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The Trianon de Porcelaine (French pronunciation: [tʁijanɔ̃ də pɔʁsəlɛn]; French for Porcelain Trianon) was a short-lived structure constructed near the Palace of Versailles, and is considered to be the first Chinoiserie building in Europe.
Chinoiserie entered European art and decoration in the mid-to-late 17th century; the work of Athanasius Kircher influenced the study of Orientalism.The popularity of chinoiserie peaked around the middle of the 18th century when it was associated with the Rococo style and with works by François Boucher, Thomas Chippendale, and Jean-Baptist Pillement.
Although whether the artists are able to understand the cultural connotations of Chinese porcelains is quite ambiguous, the wave of the chinoiserie may permeate into the artistic group. [11] Chinese porcelain represents not only advanced craftsmanship and technology but also the symbol of civilization that is far away from Europe.
In the 17th century, Dutch traders brought Chinese mother-of-pearl, lacquer, silks and porcelain to Europe. In the noble courts of the baroque era, an interest in Oriental arts grew during the rococo period into Chinoiserie, a genuine fashion for all things Chinese. In addition to the enthusiasm for Asian luxury goods which harmonized with the ...
Chinoiserie in fashion refers to the any use of chinoiserie elements in fashion, especially in American and European fashion. Since the 17th century, Chinese arts and aesthetic were sources of inspiration to European artists, creators, [1]: 52 and fashion designers when goods from oriental countries were widely seen for the first time in Western Europe.
Meissen remained the dominant European porcelain factory, and the leader of stylistic innovation, until somewhat overtaken by the new styles introduced by the French Sèvres factory in the 1760s, but has remained a leading factory to the present day. Among the developments pioneered by Meissen are the porcelain figurines, and the introduction ...
The Willow pattern is a distinctive and elaborate chinoiserie pattern used on ceramic tableware. It became popular at the end of the 18th century in England when, in its standard form, it was developed by English ceramic artists combining and adapting motifs inspired by fashionable hand-painted blue-and-white wares imported from Qing dynasty China.
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