Within the annals of Chinese flower and bird painting, colour, regarded as a pivotal mode of artistic expression, has perpetually engaged in a symbiotic relationship with the ink and wash technique. The heritage of traditional Chinese flower and bird paintings boasts a rich reservoir of artistic insights, among which the concept of "col[1]ouring according to categories" stands as a seminal notion grounded in colour theory. Initially articulated by Xie He during the Southern Qi era within his seminal work "Record of Ancient Paintings," this concept has endured as a fundamental yardstick for evaluating flower and bird paintings across epochs. The infusion of Western artistic paradigms has injected a greater degree of diversification into the evolution of Chinese flower and bird painting, consequently broadening the spectrum of contemporary colour perspectives within this tradi-tion. To unravel the intricate layers of traditional colour theory and unearth the cultural underpinnings embed-ded within, a comprehensive and evolutionary lens must be employed to comprehend the flux in colour concepts across different temporal junctures. This exposition embarks on an analytical journey, commencing with a vertical exploration of traditional colour perspectives, dissecting the genesis and metamorphosis of colour concepts within traditional flower and bird paintings across epochs. Concurrently, it undertakes a horizontal examination, juxtaposing colour ideologies between Chinese and Western traditions, with a particular emphasis on the application and evolution of colour within Chinese flower and bird paintings. By delving into such re-search endeavours, we aim to unearth the nuanced humanistic aesthetic proclivities that animate colour choices and gain deeper insights into the contemporary utilization of colour within the realm of flower and bird painting.