern	5
Character Pattern	2

). From the records of the field survey (Figure 4), it can be seen that in the traditional academic architecture in five provinces in eastern China, the three pattern types of plant patterns, animal patterns, and auspicious patterns are the dominant types in the whole region, geometric patterns and natural patterns have relatively close numbers of types, and the number of types of character patterns is at the lowest level. This characterization of the distribution of the six types of patterns reflects the influence of different cultures on people’s choice and use of decorative patterns [48].

3.1.1. Composition of the Diversity of Decorative Patterns of Traditional Academy Architecture in Eastern China

The composition of the decorative patterns of the traditional academy architecture in eastern China is shown in

Table 4. Composition of decorative pattern diversity in traditional academy architecture.

Pattern Type	Name	Number	Frequency %	Pattern Type	Name	Number	Frequency %
Plant Pattern	Blossom pattern	Pl1	1.48	Auspicious Pattern	Longevity pattern	Au1	1.93
	Orchid pattern	Pl2	2.52		Fukuji pattern	Au2	0.30
	Bamboo pattern	Pl3	2.52		Zither pattern	Au3	0.15
	Chrysanthemum pattern	Pl4	0.89		Chess pattern	Au4	0.15
	Pine pattern	Pl5	3.86		Book pattern	Au5	0.15
	Lotus pattern	Pl6	6.97		Pictorial pattern	Au6	0.15
	Persimmon pattern	Pl7	1.19		Cornucopia pattern	Au7	0.45
	Peony pattern	Pl8	0.89		Ruyi pattern	Au8	7.86
	Pomegranate pattern	Pl9	0.30		Coin pattern	Au9	1.48
	Filigree pattern	Pl10	0.15		Vanguard pattern	Au10	2.08
	Vine pattern	Pl11	0.15		Vase pattern	Au11	2.23
	Grass pattern	Pl12	17.06	Animal Pattern	Dragon pattern	An1	2.37
Geometrical Pattern	Bar pattern	Ge1	8.01		Phoenix pattern	An2	0.59
	Retraced pattern	Ge2	6.38		Unicorn pattern	An3	0.30
	Swirling pattern	Ge3	0.89		Crane pattern	An4	1.34
	Circular pattern	Ge4	2.23		Cow pattern	An5	0.30
	Tai Chi pattern	Ge5	0.15		Horse pattern	An6	0.59
	Ice Crack pattern	Ge6	0.45		Bird pattern	An7	0.89
Natural Pattern	Water pattern	Na1	3.12		Deer pattern	An8	0.89
	Mountain pattern	Na2	2.67		Lion pattern	An9	5.64
	Cloud pattern	Na3	9.94		Fish pattern	An10	2.52
	Sun pattern	Na4	1.04	Character Pattern	Fairy pattern	Ch1	2.52
	Moon pattern	Na5	1.19		Confucian pattern	Ch2	1.78

. In the category of auspicious patterns, the frequency of the ruyi pattern (Au8) is the highest, 7.86%, and the frequency of the vase pattern (Au11) and the coin pattern (Au9) are relatively close to each other. The frequency of individual patterns is 0.15%, representing designs unique to specific regional academies, such as zither, chess, book, and pictorial patterns recorded only in the Kaishan Academy (Fujian, China) of the Fujian Province. This is because the uniqueness of the regional culture of the Fujian Province is reflected in the choice of patterns, and the decorative patterns show a distinctive artistic style. These four patterns appeared in the early stage of bronze decoration in the Warring States period, and then the local culture of Fujian and the Central Plains influenced each other until the Qin and Han periods when decorative art with local characteristics was gradually formed [49]. The special stylistic features testify to the characteristics of Fujian’s cultural intermingling, carrying the historical activities and living habits of the Fujianese people [50].

When analyzing the compositional structure of the pattern types, this study found that, except for character patterns, there are one to two patterns in each of the other five types that are significantly higher in frequency than other elements within the same type. This phenomenon suggests that traditional academy architecture shows a clear preference in the selection of decorative patterns, and the formation of such preference is closely related to the profound influence of culture [51]. Further, when examined from the perspective of geographical distribution, the decorative patterns of traditional academy architecture in eastern China show unique regional characteristics in terms of diversity composition, which, as a container of regional characteristics, contains human wisdom and esthetic values, reflecting a deep understanding of the local environment and cultural traditions [48].

3.1.2. The Diversity Index of Decorative Patterns of Traditional Academy Architecture in Eastern China

The results of the diversity index of decorative patterns of traditional academy architecture in eastern China are shown in

Table 5. A table for determining the diversity of decorative patterns in traditional academy architecture in eastern China.

Province	M	H	J
Anhui (AH)	5.542	2.945	0.628
Jiangsu (JS)	6.016	2.956	0.635
Zhejiang (JZ)	5.509	2.977	0.683
Jiangxi (JX)	6.452	3.153	0.565
Fujian (FJ)	7.509	3.023	0.577

. Table 4 shows that (1) the Margalef index (richness): The Fujian Province exhibits the highest richness index, followed by the Jiangxi Province and the Jiangsu Province with relatively close results, while the richness indices of Anhui Province and Zhejiang Province diminish sequentially, specifically shown as FJ > JX > JS > AH > ZJ. This indicates that in eastern China, the decorative patterns of traditional academy architecture in the Fujian Province are relatively rich compared to other provinces. (2) The Shannon–Wiener index (diversity): In terms of the diversity of pattern types, the Jiangxi Province shows a higher diversity index, which is better than other provinces. This is because the traditional academy architecture in the Jiangxi Province is rich in pattern types and has a large number, thus making its diversity index relatively large. On the contrary, although the Anhui Province has accumulated a number of similar patterns, the diversity index of its pattern types is relatively low, which is manifested as JX > FJ > ZJ > JS > AH. (3) Pielou’s evenness index (evenness): In terms of the evenness of the distribution of the patterns of the traditional academy architecture, the evenness index of the Zhejiang Province is the highest, and the evenness index of the Jiangxi Province is the lowest, which is manifested as ZJ > JS > AH > FJ > JX. This result shows that the distribution of the same patterns in traditional academy architecture in the Zhejiang Province is relatively close to each other, showing a high degree of evenness. In contrast, the uniformity of pattern distribution in traditional academy architecture in Jiangxi Province is poorer, with obvious deviations. Specifically, certain pattern types, such as the grass pattern (Pl12), are significantly overrepresented, while other types, such as the blossom pattern (Pl1) and the swirling pattern (Ge3), are relatively underrepresented.

The above analysis shows that the distribution of decorative patterns exhibits significant regional characteristics, suggesting that the pattern of pattern diversity and distribution may be profoundly influenced by geographical differences. This may be due to the fact that traditional architecture must be consistent with the geography of the region, and the local environment determines key architectural decorative features, such as materials and colors [52]. The geographic differences between the diversity of patterns in the five provinces each have their own unique historical and cultural connotations, and the decorative patterns go beyond the mere structure to become the symbolic carriers of culture [53].

3.2. Distributional Characteristics of Decorative Patterns of Traditional Academy Architecture in Eastern China

The distribution characteristics of different types of decorative patterns of traditional academy architecture in building components in eastern China are shown in Figure 5. In general, the decorative patterns of traditional academy architecture in the five provinces of eastern China are diverse and widely used, and most of the patterns can be applied in individual provinces. In addition, different provinces have different preferences for architectural elements when using patterns.

The reasons for this phenomenon can be attributed to two main aspects. First, the architectural decorative styles of different regions are influenced by the local natural environment, thus forming architectural decorative styles that are compatible with regional characteristics [52]. Second, the traditional Chinese academy assumes the important function of educating students, a characteristic that determines that cultural factors play a key role in the formation of architectural decoration styles. Participants with an academy cultural background prioritized elements that resonated with specific cultural groups and combined traditional and contemporary features to match the esthetics and perceptions of the literati [54]. As Stephenson argues, social values and esthetic preferences are embedded in the built environment [55].

Joinery work is the most widely distributed architectural component in traditional academy architecture, followed by stonework, carpentry work, and tile roofing, which exhibit a similar number of patterns. Brickwork ranks third in prevalence, while decorative paintings are the least common, primarily found in the Jiangxi and Fujian provinces.

The Jiangsu, Jiangxi, and Fujian provinces preferred to use patterns in the joinery work of academy architecture for decoration, predominately utilizing plant patterns, followed by animal patterns, with other patterns being less frequently employed. The Anhui and Zhejiang provinces have similar preferences for the use of plant patterns and animal patterns. This may be attributed to the influence of folk beliefs, customs, and esthetic concepts on architectural patterns in different provinces.

3.3. Spatial Network Characteristics of Decorative Patterns in Traditional Academy Architecture in Eastern China

3.3.1. Network Density

The network densities for traditional academy architecture decorative patterns in five provinces in eastern China are as follows: 0.419, 0.316, 0.537, 0.445, and 0.587 (Figure 6). This indicates that the spatial network structure of traditional academy architecture decorative patterns in eastern China is relatively complete, with a moderate degree of connectivity, all in a relatively balanced state. A higher network density value corresponds to a closer connection between nodes within the spatial network of patterns, a more compact network structure, and a complete network function. Consequently, among the five provinces, the Jiangxi Province exhibits the most compact and complete spatial network of patterns, with the nodes in the network being most closely connected. In comparison, the network densities of the Anhui Province and the Fujian Province are at the mid-level among the five provinces. The Jiangsu Province has the lowest network density, suggesting that the nodes in its patterned network are more sparsely connected and exhibit relatively weaker cohesion. The main reason for this is the relatively weak spatial association between the patterns. As an important decorative part of the architecture, the patterns demonstrate the culture of a traditional academy, creating a stylistic contrast [56]. Therefore, the variability in this spatial association depends to some extent on the dominant culture of different provinces.

3.3.2. K-Core

We utilized Netdraw software to visualize and analyze the K-core model of traditional academy architecture decorative patterns in eastern China. Figure 7 reveals that the network structure of these decorative patterns across all five provinces exhibits high stability. The connectivity between nodes in the model is relatively strong, and each province’s spatial network consists of clusters of units with distinct compositional forms and cultural connotations. This observation indicates that the formation of decorative patterns in traditional academy architecture in eastern China is a result of the communication and integration among diverse cultures. Consequently, this study posits that these pattern networks not only manifest the diversity and complexity of the cultures but also delineate the harmonious coexistence and mutual influence of various cultures within the decorative patterns of traditional academy architecture.

3.3.3. Intermediate Centrality

1. Degree Centrality

Figure 8 displays the degree of centrality of the decorative patterns found in traditional academy architecture across five provinces in eastern China. We found that the decorative patterns of traditional academy architecture in all five provinces have a relatively inconspicuous leading subject, there is a good spatial relationship between different subjects, and there is no centralized subject. Meanwhile, the ruyi pattern (Au8) and the retraced pattern (Ge2) in the Anhui Province, the grass pattern (Pl12) in the Jiangsu and Fujian Provinces, the cloud pattern (Na3) in the Zhejiang Province, and the retraced pattern (Ge2) in the Jiangxi Province, respectively, are ranked the first in the centrality of the point degree of each province, which indicates that these patterns are at the center of the spatial network of their respective provinces. Although the patterns in the architecture of these five regions have commonalities in the spatial connections they form, they also show regional uniqueness. The good spatial relationship and the shared composition of patterns together reflect the intersection of cultures and the universality of social needs, while the centrally located patterns in each province have differences that reflect the differences in architectural decorations due to regional cultural characteristics and people’s living habits [53].

2. Betweenness Centrality

Figure 9 illustrates the betweenness centrality of the decorative patterns in traditional academy architecture across five provinces in eastern China. The analysis reveals that the cloud pattern (Na3) and the retraced pattern (Ge2) hold the highest betweenness centrality values in Zhejiang and Jiangxi provinces, respectively, indicating their significant roles in connecting other patterns within the spatial networks of these provinces. In addition, the imbalance of the mediacy centrality of the patterns in three provinces, Anhui, Jiangsu, and Fujian, is more significant and has obvious polarization characteristics. Among them, the mediacy centrality values of the retraced pattern (Ge2) and the ruyi pattern (Au8) are in the top two in Anhui province, which are significantly higher than those of other patterns, while the mediacy centrality values of the grass pattern (Pl12) and the crane pattern (An4) are in the top two in Jiangsu province, which are much higher than those of other patterns. This indicates that these patterns are at the core of the spatial network in their respective provinces and play the roles of “intermediary” and “bridge”.

The Au8 and the Pl12 originated from Buddhist culture, the Na3 and the Ge2 originated from traditional folk culture, and the An4 originated from Confucian culture. Buddhism, as the earliest foreign religion introduced to China and most successfully localized in China, has had a complex and diverse development and evolution that influenced the construction of decorative patterns for traditional academic architecture [57]. In traditional Chinese culture, people have a variety of important spiritual pillars [58]. Confucian culture, on the other hand, is the foundation that supports the cultural connotation of traditional Chinese academies [59]. Different cultures play a key role as “bridges” between provinces, reflecting the mutual exchanges and borrowings between different cultures in the internal logic of pattern design.

3. Closeness Centrality

Figure 10 presents the results of the closeness centrality analysis. In Anhui and Jiangxi provinces, the retraced pattern (Ge2) exhibits the highest closeness centrality. Similarly, in Jiangsu and Fujian provinces, the grass pattern (Pl12) has the highest closeness centrality. In Zhejiang Province, the cloud pattern (Na3) ranks highest in terms of closeness centrality. A higher closeness centrality value indicates that a pattern can be more quickly connected to other patterns within the network of decorative patterns in academy architecture. This suggests that these patterns act as central actors within the network and are positioned at the core of the overall spatial network.

The reason for this is that the decorative patterns mentioned above have a long tradition of use in Chinese history and thus have been widely spread and applied. These patterns form a closer link with other patterns, and their geometric forms are easy to repeat and arrange, making them easy to carve or draw on different building materials. This characteristic makes them a preferred motif for craftsmen in the process of architectural decoration. In addition, it can be observed that the proximity to the center of the water pattern (Na1) ranks second in Zhejiang Province. In Chinese culture, water symbolizes wealth and commerce, which has been prevalent in Zhejiang since ancient times, and the water pattern (Na1) reflects the values of Zhejiang people [8]. This suggests that the connectivity of tattoos in spatial networks and their clustering effects do not only depend on the craftsmanship of the tattoos but whether they can deeply resonate with the construction of personal identity is also one of the crucial factors [24].

4. Discussion

4.1. Cultural Symbolic Function of Decorative Patterns

In the analysis of the composition of the diversity of patterns, it can be seen that there is a remarkable diversity of decorative patterns in the traditional academy architecture in eastern China. At the same time, on the basis of diversity, these decorative patterns show certain common characteristics between different provinces; that is, the choice and application of patterns show a consistent trend within the region. This phenomenon demonstrates regional cultural identity, where architecture becomes a symbolic carrier of culture [60]. Altan also proves this point: decoration is not only a decorative element but also has a symbolic function [61]. The symbolic function here refers to the fact that traditional decorative patterns of academy architecture, in addition to their direct pictorial meaning, also carry deeper meanings, which are often symbols of social consensus and values or beliefs.

Different cultural characteristics play a decisive role in shaping various architectural forms [62]. At the same time, architectural decoration, as an element of cultural expression, influences human social practices and cultural concepts [25]. This study attempts to explore the intrinsic connection between the expression of decorative patterns of traditional academy architecture and culture in eastern China.

Table 6. Cultural connotations and sources of decorative patterns of traditional academy architecture in eastern China.

Pattern Type	Name	Number	Cultural Connotation	Source
Plant Pattern	Blossom pattern	Pl1	Resilience and self-improvement.	Confucian culture
	Orchid pattern	Pl2	A symbol of purity and elegance.	Confucian culture
	Bamboo pattern	Pl3	Symbolizes resilience and tenacity to survive.	Confucian culture
	Chrysanthemum pattern	Pl4	Symbolizes purity, resilience, and tenacity of character.	Confucian culture
	Pine pattern	Pl5	A symbol of resilience and tenacious survival.	Confucian culture
	Lotus pattern	Pl6	Symbolizing the purity and elegance of a gentleman.	Confucian culture
	Persimmon pattern	Pl7	Symbolizes “everything is as it should be” or “everything is as it should be”.	Traditional Folk Culture
	Peony pattern	Pl8	A symbol of prosperity and good fortune.	Traditional Folk Culture
	Pomegranate pattern	Pl9	Symbolizes wealth and harvest.	Traditional Folk Culture
	Filigree pattern	Pl10	Symbolizes continuity of life and abundance of life.	Traditional Folk Culture
	Vine pattern	Pl11	Symbolizes resilience and strength of spirit.	Traditional Folk Culture
	Grass pattern	Pl12	Symbolizes vitality and continuous growth.	Buddhism Culture
Animal Pattern	Dragon pattern	An1	Symbolizing authority and power, it symbolizes wisdom, flexibility, and change, controlling rain and rivers.	Traditional Folk Culture
	Phoenix pattern	An2	The king of all birds it is a symbol of good fortune, nobility, and beauty.	Traditional Folk Culture
	Unicorn pattern	An3	Symbolizing the benevolence and noble qualities of a gentleman.	Confucian culture
	Crane pattern	An4	It symbolizes the noble character of a gentleman.	Confucian culture
	Cow pattern	An5	Symbolizing diligence and steadfastness, it is often used as a metaphor for human qualities and morals.	Traditional Folk Culture
	Horse pattern	An6	Symbolizes speed and strength, success and victory, power and dignity.	Traditional Folk Culture
	Bird pattern	An7	Symbolizes freedom and beauty, good fortune, and celebration.	Traditional Folk Culture
	Deer pattern	An8	It signifies the gentleness, benevolence, and purity of a gentleman.	Confucian culture
	Lion pattern	An9	Symbolizes strength and authority, good fortune, and guardianship.	Confucian culture
	Fish pattern	An10	It is a metaphor for a poor student who is successful in the imperial examination in one day and soars to great heights.	Confucian culture
Auspicious Pattern	Longevity pattern	Au1	Represents longevity and blessings, good fortune, and health.	Traditional Folk Culture
	Fukuji pattern	Au2	Represents happiness and also symbolizes wealth and health.	Traditional Folk Culture
	Zither pattern	Au3	Qin music symbolizes harmony and balance in Chinese culture.	Confucian culture
	Chess pattern	Au4	The Chess character pattern represents the strategy and wisdom of the literati.	Confucian culture
	Book pattern	Au5	Represents knowledge and learning.	Confucian culture
	Pictorial pattern	Au6	Representing beauty and art, it represents the artistic talent of the literati.	Confucian culture
	Cornucopia pattern	Au7	It is regarded as a symbol of fertility and prosperity of the family.	Taoist culture
	Ruyi pattern	Au8	Symbolizing good fortune and completeness, power, and status.	Buddhism Culture
	Copper Coin pattern	Au9	Copper coins are a symbol of wealth and prosperity in traditional Chinese culture.	Traditional Folk Culture
	卍 pattern	Au10	A symbol of good luck and good fortune in Chinese culture, expressing good luck and good fortune.	Buddhism Culture
	Aquarius pattern	Au11	A symbol of wealth and good fortune.	Buddhism Culture
Geometrical Pattern	Bar pattern	Ge1	Representing order and rules, it symbolizes social order and moral norms.	Traditional Folk Culture
	Retraced pattern	Ge2	Represents cycle and eternity, symbolizing the cycle of time and the eternity of life.	Traditional Folk Culture
	Swirling pattern	Ge3	Represents the rotation and movement of the universe, symbolizing the power of the universe and the vitality of life.	Traditional Folk Culture
	Circular pattern	Ge4	Representing wholeness and completeness, it also symbolizes harmony and balance.	Traditional Folk Culture
	Tai Chi pattern	Ge5	Represents the unity of opposites of yin and yang and symbolizes the balance and mutual transformation of yin and yang.	Taoist culture
	Ice Crack pattern	Ge6	Representing change and impermanence, it also symbolizes the power of nature and the fragility of life.	Traditional Folk Culture
Natural Pattern	Water pattern	Na1	The water pattern represents flow and change, symbolizing the passage of time and the impermanence of things.	Confucian culture
	Mountain pattern	Na2	It represents steadiness and resilience, symbolizing firmness and perseverance.	Confucian culture
	Cloud pattern	Na3	Cloud is a symbol of good fortune and luck in Chinese culture, expressing good fortune and good luck.	Traditional Folk Culture
	Sun pattern	Na4	Representing light and vitality, it symbolizes the power of the sun and the source of life.	Traditional Folk Culture
	Moon pattern	Na5	Representing softness and serenity, it is a symbol of longing and romance in Chinese culture.	Traditional Folk Culture
Character Pattern	Immortal pattern	Ch1	Symbolizes the pursuit of immortality and the ideal of attaining immortality.	Confucian culture
	Confucian pattern	Ch2	Represents learning and cultivation, often closely associated with Confucian culture, symbolizing knowledge and morality.	Confucian culture

shows the cultural connotations of the patterns recorded in this study and their sources. In addition, in this study, given that patterns may have multiple cultural origins under the exchange and integration of different cultures, the determination of the cultural origins of patterns is categorized and analyzed based on the context of academy architecture as a specific cultural carrier. The aim is to reveal more precisely the deep-seated cultural characteristics of the decorative patterns of traditional academy architecture in eastern China.

The coexistence of multiple cultures reflects the unique cultural context of China (Figure 11). In the traditional education of Chinese Confucianism, knowledge and moral education are considered equally important, and the two essential components of academy architecture are teaching space and ritual space [63]. The academy architecture materializes the concept of education into a spatial narrative through the mode of “axial sequence—garden penetration—symbolic decoration” [64]. Through social indoctrination and cultural dissemination, the people had a lasting and extensive influence on moral norms and folk customs, and moral cultivation and good expectations expressed the fundamental basis of multiculturalism in an abstract form. In addition, traditional Chinese culture shows people’s understanding and expression of themselves, nature, social reality, and the reasons why various spiritual phenomena occur, forming the belief form of nature worship, which influences people’s production, life, and other behaviors [65]. Traditional folk culture literature and art about life paradigms, rituals, customs, and values formed and accumulated by people in their daily production and life [66], together with nature worship, become the endogenous force of multiculturalism. Because of this, the characteristics of multiculturalism expressed in traditional academy architecture are unique.

4.2. Historical Dynamics and Cultural Continuity of Patterns

The stereotyping of the outward expression of patterns in a certain period is determined by the explicit thrust of dynastic change, the implicit pull of technological development, and the triggers of sudden changes caused by major events (Figure 12). The academy architecture originated in the Tang Dynasty, and after the traditional Chinese decorative patterns underwent two key transformations in the Tang and Song Dynasties [67], the decorative style of the academy architecture gradually established an esthetic paradigm dominated by plant patterns, geometric patterns, and so on. During the Ming and Qing Dynasties, decorative craftsmanship was significantly enhanced as commerce flourished. For example, during the Qing Dynasty, European missionaries such as Kilian Stumpf imported Western glass chemical formulas and processes into China, which provided strong support for the improvement in glass manufacturing, and glass craftsmanship ushered in the peak of development [68]. During this period, stained glass window decorations began to be used in academy architecture, as exemplified by the Zhushan Academy (Anhui, China), which was funded by the official Cao Zhenyong. In the historical context of political turmoil, the function of academies underwent a remarkable transformation. During the Qing Dynasty, for example, the academy was gradually transformed from an educational institution into a place focused on academic research, a shift that was reflected in the decorative patterns of the academy architecture, with a preference for simplicity and symbolism. In the stele gallery of the Bai Lu Dong academy in Jiangxi Province, the “stele with the title of scholar” is not only a decorative element of the architecture but also reflects the fusion of the merit system and the art of architecture.

Cultural continuity is an important component of sustainable development, a sustainable and ongoing process of transmission and transformation, and architecture, as a tangible cultural heritage, embodies the characteristics of the built environment that reflect the cultural heritage of a particular time and place [69]. Behind the historical developmental dynamics of patterns, the integration of architectural forms with local culture and the use of local materials are important means of achieving cultural continuity and sustainability. For example, the use of local wood for academies in the Huizhou region was not only due to material adaptability but also because of its cultural symbolism, e.g., to symbolize the literati ethos.

4.3. Multicultural Integration of Decorative Patterns in Traditional Academy Architecture in Eastern China

4.3.1. The Dominant Role of Confucian Culture in Multicultural Integration

The diversity analysis of decorative patterns reveals that in eastern China, plant patterns are the predominant type in the architectural decoration of traditional academies. It is worth noting that the cultural connotations of plant patterns recorded in academy architecture are mostly related to Confucianism, such as the “Four Gentlemen” (Plum, Orchid, Bamboo, and Chrysanthemum) and the “Three Friends of the Year” (Pine, Bamboo, and Plum) in plant patterns. This phenomenon can be attributed to the Confucian attributes of academy architecture [70]. In Confucian culture, the idea of Bide serves as a system of moral symbols. The Confucian ethical concepts are mapped in the architectural decorations through the engraved patterns and wooden structures, etc., through the spatial harmony of unity [64] to realize the purpose of Confucian education. Moreover, the Bide philosophy is also manifest in other decorative patterns, such as animal and nature themes. For instance, the transformation of the “fish” (An10) into a “dragon” (An1) symbolizes a student’s meteoric rise to success through examination, while the lotus flower (Pl6) serves as an emblem of the “gentleman” embodying the ideals of scholarly virtue [40]. These patterns thus serve an educational and inspirational role.

Our analysis confirms that the members of the pattern network system centered on Confucianism are closely connected and highly informative to each other, indicating that Confucianism has the most profound and extensive influence and role in multiculturalism. This finding is consistent with the existing literature [71] that Confucianism has contributed to the uniqueness of Chinese architecture. The geographical differences in network density, each with its own unique cultural connotations, have a great influence on the artistic expression of patterns. This validates the idea that architecture becomes a symbolic carrier of culture [72].

4.3.2. Selective Integration of Buddhist Culture in Multiculturalism

In the centrality analysis, the ruyi pattern (Au8) consistently ranked highly in terms of point degree centrality, betweenness centrality, and closeness centrality across all provinces. Concurrently, the grass pattern (Pl12), which is symbolic of life in Buddhist culture, was positioned within the core clusters of the K-core model for the decorative pattern network in each province. This indicates that patterns derived from Buddhist culture exert a significant influence on the spatial network of decorative patterns in traditional academy architecture across eastern China. This observation underscores the profound impact that the introduction and evolution of Buddhist culture have had on the architectural art of traditional Chinese academies. As Gao et al. suggest, the development of Buddhism in China is manifest in architectural forms [57].

From the diversity analysis, it can be seen that the types of patterns originating from Buddhist culture do not dominate in number, but such patterns generally show significant status and participation in the spatial network of patterns in the five provinces in eastern China. This finding not only reveals that patterns originating from Buddhist culture are an important part of the decorative patterns of traditional academy architecture in eastern China but also reflects the selective and deep integration of Buddhist culture with other diverse cultures in China. As Wang et al. pointed out in their study, after Buddhism was introduced to China, it gradually integrated with the local Chinese culture and formed unique cultural symbols and decorative art features [27,73].

4.3.3. Identity of Regional Culture in Multiculturalism

In the diversity analysis, the Margalef index of Fujian Province is higher than the other four provinces, while the Shannon Weiner diversity index is located in second place, lower than Jiangxi Province. This is due to the fact that Fujian Province is a multi-ethnic region with unique geographical features and rich and diverse cultural backgrounds, which leads to significant differences in the province’s needs for pattern expression from the other four provinces in eastern China and even shows a stronger need in some aspects [74]. In the traditional academy architecture of Fujian Province, the culture embedded behind the pattern is based on the Min-Yue culture, fused with the Central Plains culture, containing philosophical ideas such as Confucianism, Taoism, and Legalism, and is characterized by both maritime cultures. This unique natural geography and the fusion of multiple cultures make the traditional Fujian academy not only take into account the esthetic concepts of Confucian culture but also focus on the local ethnic beliefs in the artistic expression of the patterns. For example, as a coastal province, Fujian’s belief in dragons in its maritime culture has had a profound impact on local academy architecture, as reflected in the dragon motifs distributed on beams, pillars, and roof ridges (An1). Cao et al. argued that architecture serves as a bridge connecting the individual and society, the past and the present, and facilitates the formation and development of identity [53]. Decorative patterns in academy architecture not only reflect the local historical lineage, folk beliefs, and esthetic concepts but are also important symbols of local characteristics and identity.

This phenomenon reveals the cultural characteristics of decorative patterns in terms of regional cultural uniqueness, i.e., patterns convey the cultural connotations of a specific region through specific elements, motifs, and other symbols, thus becoming a distinctive sign of regional cultural differentiation. Architecture transcends mere structure to become a symbolic carrier of culture and history [75].

In contrast, although Anhui, Jiangsu, and Zhejiang display their own regional cultural characteristics in their patterns, in general, the expression of patterns in these regions still follows a Confucian-centered orientation; for example, the clan cultures of Anhui and Jiangxi emphasize the importance of education, the construction of private schools and the cultivation of their sons in hopes of attaining merit through the imperial examinations, as embodied in the lion patterns (An9) on the door pillows’ stones symbolizing civil and military achievements, forming a relatively unified artistic style and cultural tone, with a relatively close Pielou’s evenness index. It can be inferred from this that although Confucian culture has a central influence on the expression of academy architecture patterns, the influence of Confucian culture has not exceeded the local regional culture in areas with strong regional folklore, such as Fujian Province.

4.4. Research Limitations

This study has certain limitations. The survival of traditional academy architecture in the modern world is generally not optimistic. Problems in architectural conservation are particularly prominent, such as the prevalence of damaged and missing decorative motifs, which may have an inhibitory effect on the measurement of data and the collection of samples, leading to incomplete or missing original research data. In addition, the correspondence between textual evolution and historical periods or events is slightly understudied in this study because not all historical data related to traditional academy architecture are available. To mitigate these limitations, future research could aim to enhance and refine the multidimensional data set. This could be achieved by integrating a broader range of data sources, such as geospatial information and social media data, to garner a more holistic understanding. Additionally, considering behavioral aspects and community involvement could provide more precise and comprehensive scientific support for the study of traditional academy architecture.

5. Conclusions

Focusing on eastern China, this study analyzes the diversity and cultural characteristics of the decorative patterns of traditional academy architecture by integrating the diversity index and the SNA method, revealing the connection between the external representations of the decorative patterns and the internal culture. Eastern China contains both coastal and inland provinces of China, and with the constant interaction with other foreign cultures, each province has its own uniqueness in regional folk culture. The diversity and distribution of the patterns show a distinctive external form. In the spatial network of tattoos, the influence of regional folk culture and foreign culture is more obvious, and the tattoos representing folk customs and Buddhist beliefs are both in the core cluster and have a high capacity for connection. However, at the same time, Confucian culture is the cultural root of the formation of traditional Chinese academy architecture, and while other cultures exert different degrees of influence on the external representation of patterns in different provinces, patterns as a carrier of decoration and education in traditional academy architecture, still emphasize the dominant position of Confucian culture while accepting the fusion of foreign cultures. The formation of decorative patterns of traditional academy architecture in eastern China is the result of the exchange and fusion between multiple cultures- Confucianism, Buddhism, and regional cultures- and the formation of a cultural system with a stable network structure and closely connected nodes.

The richness and plurality of architectural decorative patterns in terms of material expression and cultural connotation demonstrate their profound cultural value. However, the rapid development of urbanization and the overdevelopment of tourism have brought challenges to the cultural continuity of academy architecture. Therefore, it is particularly urgent and necessary to protect the physical spatial characteristics of traditional academy architecture while ensuring the inheritance of its architectural culture in modern society.

The main innovation of this study is that it introduces new perspectives and methodologies, thus extending the application of biological and sociological theories in the field of architecture. By adopting digitalization and modeling, this study facilitates the comprehensive study of the cultural heritage of academy architecture at both the material and intangible levels and systematically summarizes the diversity of decorative patterns of traditional academy architecture in eastern China and their cultural characteristics. Further, this study endeavors to construct a theoretical framework that is intended to provide a reference model for subsequent studies and a solid theoretical basis for the preservation of architectural decoration as a cultural heritage.