A History of Chinoiserie — Part II: European Connections
Chinoiserie, a term derived from ‘chinois,’ the French word for Chinese, refers to the European importation, interpretation and imitation of Chinese and East Asian artistic traditions, especially in the decorative arts, garden design, architecture, literature, theatre, and music. The history of Chinoiserie is not merely the history of a style; it is a story of cultural encounter, economic aspiration, and escapism.
The Banqueting Room at the Royal Pavilion in Brighton from John Nash's Views of the Royal Pavilion (1826), archive of the Brighton Pavilion
From the 17th century, European traders travelling to the Far East brought back not only spices and silks, but also tales of a world vastly different from Europe. These stories and goods sparked a fascination with all things Oriental, driving enormous demand both for Chinese export goods and local imitations.
The craze for Chinoiserie developed first in France, during the reign of Louis XIV (1638-1715), where it became a symbol of luxury and sophistication. The Sun King’s desire for the novel and the exotic led to the commissioning of rooms like the Trianon de Porcelaine at Versailles, adorned with lacquered panels and porcelain in the Chinese style. With the King’s imprimatur, Chinoiserie spread throughout the aristocracy, with nobles vying to outdo each other in their displays of this fashionable trend.
“The Chinese style has an agreeable effect to the eye, and an air of novelty and singularity, which is extremely pleasing.”
Original wallpaper from Schloss Hellbrunn, Salzburg, Austria
Chinoiserie as presented to Western audiences through the Chinese Export market differed from local Chinese designs in its exoticism, often including exaggerated elements or features that reflected Europeans’ sometimes-vague ideas of the Orient. These designs, featuring pagodas, dragons, and phoenixes, set in idyllic gardens, were enchanting to European eyes.
Chinoiserie’s popularity continued to grow in the 18th century, particularly in England, where it influenced everything from ceramics and furniture to garden design. British craftspeople like Thomas Chippendale and Josiah Spode adopted Chinese motifs in their works. In architecture, structures like the Chinese House in Sanssouci Park, Potsdam, and the pagoda at Kew Gardens in London are enduring monuments to the Chinoiserie craze.
The appeal of Chinoiserie lay in its ability to evoke a sense of wonder and provide an escape from the rigid formalities of European life. It was a window into a world that was, for many Europeans, as fantastical as it was unreachable. As the historian Hugh Honour aptly put it, “Chinoiserie…depicted a dream of Cathay, a dream which belonged more to the realm of the imagination than to that of reality.”
“I have given my mind to Chinoiserie. There is nothing like it for real elegance and fanciful grandeur.”
In contemporary times, Chinoiserie has experienced a resurgence, with designers and homeowners once again embracing its timeless charm. It remains a testament to the power of art to transcend borders and to the enduring human desire for beauty and escapism. In China, dedicated artists and craftspeople continue to push the boundaries of Chinoiserie through new designs, materials and applications, while staying true to the ancient techniques handed down over generations.