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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.
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 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.
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 ...
[a] Bridget Cherry, in her London 2: South volume of the Buildings of England series, describes the pagoda as "this supreme example of chinoiserie". [2] A study of 2019, written after the restoration, ranked it as "the most important surviving chinoiserie building in Europe". [5]
The Royal Domain of Drottningholm stands on an island in Lake Mälar in a suburb of Stockholm. With its palace, perfectly preserved theatre (built in 1766), Chinese pavilion and gardens, it is the finest example of an 18th-century northern European royal residence inspired by the Palace of Versailles.
European flowers (as opposed to East Asian ones copied from imports) were used in decoration from around 1730, before Meissen, and subsequently very widely used across European factories. As at Meissen, chinoiserie decoration was also often used, as were hunting and battle scenes. [20]