The decorative arts is traditionally a term for the design and manufacture of functional objects. It includes interior design, but not usually architecture. The decorative arts are often categorized in opposition to the "fine arts", namely, painting, drawing, photography, and large-scale sculpture, which generally have no function other than to be seen.
The distinction between decorative and fine arts has essentially risen from the post-Renaissance art of the West, where it is for the most part meaningful. It is much less so when applied to the art of other cultures and periods, where the most highly-regarded works often include those in "decorative" media, or all works are in such media. For example, Islamic art in many periods and places consists entirely of the decorative arts, as does the art of many traditional cultures, and in Chinese art the distinction is less useful than in Europe. Even in Europe, the distinction is unhelpful for Early Medieval art, where although "fine arts" such as manuscript illumination and monumental sculpture existed, the most prestigious works, commissioned from the best artists, tended to be in goldsmith work, cast metals such as bronze or other techniques such as ivory carving. Large-scale wall-paintings were apparently much less regarded, relatively crudely executed, and rarely mentioned in contemporary sources; they were probably seen as a cheap but inferior substitute for mosaic, which in this period must be treated as a fine art, though in recent centuries contemporary production has tended to be seen as decorative. The term "ars sacra" ("sacred arts") is sometimes used for medieval Christian art in metal, ivory, textiles and other high-value materials from this period, though this does not cover the even rarer survivals of secular works.
The Circa 1880s mansion built by the merchant Cheong Fatt Tze at the end of 19th century has 38 rooms, 5 granite-paved courtyards, 7 staircases & 220 vernacular timber louvre windows. The architecture of the mansion however originates from the Su Chow Dynasty Period in China. Other features of the house include Gothic louvered windows, Chinese cut and paste porcelain work, Stoke-on-Trent floor tiles made of encaustic clay in geometric pieces all shaped to fit to a perfect square, Glasgow cast iron works by MacFarlane's & Co. and Art Nouveau48 stained glass windows. The mansion was originally built with careful attention to the principles of Feng Shui.The domestic annex is built in front of it to prevent any road being built to create a T-Junction in front of it; it has water running through a meandering network of pipes that begin from the eaves of the roof, channeled through the upper ceiling, down the walls collecting in the central courtyard before being channeled away from the property via a similar network of pipes, in this case, underneath the entire flooring system and is built with a step in the middle to create a slope (to ride on the dragons back).
The distinctive blue colour of the mansion is the result of mixing lime with natural blue dye made from the Indigo plant. The blue was very popular in the Colonial period and the dye was imported from India to Penang by the British. The lime-wash was very effective in a tropical weather as it absorbed moisture and cooled the house whilst dispelling moisture without damage to the structural integrity of the walls. Though white was the most easily-available colour, the indigo-blue was chosen as the former is a colour synonymous with death for the Chinese.