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696:(1767–1816), a British painter, illustrator and engraver who travelled to the East Asia and China in the 18th century, was directly influenced by the culture and landscape he saw in the East. He presented an idealized, romanticized depiction of Chinese culture, but he was influenced by "pre-established visual signs." While the chinoiserie landscapes that Alexander depicted accurately reflected the landscape of China, "paradoxically, it is this imitation and repetition of the iconic signs of China that negate the very possibility of authenticity, and render them into stereotypes." The depiction of China and East Asia in European and American painting was dependent on the understanding of the East by Western preconceptions, rather than representations of Eastern culture as it actually was.
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355:'chinoiserie' represented in European people's mind a wider region of the globe that could embrace China itself, but also Japan, Korea, South-East Asia, India or even Persia. In art, the style of "the Orient" was considered a source of inspiration; the atmosphere rich in images and the harmonic designs of the oriental style reflected the picture of an ideal world, from which to draw ideas in order to reshape one's own culture. For this reason the style of chinoiserie is to be regarded as an important result of the exchange between the West and the East. During the 19th century, and especially in its latter period, the style of chinoiserie was assimilated under the generic definition of
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1019:. According to Beevers, "Tea drinking was a fundamental part of polite society; much of the interest in both Chinese export wares and chinoiserie rose from the desire to create appropriate settings for the ritual of tea drinking." After 1750, England was importing 10 million pounds of tea annually, demonstrating how widespread this practice was. The taste for chinoiserie porcelain, both export wares and European imitations, and tea drinking was more associated with women than men. A number of aristocratic and socially important women were famous collectors of chinoiserie porcelain, among them
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proper
Chinese culture as a major representative, but the meaning of the term could change according to different contexts. Sir William Chambers for example, in his oeuvre A Dissertation on Oriental Gardening of 1772, generically addresses China as the 'Orient'. In the financial records of Louis XIV during the 17th and 18th centuries were already registered expressions like 'façon de la Chine', Chinese manner, or 'à la chinoise', made in the Chinese way. In the 19th century the term 'chinoiserie' appeared for the first time in French literature. In the novel
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2118:張省卿 (Sheng-Ching Chang)，《東方啓蒙西方 – 十八世紀德國沃里兹（Wörlitz）自然風景園林之中國元素(Dongfang qimeng Xifang- shiba shiji Deguo Wolizi (Wörlitz) ziran fengjing yuanlin zhi Zhongguo yuansu) 》 (The East enlightening the West – Chinese elements in the 18th century landscape gardens of Wörlitz in Germany), 台北 (Taipei)：輔仁大學出版社(Furendaxue chubanshe; Fu Jen University Bookstore), 2015, pp. 44–45.
1813:)，《東方啓蒙西方 – 十八世紀德國沃里兹（Wörlitz）自然風景園林之中國元素(Dongfang qimeng Xifang- shiba shiji Deguo Wolizi (Wörlitz) ziran fengjing yuanlin zhi Zhongguo yuansu) 》 (The East enlightening the West – Chinese elements in the 18th century landscape gardens of Wörlitz in Germany), 台北 (Taipei)：輔仁大學出版社(Furendaxue chubanshe; Fu Jen University Bookstore), 2015, pp. 42–44.
1782:)，《東方啓蒙西方 – 十八世紀德國沃里兹（Wörlitz）自然風景園林之中國元素(Dongfang qimeng Xifang- shiba shiji Deguo Wolizi (Wörlitz) ziran fengjing yuanlin zhi Zhongguo yuansu) 》 (The East enlightening the West – Chinese elements in the 18th century landscape gardens of Wörlitz in Germany), 台北 (Taipei)：輔仁大學出版社(Furendaxue chubanshe; Fu Jen University Bookstore), 2015, pp. 37–44.
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2926:(張省卿)，《東方啓蒙西方 – 十八世紀德國沃里兹（Wörlitz）自然風景園林之中國元素(Dongfang qimeng Xifang – shiba shiji Deguo Wolizi (Wörlitz) ziran fengjing yuanlin zhi Zhongguo yuansu) 》 (The East enlightening the West – Chinese elements in the 18th century landscape gardens of Wörlitz in Germany), 台北 (Taipei)：輔仁大學出版社 (Furendaxue chubanshe; Fu Jen University Bookstore), 2015.
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industry to describe "designs in textiles, fashion, and the decorative arts that derive from
Chinese styles". Since the 17th century, Chinese arts and aesthetic were sources of inspiration to artists and creators, and fashion designers when goods from oriental countries were widely seen for the first
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Interest in the political and civic activities of the new China, which is more or less world-wide at this time, led the designers of this page and the succeeding one to look to that country for inspiration for clothes that would be unique and new and yet fit in with present-day modes and the needs
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While
Europeans frequently held inaccurate ideas about East Asia, this did not necessarily preclude their fascination and respect. In particular, the Chinese who had "exquisitely finished art... whose court ceremonial was even more elaborate than that of Versailles" were viewed as highly civilized.
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These gardens often contain various fragrant plants, flowers and trees, decorative rocks, ponds or lake with fish, and twisting pathways. They are frequently enclosed by a wall. Architectural features placed in these gardens often include pagodas, ceremonial halls used for celebrations or holidays,
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evolved into a mid-Georgian side table and squared slat-back armchairs suited
English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream chinoiserie. Chinoiserie media included "japanned" ware imitations of lacquer and painted tin (tôle)
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The increased use of wallpaper in
European homes in the 18th century also reflects the general fascination with chinoiserie motifs. With the rise of the villa and a growing taste for sunlit interiors, the popularity of wallpaper grew. The demand for wallpaper created by Chinese artists began first
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The patterns on chinoiserie wallpaper are similar to the pagodas, floral designs, and exotic imaginary scenes found on chinoiserie furniture and porcelain. Like chinoiserie furniture and other decorative art forms, chinoiserie wallpaper was typically placed in bedrooms, closets, and other private
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The ideas of the decorative and pictorial arts of the East permeated the
European and American arts and craft scene. For example, in the United States, "by the mid-18th century, Charleston had imported an impressive array of Asian export luxury goods ...paintings." The aspects of Chinese painting
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claimed that it "…consisted of mere whims and chimera, without rules or order, it requires no fertility of genius to put into execution." Those with a more archaeological view of the East, considered the chinoiserie style, with its distortions and whimsical approach, to be a mockery of the actual
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Even though the root of the word 'chinoiserie' is 'Chine' (China), the
Europeans of the 17th and 18th centuries did not have a clear conceptualization of how China was in reality. Often terms like 'Orient', 'Far East' or 'China' were all equally used to signify the region of Eastern Asia that had
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and others brought expert craftsmanship to the style. Central
European palaces like the Castle of Wörlitz or the Castle of Pillnitz all include rooms decorated with Chinese features, while in the palace of Sanssouci at Potsdam features a Dragon House (Das Drachenhaus) and the Chinese House (Das
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Chinoiserie was not universally popular. Some critics saw the style as "…a retreat from reason and taste and a descent into a morally ambiguous world based on hedonism, sensation and values perceived to be feminine." It was viewed as lacking the logic and reason upon which
Antique art had been
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with
European aristocrats between 1740 and 1790. The luxurious wallpaper available to them would have been unique, handmade, and expensive. Later wallpaper with chinoiserie motifs became accessible to the middle class when it could be printed and thus produced in a range of grades and prices.
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published in 1836, Honoré de Balzac used chinoiserie to refer to the craftworks made in the Chinese style. From this moment on the term gained momentum and started being used more frequently to mean objects produced in the Chinese style but sometimes also to indicate graceful objects of small
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magazine also acknowledged that China had contributed to the aesthetic inspiration to global fashion. Chinese motifs grew popular in European fashion during this period. China and the Chinese people also supplied the materials and aesthetics to American fashion. Original Chinese fashion also
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There were many reasons why chinoiserie gained such popularity in Europe in the 18th century. Europeans had a fascination with Asia due to their increased, but still restricted, access to new cultures through expanded trade with East Asia, especially China. The 'China' indicated in the term
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The term is also used in literary criticism. The so-called 'Mandarin style' "is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one". Critics also describe a mannered "Chinese-esque" style of writing, such as that employed by
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His designs provided a guide for intricate chinoiserie furniture and its decoration. His chairs and cabinets were often decorated with scenes of colorful birds, flowers, or images of exotic imaginary places. The compositions of this decoration were often asymmetrical.
201:, which studied Far East cultures from a historical, philological, anthropological, philosophical, and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China (during the
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style. Both styles are characterized by exuberant decoration, asymmetry, a focus on materials, and stylized nature and subject matter that focuses on leisure and pleasure. Chinoiserie focuses on subjects that were thought by Europeans to be typical of
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written in 1685 and published in 1690. Under Temple's influence European gardeners and landscape designers used the concept of sharawadgi to create gardens that were believed to reflect the asymmetry and naturalism present in the gardens of the East.
1027:, Henrietta Howard, and the Duchess of Queensbury, all socially important women. This is significant because their homes served as examples of good taste and sociability. A single historical incident in which there was a "keen competition between
471:, for example, reallocated many chinoiserie works from George IV's Royal Pavilion at Brighton to the more accessible Buckingham Palace. Chinoiserie served to remind Britain of its former colonial glory that was rapidly fading with the modern era.
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In the 18th century and throughout the 19th century, chinoiserie fashion was especially celebrated in France, and the origin of most Chinese-inspired fashion was French during this period. Chinoiserie had also inspired designers such as
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and other factories naturally imitated Chinese designs, though the shapes for "useful wares", table and tea wares, typically remained Western, often based on shapes in silver. Decorative wares such as vases followed Chinese shapes.
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of 1839–1842 between Britain and China disrupted trade and caused a further decline of interest in the Oriental. China closed its doors to exports and imports and for many people chinoiserie became a fashion of the past.
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manufactured in Florence during the late-16th century, as the Casino of San Marco remained open from 1575 to 1587. Despite never being commercial in nature, the next major attempt to replicate Chinese porcelain was the
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In the 17th and 18th centuries Europeans began to manufacture furniture that imitated Chinese lacquer furniture. It was frequently decorated with ebony and ivory or Chinese motifs such as pagodas.
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Though usually understood as a European style, chinoiserie was a global phenomenon. Local versions of chinoiserie were developed in India, Japan, Iran, and particularly Latin America. Through the
900:, understood as beauty, without order that takes the form of an aesthetically pleasing irregularity in landscape design. The word traveled together with imported lacquer ware from Japan where
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One of the things that contributed to the popularity of chinoiserie was the 18th-century vogue for tea drinking. The feminine and domestic culture of drinking tea required an appropriate
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Chinoiserie had some parallel in "occidenterie", which was Western styled goods produced in 18th century China for Chinese consumers. Although this was a notable interest of the
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Chinoiserie persisted into the 19th and 20th centuries but declined in popularity. There was a notable loss of interest in Chinese-inspired décor after the death in 1830 of
1035:, for a Japanese blue and white plate," shows how wealthy female consumers asserted their purchasing power and their need to play a role in creating the prevailing vogue.
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in 1673, with Edme Poterat, widely reputed as creator of the French soft-paste pottery tradition, opening his own factory in 1647. Efforts were eventually made to imitate
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began in the late 17th century, was carried into European porcelain production, most naturally in tea wares, and peaked in the wave of rococo chinoiserie (c. 1740–1770).
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Pair of round and flat bodied bottles; 1870-1880; porcelain; first bottle: 26.4 × 21 × 10.6 cm, second bottle: 25.7 × 20.2 × 10.2 cm; Metropolitan Museum of Art
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Chinesische Haus). Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German and Russian palaces, and in tile panels at
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The Gentleman and Cabinet-maker's Director: Being a large Collection of the Most Elegant and Useful Designs of Household Furniture, In the Most Fashionable Taste.
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that were integrated into European and American visual arts include asymmetrical compositions, lighthearted subject matter and a general sense of capriciousness.
556:– Europeans were generally vague as the origin of "oriental" imports), with only partial success. One of the earliest successful attempts, for instance, was the
430:, "The fact remains that four thousand years ago, when we did not know how to read, they knew everything essentially useful of which we boast today." Moreover,
346:, it was not restricted only to the court. "Occidenterie" artifacts and art were accessible to a wider variety of consumers, as they were domestically produced.
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1233:(1855) was a big success in Paris. The 1889 Paris World Fair played a significant role in bringing world music to the attention of modern Western composers.
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Chinese art and architecture. Finally, still others believed that an interest in chinoiserie indicated a pervading "cultural confusion" in European society.
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In the early 20th century, European and fashion designers would use China and other countries outside of the Eurocentric-fashion world to seek inspiration;
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rooms of a house. The patterns on wallpaper were expected to complement the decorative objects and furniture in a room, creating a complementary backdrop.
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Dish with a Chinoiserie design. Porcelain decorated in overglaze enamels. 1735–1740 CE. From Jingdezhen, China; possibly decorated in Canton (Guangzhou).
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In the early 20th century French composers responded to the West's then utopian, nostalgic view of Chinese landscape and culture in pieces such as
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There was also a fashion trend for day-wear jackets and coats to be cut in styles which would suggest various Chinese items as was published the
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William Temple. "Upon the Gardens of Epicurus; or Of Gardening in the Year 1685." In Miscellanea, the Second Part, in Four Essays. Simpson, 1690
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635:. The Casino of San Marco's porcelain manufactory was one of the oldest successful attempts to imitate Chinese porcelain in European history.
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932:, exhibits strong English architectural elements, resulting in a product of combined cultures (Bald, 290). A replica of it was built in
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was a keen patron of chinoiserie, and had many other rooms created in this style such as the Centre Room, also located in the East Wing.
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197:. The aesthetic of chinoiserie has been expressed in different ways depending on the region. It is related to the broader current of
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as the "production of the highest human wisdom" and "the most profitable and elevating reading which...is possible in the world."
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Leath, R. A.. (1999). "After the Chinese Taste": Chinese Export Porcelain and Chinoiserie Design in Eighteen-Century Charleston.
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was published the 150 pictures encouraged chinoiserie, and became especially popular in the 18th century. Early ceramic wares in
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Eerdmans, Emily (2006). "The International Court Style: William & Mary and Queen Anne: 1689–1714, The Call of the Orient".
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Earliest hints of chinoiserie appear in the early 17th century, in the arts of the nations with active East India Companies,
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As British-Chinese relations stabilized towards the end of the 19th century, there was a revival of interest in chinoiserie.
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1317:(1923). In Britain, many 20th century song composers set English translations of Chinese poetry (by orientalists such as
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in Toronto, sometimes featured an entire guest room decorated in the chinoiserie style, complete with Chinese-styled bed,
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Telling the Truth about Nixon: Parody, Cultural Representation, and Gender Politics in John Adams’s Opera Nixon in China
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from the 1770s onward tended to replace Oriental inspired designs, at the height of Regency "Grecian" furnishings, the
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Covered vases; circa 1770; soft-paste porcelain; height: 38.7 cm, width: 16.5 cm; Metropolitan Museum of Art
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Carr, Dennis; Bailey, Gauvin A; Brook, Timothy; Codding, Mitchell; Corrigan, Karina; Pierce, Donna (2015-01-01).
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Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796–1911)
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Porter, David (2002). "Monstrous Beauty: Eighteenth-Century Fashion and the Aesthetics of the Chinese Taste".
254:. The popularity of chinoiserie peaked around the middle of the 18th century when it was associated with the
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John Adams has stated: "at no point in this opera did I want to write fake Chinese music". Daines, Matthew.
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The influence of Chinese and East Asian music has also been evident in popular music, from musical comedy (
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Western approximations of Chinese music first began to be used in the mid-17th century in operas such as
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Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896–1937
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Chinese-style garments designed by US designers in 1910s, published from the Chinese Summer dress from
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European understanding of Chinese and East Asian garden design is exemplified by the use of the word
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helped to popularize the production of chinoiserie furniture with the publication of his design book
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It was also popularized by the influx of Chinese and Indian goods brought annually to Europe aboard
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Classic English Design and Antiques: Period Styles and Furniture; The Hyde Park Antiques Collection
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Kuitert, Wybe (2014). "Japanese Art, Aesthetics, and a European Discourse: Unraveling Sharawadgi".
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includes another pagoda and also a Chinese teahouse. Though the rise of a more serious approach in
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2027:"Key Periods in the Development of Chinoiserie Style in the West – How Taste Travelled. Part I"
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Ladies’ Home Journal: The Chinese Summer Dress, published in June 1913: Vol 30, issue 6, p. 26
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Chinoiserie entered European art and decoration in the mid-to-late 17th century; the work of
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to the 18th century Western designers attempted to imitate the technical sophistication of
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Wall clock; circa 1880; bronze and enamel; probably made by Escalier de Cristal (Paris);
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European interpretation and imitation of Chinese and other East Asian artistic traditions
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Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s
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Impey, Oliver (1989). "Eastern Trade and the Furnishing of the British Country House".
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was increasingly admired by philosophers such as Arthur Schopenhauer, who regarded the
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1721:"Chinese Occidenterie: the Diversity of "Western" Objects in Eighteenth-Century China"
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2569:"From Costume to Fashion: Visions of Chinese Modernity in Vogue Magazine, 1892–1943"
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Opium, Soldiers and Evangelicals: England's 1840–42 War with China and its Aftermath
908:(1628–1699), referring to such artwork, introduces the term sharawadgi in his essay
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2496:"The Chinoiserie Paradox: Fashion Creating the Self Through the "Other" – Compass"
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Marley rejects the chinoiserie label in favour of his own term, "Chinese Gothic".
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in June 1913, where the garments displayed showed influences of the Qing dynasty
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2873:"How The 'Kung Fu Fighting' Melody Came To Represent Asia [transcript]"
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Wallpaper in the chinoiserie style, with a picture frame as its central motif,
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dimension or of scarce account. In 1878 'chinoiserie' entered formally in the
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Oriental enlightenment : the encounter between Asian and Western thought
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were built in the mountainous park of Wilhelmshöhe near Kassel, Germany; in
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Scott, Derek B. 'The Twentieth Century: Orientalism and Musical Style', in
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Austrian coffeepot; circa 1720; hard-paste porcelain; 17.8 × 15.9 cm;
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Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain
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show distinct Chinese influence in architecture. The monumental 163-foot
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for high voice and guitar (1957). More recent operatic examples include
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2129:"V&A · The influence of East Asian lacquer on European furniture"
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2746:'French Encounters with the Far East', Ch. 4 of Annegret Fauser:
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2934:. New York: Rizzoli International Publications. pp. 22–25.
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2621:. Petra ten-Doesschate Chu, Jennifer Dawn Milam. Leiden. 2019.
1994:. The Editors of Encyclopaedia Britannica. Britannica.com. 2007
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included what he claimed was an authentic Chinese melody, the
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jug, 1799, decorated to imitate another rare Chinese product,
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2241:"Tea Tuesdays: How Tea + Sugar Reshaped The British Empire"
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1057:
print by Tom Ford for Yves Saint Laurent Rive Gauche, 2004
988:. Later exoticism added imaginary Turkish themes, where a
72:
2722:
Symphonic Metamorphosis of themes by Carl Maria von Weber
75:
2354:
Calasibetta, Charlotte Mankey; Tortora, Phyllis (2010).
904:
was an idiom in appraisal of design in decorative arts.
606:
decoration from the early 17th century. After a book by
487:
vase; circa 1870; bone china; 20.8 × 10.2 × 10 cm;
2397:
Luxury the Chinese way : new competitive scenarios
2155:
Entwistle, E. A. (1961). "Wallpaper and its History".
1559:. Brighton: Royal Pavilion & Museums. p. 19.
602:
and other Dutch towns adopted genuine blue-and-white
588:, then by the mid-17th century, in Portugal as well.
90:
84:
78:
2984:
Example of Chinoiserie in a French Style Harpsichord
2787:
There are other settings of Chinese translations by
928:
in the centre of the gardens, designed and built by
849:
scholars' furnishings were also naturalized, as the
57:
1557:
Chinese Whispers: Chinoiserie in Britain, 1650–1930
370:, "Child Reaching for a Caged Bird", 19th century,
81:
1666:"Eighteenth-Century Easts and Wests: Introduction"
1633:Made in the Americas: the new world discovers Asia
1293:'s 'Laideronnette, impératrice des pagodes' (from
2961:, University of Nottingham thesis, September 2011
2749:Musical Encounters at the 1889 Paris World's Fair
323:to New Spanish markets in Acapulco, Panama, and
1416:, often harmonized with open parallel fourths.
1165:
402:Man seated on plinth, holding monkey and ball.
2521:. Joanne Arbuckle (Second ed.). Landham.
1965:
1963:
1865:(1948). Johns Hopkins U. Press. 1978 edition:
968:(where the "Chinese Bedroom" was furnished by
917:pavilions with flowers and seasonal elements.
2518:Historical dictionary of the fashion industry
2265:Fisher, Reka N. (1979). "English Tea Caddy".
866:, and ceramic figurines and table ornaments.
8:
2076:. New York: Manchester UP. pp. 29, 33.
1095:of June 1913: Vol 30 Issue 6, page 26 and 27
858:, early painted wallpapers in sheets, after
1580:Victoria and Albert Museum, Digital Media.
712:as interior decoration in the oil painting
156:
2649:: CS1 maint: location missing publisher (
2549:: CS1 maint: location missing publisher (
2476:: CS1 maint: location missing publisher (
2428:: CS1 maint: location missing publisher (
208:As a style, chinoiserie is related to the
2584:
1307:, and the light music orchestral fantasy
1106:influenced various designs and styles of
1921:. New York: NYU Press. pp. 114–37.
20:
2737:. Macmillan, London and New York, 1997.
2174:. New Haven, CT: Yale UP. p. 151.
1825:The Metropolitan Museum of Art Bulletin
1823:Mayor, A. Hyatt (1941). "Chinoiserie".
1512:
617:
473:
173:artistic traditions, especially in the
2666:
2664:
2642:
2542:
2469:
2421:
2400:. Houndmills, Basingstoke, Hampshire.
2225:Zhou, Ruru (2015). "Chinese Gardens".
2004:
1408:of Chinese musical style, such as the
1394:, 1971) through to modern rock music (
796:style. Entire rooms, such as those at
459:, a great proponent of the style. The
2978:(Getty Museum) "Imagining the Orient"
2562:
2560:
2150:
2148:
2067:
2065:
2063:
1384:, 1920), Broadway musicals and jazz (
108:
7:
2157:Journal of the Royal Society of Arts
1550:
1548:
1546:
1544:
1542:
1540:
1283:'s 'Chinese Dance' (from Act Two of
1008:Tea House at Myasnitskaya Street in
2357:The Fairchild Dictionary of Fashion
1610:. Rockport Publishers. p. 54.
1168:and environments of American women
788:Various European monarchs, such as
236:; 1742; oil on canvas; 40.5 x 48 cm
2871:Steve Inskeep (August 28, 2014).
451:Persistence after the 18th century
342:, as shown by the architecture of
242:Orientalism in early modern France
33:is rife with chinoiserie designs.
14:
2951:Chinoiserie: The Vision of Cathay
2735:The New Grove Dictionary of Opera
2708:The same theme was later used by
2672:"Fashioning Empire: Chinese Chic"
1163:of June 1913, volume 30, issue 6:
1029:Margaret, 2nd Duchess of Portland
2676:BASIS Independent Silicon Valley
2448:. Valerie Steele. London. 2018.
1946:. New York: Palgrave Macmillan.
1033:Elizabeth, Countess of Ilchester
668:
656:
640:
620:
524:
508:
496:
476:
165:interpretation and imitation of
68:
2267:Bulletin (St. Louis Art Museum)
2861:, first broadcast 8 June, 2010
1863:Essays in the History of Ideas
1227:'s satirical one-act operetta
940:, while the Chinese Garden of
442:founded. Architect and author
161:'China style') is the
151:
142:
134:
1:
2714:Variations on a Chinese Theme
2586:10.3998/ars.13441566.0047.009
2515:Sterlacci, Francesca (2017).
2445:The Berg companion to fashion
2329:Studies in the History of Art
2239:Godoy, Maria (7 April 2015).
1525:The Oxford English Dictionary
1439:Master Li & Number Ten Ox
1279:Other notable pieces include
1061:The term is also used in the
727:Painted wallcovering canvas,
205:) and the rest of East Asia.
2974:in the Columbia Encyclopedia
2854:Chris Eldon Lee (producer).
1973:. Britannica.com. 2013-07-22
1719:Kleutghen, Kristina (2014).
1344:A Night at the Chinese Opera
920:Landscapes such as London's
910:Upon the Gardens of Epicurus
284:Swedish East India Companies
232:, a chinoiserie painting by
2778:No. 8212 (1998), pp. 309-35
2697:The Exotic in Western Music
1992:"Rouen ware | pottery"
1608:Universal Principles of ART
1121:(especially the bufu), the
58:
3057:
2595:2027/spo.13441566.0047.009
2294:Eighteenth-Century Studies
2133:Victoria and Albert Museum
1725:Eighteenth-Century Studies
1670:Eighteenth-Century Studies
1582:"Style Guide: Chinoiserie"
1310:In a Chinese Temple Garden
1144:, and traditional Chinese
1042:
677:Victoria and Albert Museum
649:Metropolitan Museum of Art
489:Metropolitan Museum of Art
392:Dictionnaire de l'Académie
331:at Puebla de Los Angeles.
239:
2856:BBC Radio 4 documentary,
1017:chinoiserie mise en scène
952:came down with a case of
554:Japanese export porcelain
366:Anonymous (France) after
2733:Lamb A. Ba-ta-clan. In:
2170:Vickery, Amanda (2009).
2072:Sloboda, Stacey (2014).
1942:Gelber, Harry G (2004).
1861:Lovejoy, Arthur. (1948)
1215:, and it was re-used by
1066:time in Western Europe.
970:William and John Linnell
890:Architecture and gardens
550:Chinese export porcelain
517:Art Institute of Chicago
258:style and with works by
250:influenced the study of
2695:Bellman, Jonathan, ed.
1793:"British Museum object"
1664:Yang, Chi-ming (2014).
1606:Parks, John A. (2015).
1555:Beevers, David (2009).
1053:Satin evening dress in
984:-themed wallpaper, and
864:Jean-Baptiste Pillement
783:Ferdinand III of Sicily
729:Geelvinck-Hinlopen Huis
708:Depiction of a Chinese
416:Marco Polo's narrations
268:Jean-Baptist Pillement.
2953:. London: John Murray.
2567:Chan, Heather (2017).
2394:Rovai, Serena (2016).
2050:Historical Archaeology
2011:: CS1 maint: others (
1917:Lee, Julia H. (2011).
1882:Clarke, J. J. (1997).
1503:References and sources
1459:Chinoiserie in fashion
1339:Songs from the Chinese
1333:) to music, including
1319:Launcelot Cranmer-Byng
1176:
1096:
1058:
1045:Chinoiserie in fashion
1012:
960:manufactory imitated "
785:
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237:
53:
38:
2949:Honour, Hugh (1961).
2653:) CS1 maint: others (
2480:) CS1 maint: others (
2306:10.1353/ecs.2002.0031
1888:. London: Routledge.
1737:10.1353/ecs.2014.0006
1682:10.1353/ecs.2014.0002
1253:Das Lied von der Erde
1205:Jean-Jacques Rousseau
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552:(and for that matter
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302:Royal Botanic Gardens
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240:Further information:
228:
44:
24:
2980:exhibition, 2004–05.
1412:, making use of the
1327:Edward Powys Mathers
1161:Ladies' Home Journal
1142:Chinese embroideries
1115:Ladies' Home Journal
1092:Ladies' Home Journal
956:, and Chamberlain's
798:Château de Chantilly
571:hard-paste porcelain
414:After the spread of
406:. Dated circa 1735.
317:Manila galleon trade
294:Sir William Chambers
3041:Rococo architecture
3031:Orientalism by type
2959:Musical chinoiserie
2172:Behind Closed Doors
1367:A Chinese Honeymoon
1213:Dictionary of Music
1119:mandarin court gown
854:ware that imitated
841:1753–70, but sober
764:Catherine the Great
631:bottle; 1575–1587;
131:traditional Chinese
27:Yellow Drawing Room
2989:2009-03-06 at the
2924:Chang, Sheng-Ching
2899:Enemies of Promise
2858:Chopsticks at Dawn
2097:Jan-Erik Nilsson.
1971:"Medici porcelain"
1797:The British Museum
1420:Literary criticism
1305:Bernard van Dieren
1097:
1059:
1013:
906:Sir William Temple
871:Thomas Chippendale
835:Thomas Chippendale
790:Louis XV of France
786:
781:, commissioned by
767:
762:, commissioned by
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590:Tin-glazed pottery
412:
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264:Thomas Chippendale
248:Athanasius Kircher
238:
230:The Chinese Garden
139:simplified Chinese
110:[ʃinwazʁi]
54:
39:
2941:978-0-8478-2863-0
2841:Moon, Krystyn R.
2789:Granville Bantock
2776:Musical Quarterly
2763:Musical Exoticism
2628:978-90-04-38783-6
2528:978-1-4422-3909-8
2455:978-1-4742-6471-6
2407:978-1-137-53775-1
2374:978-1-56367-973-5
2181:978-0-300-16896-9
2083:978-0-7190-8945-9
2029:. Decorative Fair
1953:978-1-4039-0700-4
1928:978-0-8147-5257-9
1811:Sheng-Ching Chang
1780:Sheng-Ching Chang
1642:978-0-87846-812-6
1617:978-1-63159-030-6
1566:978-0-948723-71-1
1447:Chia Black Dragon
1159:According to the
954:Brighton Pavilion
938:Englischer Garten
718:Albert von Keller
694:William Alexander
612:Meissen porcelain
540:Chinese porcelain
432:Indian philosophy
404:Meissen porcelain
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1301:Chinese Symphony
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629:Medici porcelain
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1190:The Fairy-Queen
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972:, ca 1754) and
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1387:Chinoiserie
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1281:Tchaikovsky
1209:air chinois
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1080:Jean Paquin
942:Oranienbaum
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3000:Categories
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1223:(1804).
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2712:in his
2245:npr.org
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