Dissertations / Theses on the topic 'Chinoiseries'

Il presente lavoro intende, sfruttando e sviluppando teorie interpretative appartenenti alla tradizione degli studi culturali, e in particolare di strumenti di critica testuale discorsiva ricavata sul modello saidiano, analizzare alcune rappresentazioni della Cina prodotte da una selezione di autori italiani durante il periodo che si apre con il viaggio della prima delegazione ufficiale italiana del ’55 fino al principio degli anni ’80. Variamente influenzate dai percorsi artistici dei singoli autori, dalle loro affiliazioni ideologiche, necessariamente implicate in dispute ideali che oppongono impegno e disimpegno, tradizione e avanguardia, le rappresentazioni contenute nei reportage del secondo dopoguerra costruiscono tante Cine con forme artistiche e letterarie “non obiettive e non mimetiche”. Questi testi mostrano la nascita e l’evoluzione di nuove forme di chinoiserie: una “politica”, che interpreta il socialismo cinese a uso di un pubblico italiano, e una “poetica”, che la Cina trasfigura attraverso il ricordo e l’immaginazione autoriale. Engagées o motivate da un interesse esclusivamente poetico, le chinoiseries rimangono lontane dall’oggetto che vogliono descrivere: dietro la rappresentazione si scorge sempre l’Italia e i bisogni e le aspirazioni del suo mondo intellettuale.

Cette etude se propose de tenter d'approcher, de facon concrete, a partir d'un exemple caracteristique, celui de la chine, la notion de litterature d'imagination et les valeurs conferees a l'imaginaire au xviiieme siecle. Au debut de notre periode, la chine appartient au discours erudit, terme entendu dans son sens large d'enseignement, et offre donc un rare exemple de mise en forme fictionnelle d'un propos qui, a l'origine, en refusait les valeurs. Le "cas chinois" permet d'apprehender le passage de l'erudition a l'imagination et de saisir les criteres necessaires, au xviiieme siecle, a l'etablissement d'un texte qui s'ancre dans l'imaginaire. Notre etude nous a amene a considerer deux modes d'inscriptions, d'une part les premieres traductions et leur influence et d'autre part la litterature francaise a sujet chinois
In this study, we would like to catch, thanks to the exemple of china, the connection between erudition and imagination en eighteenth century french literature. In the seventeenth and eighteenth centuries, the jesuits played a very important role in spread of learned treatises upon china. This country was perceived as a learning-bounded country. Our purpose is to see how this conception of china took place in imaginative literature

Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en Chine
Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi

Chinoiserie remains relatively unexplored in the context of music and is usually isolated as a mid-eighteenth-century phenomenon characterized by the use of decorative Chinese motifs and concepts in Western art, porcelain, furniture, and architecture. This thesis enriches possible readings of musical chinoiserie by exploring its relationship to the intense fashion for Chinese commodities, its correlation to particular social and political climates, and its connection to the eternal themes of the feminine and utopian pastoral. As a recurring and evolving phenomenon, chinoiserie has been manifested across the past three centuries in various genres and works central to Western music. The following chapters provide case studies which draw attention to particularly rich constellations of ideas about chinoiserie, and analyse the various ways that 'the West' has confronted, represented, and appropriated Chinese difference in music. Chapter two examines the emergence of eighteenth-century European music theatre/ drama inspired by China and its interrelation with royalty and nobility, consumer goods, fashion, and aesthetic sensibility. Chapter three explores early twentieth-century French musical works by Debussy, De Falla, and Roussel, which are inspired by nostalgic and utopian Chinese landscapes. In chapter four, the music of Mahler, Puccini, and Stravinsky reveal alternative fin de siècle approaches to chinoiserie. Common themes include an increased interest in authenticity; overt and subsumed Chinese elements; and the integration of chinoiserie into existing programmes. As a counterpoint to this, chapter five turns to popular music genres which directly responded to the social and political reality of Chinese immigration to America. The straightforward, formulaic, and market driven style of Tin Pan Alley songs provides the most explicit examples of musical chinoiserie, which upon examination reveal a variety of hidden beliefs, prejudices, aspirations and idealized visions of China. By no means are these chapters intended to offer a comprehensive survey of musical chinoiserie, but they provide case studies which demonstrate the ways in which a musical work can interact with a multiplicity of intellectual and emotional responses to the West's encounter with China during important social, political, and historical events.

Delimitação cronológica e conceptual das Chinoiseries. A especificidade da produção de imagens de Chinoiserie nas gravuras de Jean-Baptiste Pillement. Enquadramento nacional e internacional das gravuras de Chinoiserie de Jean-Baptiste Pillement no contexto geral do gosto exótico orientalizante.

Delimitação cronológica e conceptual das Chinoiseries. A especificidade da produção de imagens de Chinoiserie nas gravuras de Jean-Baptiste Pillement. Enquadramento nacional e internacional das gravuras de Chinoiserie de Jean-Baptiste Pillement no contexto geral do gosto exótico orientalizante.

This thesis aims to shed new light on some aspects of Iranian art under the Mongols, reviewing problems of Chinese elements in Iranian art. In considering the stylistic and technical development of Iranian art, ‘the Chinese element’ is an inevitable issue. Any history of Iranian art under the aegis of the Mongols must include some accounts of the occurrence of these elements. Though Iran was affected by internal factors in earlier periods, it is indubitable that it experienced a shift in its aesthetic balance on a grand scale during the late thirteenth and early fourteenth centuries, as a result of the fruitful exchange of artistic ideas with China and, more broadly, East Asia. Despite a wide acknowledgment of the role of China in the evolution of Iranian art traditions in the late thirteenth to early fourteenth century, chinoiserie in Iranian art under the Mongols remains one of intangible matters in the study of the whole Iranian art; evidence for this unusual artistic phenomenon has thus hitherto not been treated at length in a single study. In order to provide a more fruitful approach to this subject, the discussion in this thesis spans almost all possible types of pictorial and decorative arts produced in Iran under the Mongols, ranging from often discussed paintings to hitherto unexamined decorative objects. Central to all subsequent discussion is the desire to synthesize old and new finds and to address in detail the hitherto ill-defined relationship between Iranian and Chinese art. Above all, the thesis aims to construct a proper art-historical framework for Sino-Iranian art studies in the Mongol period.

Mestrado em Línguas, Literaturas e Culturas
O presente estudo pretende estudar o desenvolvimento e a influência da chinoiserie na Europa durante os séculos XVII e XVIII, através da análise de algumas das principais obras de arte deste género. Este período, que marcou o auge do desenvolvimento da chinoiserie na Europa, também foi um marco para os intercâmbios culturais entre Oriente e Ocidente. De acordo com o processo de divulgação da cultura chinesa na Europa, este estudo foi dividido em cinco partes: origem da chinoiserie na Europa, aceitação e imitação, ingresso na tendência predominante, os projetos da chinoiserie na Europa e o declínio da chinoiserie na Europa. Desde a sua origem ao seu declínio, este estudo pretende mostrar o processo de desenvolvimento da chinoiserie em alguns dos principais países europeus. Apresenta as características das obras de chinoiserie e o seu impacto sobre a arte europeia.
This study aims to study the development and influence of chinoiserie in Europe during the seventeenth and eighteenth century by analyzing the chinoiserie works and designs in Europe. The period of the seventeenth and eighteenth century was the boom of chinoiserie development in Europe, was also a landmark for cultural exchanges between East and West. According to the process of dissemination of Chinese culture in Europe, this study was divided into five parts: origin of chinoiserie in Europe, acceptance and imitation, entering the mainstream, the chinoiserie designs in Europe and the decline of chinoiserie in Europe. Since its origin to the decline, this study aims to study the development process of chinoiserie in Europe. Studies the characteristics of the works of chinoiserie in Europe and its impact on European art, by analyzing the works and chinoiserie designs in Europe.

This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

My master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity
[I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min.

Examensarbetet består av en skriftlig del och en gestaltande del. 

Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Especialização em Ciências da Conservação
Com o surgimento do piano a par de uma alteração dos gostos musicais da época, após o século XVIII o cravo caiu em desuso. Apenas oito cravos atribuídos a Pascal Taskin (1723-1793)sobreviveram até aos nossos dias, sendo o que pertence ao Museu da Música de Lisboa alvo de grande especulação. Embora este instrumento se encontre catalogado como um grand ravalement de um prestigiado cravo flamengo de Andreas Ruckers, foi apontado como falso Ruckers por Grant O’Brien. Devido à sua história e importância, desde 2006 este instrumento encontra-se classificado como tesouro nacional. Este estudo pretende compreender a autenticidade do ravalement através da caracterização material da policromia exterior do cravo, recorrendo a análises não destrutivas, não invasivas e in situ como reflectografia de infravermelho e espectrometria de fluorescência de raios X dispersiva de energias; e análises micro-destrutivas como microscopia óptica, microscopia electrónica de varrimento com espectrometria de raios X por energias dispersivas, micro-difracção de raios X, micro-espectroscopia de infravermelho com transformada de Fourier, pirólise seguida de cromatografia gasosa acoplada à espectrometria de massa e identificação de madeiras. Através do desenvolvimento de uma metodologia de trabalho adaptada, pode afirmar-se que o cravo em estudo tem pelo menos cinco intervenções. Estas intervenções não se encontram sistematicamente em todos os motivos, pelo que se podem entender como refrescamentos de alguns motivos decorativos de acordo com os gostos da época (diferentes figuras podem ter diferentes números de policromias e policromias de diferentes períodos de tempo). No que diz respeito à autenticidade do ravalement, pode concluir-se que embora se trate de um falso Ruckers, estamos perante um cravo sujeito a um autêntico ravalement.

Mestrado em Línguas, Literaturas e Culturas
O azulejo português é uma arte nacional que mostra um aspeto especial de Portugal. É considerado um importante suporte da expressão artística nacional ao longo de mais de cinco séculos. No entanto, durante o seu desenvolvimento, o azulejo português não só absorveu características portuguesas, como também foi influenciado pela cultura de outros países, nomeadamente a China, que mantém ligação com Portugal há mais de 500 anos. A influência chinesa é óbvia, especialmente na cor. O azul e branco caracteriza um tipo famoso de porcelana chinesa, conhecida precisamente por porcelana azul e branca. A influência também mostra nos outros aspetos, por isso, através de materiais relativos, o estudo vai investigar esta influência e analisar algumas obras do azulejo que têm relação com China, além disso, também vai discutir um pouco sobre o fenómeno de cultura global.
The Portuguese tile is a national art that shows special style of Portugal, is considered as an important support for national artistic expression for more than five centuries. However, during development, Portuguese tile not only absorbs Portuguese characteristics, but is also influenced by the culture of another country, such as China, which has been linked to Portugal for more than 500 years. The Chinese influence is obvious, especially in color, blue and white which is color of a famous species of Chinese porcelain, as the name shows, blue and white porcelain. The influence also shows in other aspects, so through relative materials, the study will investigate this influence and analyze some tile works that have relation with China, in addition, will also discuss a little about the phenomenon of global culture.

Die Chinoiserie wurde im Rokoko mit dem sorglosen Landleben gleichgesetzt. Daher findet man auch am und im Moritzburger Fasanenschlösschen vielfach chinoise Elemente. Ein vollständig in diesem Stil ausgestattetes Zimmer ist das dortige „Chinesische Eck-Cabinett“. Der Artikel untersucht die originale Ausstattung, ihre möglichen Schöpfer und deren Vorbilder und die Rekonstruktion des Zimmers nach 1945.

Le présent travail porte sur le décor enluminé des manuscrits produits en Iran et en Iraq sous domination mongole (1258 – c. 1350). Cette étude n’a pas seulement pour but de se pencher sur les structures scandant le manuscrit et sur leurs modes de remplissage, mais elle s’ouvre aussi sur les échanges culturels et artistiques dont ce décor est parfoisemblématique. La méthodologie retenue s’articule autour de deux axes principaux : la première fait appel à une « approche déconstructive » qui consiste en une suite de focalisations permettant de passer du macroscopique au microscopique. Il s’agit en fait d’appréhender dans un premier temps la notion de programme enluminé, puis d’examiner leurs éléments constitutifs comme les frontispices ou les shamsa et de procéder ensuite à l’examen de leurs modes de remplissage. Le deuxième axe de cette recherche met l’accent sur la complexité des transferts entre des sphères aussi diverses que la Chine, le Tibet, l’Inde, l’Iran et les chrétientés durant la période de règne des Īlkhānides. Le rôles de la circulation des marchandises et des cadeaux diplomatiques sont particulièrement examinés. Signalons, parmi les conclusions, les (ré-) attributions de manuscrits ainsi qu’une discussion sur la pertinence de l’appellation d’ « Islamic Chinoiserie » passée dans la littérature
My dissertation focuses on the manuscript illumination under the Il-khanid rule in Iran and Iraq, between 1258 and c. 1350. This study reconsiders the constitutive patterns and construction systems of the decorative components of the book and also underscores evidence of extensive cultural and artistic exchanges on the scale of Eurasia. The selected methodology is mainly twofold: The first one lies on a “deconstructive approach” of the ornament by an examination of the material both on the macroscopic and microscopic scales. In other words, the thesis begins with the general characterization of the illuminated programs, focusing thereafter on their constitutive elements such as frontispieces or shamsa and concluding with an examination of the various forms of fillings. The second axis highlights the complex role of transfers between several cultural centers particularly active such as China, Tibet, India and the different Christianities during the Il-Khanid period. Circulation of wares and exchanges of diplomatic gifts are explored to propose clues on the reception of new patterns in Iranian ornament.In the conclusion, this thesis suggests the (re-)attributions of some manuscripts and comments the relevance of the now usual expression “Islamic Chinoiserie”

碩士
台南應用科技大學
視覺傳達設計系碩士班
104
“Chinoiserie” has existed for quite a long period of time in art history. With the changes of times, the cultural connotation of Chinoiserie is still intriguing. Contemporary artists integrate ancient Chinoiserie with innovation and embody it aspects, such a literature, music, dancing, and architecture, as well as poster design. This study collected and arranged the literature of “Chinoiserie,” analyzed 502 samples of posters in the book “Chinoiserie” as examples, and coded and tabulated them. This study used content analysis to analyze the components of plane poster design of “Chinoiserie,” and found that the primary components are image, color, and character; while the secondary components are composition, border, and purpose. Image included primary image, secondary image, background image, and image categories. Color included image color, background color, textual color, and border color. Text included font styles in Chinese and English. In the end, this study categorized various elements, performed a statistical analysis on the quantity, and arranged the order as reference for future poster design. The research results showed that, the image classification of posters of Chinoiserie is mainly utensils, while the non-image classification is mainly Chinese architecture, calligraphy also accounts for an extremely high proportion; for color, achromatic color is most frequently used in posters. For character, running script of calligraphy is most frequently used in posters. Moreover, for composition form, the middle part and lower part are most significant, and they both reflect stable screen form. During the factor analysis, this study used in-depth interviews to provide experts’ experiences, and used semiotics and literature data to perform corresponding analysis, to verify the presentation of design components in the research results. The experts suggested that, as long as three conditions: (1) black and white and virtual and real elements; (2) line and color elements; (3) cultural connotation; are met, the feature of Chinoiserie posters can be better reflected. The research results show the current design styles of Chinese posters and provide specific design elements to enable future designers to choose styles and elements from them to design poster works with Chinoiseries.

博士
國立臺灣師範大學
美術學系
101
This research explores the artists working method on the basis of pseudo-knowledge. Many artworks were created by artists who don’t have solid knowledge basis. Sometimes, it’s due to objective reasons, some environmental conditions might make the artists in lack of certain knowledge. Others were due to subjective reasons, the artists might make some choices subjectively which might make the knowledge structure distorted. In some cases, it might happen simultaneously. The act of creating artworks is about artists themselves choosing certain part of their experiences or knowledge subjectively, and then they reorganize a new knowledge structure from it. Therefore, by clarify the problems that the artists encounter during this knowledge reconstruction period and explore the knowledge evolution and reconstruction process could help the artists to build up the foundation of the creative thinking. First of all, this article took Chinoiserie, delftware, and pseudo Chinese as entry points, which were made by the 17th century artists who were in lack of eastern information, to investigate the representation deformation phenomena occurred while the artists transform new information into new knowledge according to their cognition perspective of their original knowledge. Secondly, investigate the connection between pseudo-knowledge and artwork creation from cultural representation, visual perception psychology, and schema’s aspect. Finally, explore “Pseudo Existence” by creating art works. The result of this research shows that imagination still comes from the things that are already known. When people are reconstructing different knowledge structure, they still need to build up further inference through the overlap area of the both ends. Creators and viewers also need to hold some consensus to communicate with each other smoothly. Therefore, although artists’ subjective consciousness decides artworks final status while viewers were reconstructing different knowledge structure. In order to build up the “knowledge” of “pseudo-knowledge”, artists still have to consider how knowledge evolution works.

碩士
輔仁大學
織品服裝學系
91
This research will proceed with the following three main concepts: The first one is about the exploring of the founding origin of Chinoiserie and its relative studies, with which later on we identify the differences between traditional ethnic costume and ethnic look fashions. This study will help to find the essence of the fashion of Chinoiserie, which is offering another resource of originality for the contemporary fashion design. The second one is the analysis of the high fashion and the Chinoiserie within 1990s. The third one is about finding the common characteristics based on the Chinoiserie we formerly observed, and conclude it in stereotyped Chinese images we currently have. These images are repeatedly been adopted by the fashion designers, and through an adequate up-dated process, it is conveying the zeitgeist of 1990s. The haute couture of Chinoiserie as the high fashion in 1990s, breeding its awesomely works, was led by the historicism and romanticism. On the opposite, the high fashion ready-to-wear for more practical purposes, was trying to find the balance between the innovation in exotic aura and the simplicity in modern senses. This creative techniques of using new materials, a fashion trend of 1990s, are also put into the contemporary designs of the Chinoiserie as representing the high fashion now. The stereotyped Chinese images lie within the entire high fashion Chinoiserie. One of the factors that it lies still, may due to the traditional routes of restoring to the fore designers’ works or retaining the brands’ spirit. The quipo is perhaps the most popular selection, while it contains both western heritage and the sexy image formed in movies─a quality that is allowed to merge into the western fashion. Contemporary Chinese social costumes, including uniforms, working suits, and military uniforms, are recommended as an inspirational design of minimalism, unisexualism, and modernism. The mixing of different cultural images has been a normal phenomenon at Chinoiserie’s early formed age, and it grows even more in the high fashion between 20th and 21th century. The relative transformations of Chinese artifacts are also important resources for any designs of Chinoiserie─including genuine Chinese property and other Chinese-like artifacts. In this research, we not only observe the designing features, the creative skills, and the common stereotypes of the Chinoiserie fashion, but also take part in the combination of Chinoiserie fashion and all the other coexisting ones, which proves the circulation of fashion─evolving, into the origin.

碩士
輔仁大學
織品服裝學系
91
China plays a more important role in all aspects than before, and meanwhile has a powerful influence upon the whole world as well when the worldwide focus is turned on Asia in 1980s . However, the worldwide fashion of Chinoiserie seems to symbolize the reflect to the current situation. That is the fashion of Chinoiserie is guided by western fashion designers no matter in high fashion or in street fashion. This thesis dedicates to the study of exploring the application of Chinoiserie to western fashion in 80s of twentieth century . This research will proceed with the following four main directions : The first one is about the exploring of the founding origin of Chinoiserie and its development. The second one is that Chinoiserie is influenced by postmodersim to present a technique of old culture and new look. The third one focus on the analysis of time background in 1980s . The fourth one is about the analysis and observation of the designing features and creative skills of Chinoiserie fashion styles in western world within ten years . There are several peaks individually in 1984, 1986 and 1989 as for the fashion trend of Chinoiserie in 1980s . This research gains the main discovery from the observation and analysis of the writing contents and visual photographs of fashion magazine. Firstly , the fashion designers often draw inspiration from Chinese clothing in1980s, such as “ luxury clothes of Manchu Dynasty”, “cheongsan dress of Shanghai”, “Mao suit” and “ blue China worker’s clothes of People’s Republic of China”, “ red guard uniforms of Culture Revolution period”, “robes of China Buddhism” and “clothes of China minority nationality” . Besides , designers obtain inspiration from fine art handicrafts of China historical relics, such as “scenery of flowers and birds painting ”, “painting of calligraphy” , “picture and color of Chinese implements ” are used in fabric design , and “ the shape of Chinese implements ” is applicated in the detail of designing clothes ( including blue-white pattern of porcelain, color and weave of bamboo boxes, shape of screen folding and effect of Chinese fan opening ) .

碩士
國立臺灣大學
新聞研究所
88
This paper begins with the disjuncture and difference of western postmodern chinoiserie fashion in Taiwan in 1997, examing Taiwan’s post-colonial identity under the condition of culture hybridity. Within the working of power in fashion, it also discusses from the discourse of fashion, revaluing the resistance in such disjuncture and difference. The research, by qualitative method, is based on two parts: text analysis and interviews. The former includes the examination of the text of chinoiserie fashion and the analysis of related texts in fashion magazines. Of which the latter focuses on the audience, examing in advance their sense about chinoiserie fashion and their decoding of fashion magazines, aiming to explore their relation in daily life with fashion/ fashion magazines. The study found that disjuncture and difference not only exist in the chinoiserie fashion between the west and Taiwan, but also happen in the transmutation of Taiwan’s chinoiserie fashion, even between the text of chinoiserie fashion and the audience. With culture hybridity, a postcolonial identity which, neither “the one” nor “the other”, cannot clearly be defined has been formed in Taiwan. Such ambivalence provides the possibility for local resistance against remained postcolonial forces. However, the success of chinoiserie fashion in Taiwan also means that the power of fashion works everywhere under the enchantment of commodity form. Such being the case, viewing from Foucault’s knowledge/ power, a difference of power in the discourse of fashion still exists in spite of the resistance happening in the struggle of culture identity. Thus in the end, while on the one hand trying to seek a non-western/ non-Chinese subject for Taiwan, on the other we’re waiting for more resistance, finding a way out in the capillary working of power in fashion.

O presente estudo centra-se no impacto do mundo asiático na arte do mobiliário português do século XVIII, seja por via direta, através da importação de peças asiáticas, ou por via indireta, através do imaginário europeu em relação ao mundo asiático, nomeadamente em relação à China. A Europa é detentora de uma série de peças de mobiliário cuja técnica decorativa assenta na inspiração de motivos e temas orientais, tornando-se pertinente a compreensão a nível histórico-cultural, artístico e técnico, de obras decoradas com chinoiseries, nomeadamente as que se encontram em território nacional, tomando consciência que interpretar e compreender a gramática ornamental que lhes está associada, não consiste apenas em descrevê-las e reconhecer os elementos que as compõem, mas antes, construir o seu significado, tornando concretos os espaços de indeterminação/determinação de sentido que as próprias obras projetam. Embora a importância de Portugal no comércio entre a Europa e a Ásia fosse menos relevante no século XVIII, em relação ao século XVI e XVII, estuda-se o papel que o comércio português desempenhou no transporte e na distribuição de mercadoria oriental para a Europa, influenciando gostos e modas, e como isso se traduziu e que impacto teve na arte do mobiliário português do século XVIII. Deste modo, esta dissertação pretende contribuir para um conhecimento e para um sentir mais profundo do fenómeno da Chinoiserie no contexto do mobiliário português, a par de melhor compreender esta descoberta do ‘outro’, em que a fusão de culturas é notória e onde se ligam diferentes povos, formas de pensar e de sentir. Pretende-se perceber o impacto que o uso deste vocabulário decorativo teve no contexto do mobiliário português do século XVIII, analisando esta nova linguagem como fonte de transformação no mundo das artes decorativas portuguesas, sendo que ao analisar as características associadas a este novo universo decorativo, depreende-se naturalmente, que o acharoado se assume como expoente máximo na linguagem ornamental do mobiliário produzido em Portugal na época em estudo. Culminamos com a análise da prestação comercial das peças de mobiliário decoradas com chinoiserie no mercado leiloeiro nacional e internacional na última década, refletindo sobre as mudanças socioeconómicas que ocorreram nos últimos anos e em curso, e pensando sobre o seu lugar neste mercado vasto e cada vez mais alargado, de forma a compreender o processo de evolução das vendas das peças.
The present study focuses on the impact of the Asian world in the art of the Portuguese 18th century furniture, either direct way, through the importing of Asian parts, or indirectly, through the European imaginary in relation to the Asian world, in particular in relation to China. Europe has a series of furniture pieces whose decorative technique is based on the inspiration of Oriental motifs and themes, making it relevant the understanding of the historical, cultural, technical and artistic level of works decorated with chinoiseries, especially those found in national territory, taking consciousness that interpreting and understanding the ornamental grammar associated to them, is not only useful to describe them and to recognize the elements that constitute them, but before, building their meaning, making concrete the indetermination/ determination spaces of sense that their own works designs. Although the importance of Portugal in trade between Europe and Asia were less relevant in the 18th century that in the sixteenth and seventeenth century, it is studied the role that the Portuguese trade played in transportation and distribution of goods to Eastern Europe, influencing tastes and fashions, and how that translated itself and what impact it had on the art of the 18th century Portuguese furnishings. Thus, this dissertation intends to contribute to a knowledge and a deeper sense of the phenomenon of Chinoiserie in the context of Portuguese furnishings, along with a better understanding of this discovery of the ' other ', where the fusion of cultures is notorious and where different people bind ways of thinking and feeling. We intend to realize the impact that the use of this decorative vocabulary had in the context of the Portuguese 18th century furnishings, analyzing this new language as a source of transformation in the world of Portuguese decorative arts, being that in examining the characteristics associated with this new decorative universe, it appeared naturally, that the “acharoado” (decorative technique) is assumed as the maximum exponent in the ornamental language of furniture produced in Portugal at the time under study. We culminate with the analysis of the commercial provision of pieces of furniture decorated with chinoiserie on the auctioneer markets both nationally and internationally over the past decade, reflecting on the socio-economic changes that have occurred in recent years and ongoing, and thinking about its place in this vast and increasingly extended market, in order to understand the process of evolution of the piece’s sales.

碩士
國立政治大學
廣播電視學研究所
98
In 2000, the intersection of two centuries, the globalization has been pacing merrily; “China Fever” was burning in the fashion circle; the film “Crouching Tiger, Hidden Dragon” surprised the Western world; the industrial productive methods of pop music responded to the globalized cultural transmission, and the appearance of MTV Channel in the 1980s has extended the music from auditory to vision. In Taiwan, pop music has been played for decades; the freedom in inventiveness and the aroused cultural standards after the martial law being lifted in 1987 enhanced strong vitality in creations, and Taiwan has become the major distribution center of Chinese pop music. In PRC, the booming economic development after the Chinese economic reform in 1978 has brought up populations’ living standards and consumption, and the enormous market has drawn the worldwide attention. 　As a new type in Chinese pop music, “Chinoiserie” has emerged since 2000, and the Chinoiserie songs could string together the above narrations that seemed to be weakly related. The essence of pop music is to strive after conformity and consumption from maximum people, and undoubtedly PRC has the market that everyone eagerly fights for. Whereas “China Fever” dominates, the themes related to “China” integrate into Chinese pop music in which Western pop music takes the lead. Moreover, seeing that vision is equally important as auditory, and the image era of pop music becomes popular with music video as the perfect tool for marketing, the song themes related to “China” would absolutely contain elements that can be identified as “Chinoiserie.” Therefore, these songs have created a “Chinese” atmosphere, a “China” in music that is constructed brick by brick through lyrics, melody, arrangement, and aria. 　However, “China” is a sensitive term that is considered quite differently in PRC, Hong Kong and Taiwan though the civilizing roots are all from “Chinese culture.” Seeking themes and elements for creativity in the intersections of this “Greatest Common Divisor” becomes the operating practice of “China” in music, in which the identical elements of “China” are the samplings and put-together from the “database of ancient Chinese culture.” Thus “China” here is absolutely not a clearly distinguishable object, but a “virtual China” with codes of “Chineseness” that can be obviously recognized; a “China Charm” built in auditory and vision through de-contextualized elements picking and re-contextualized collage constructing; yet a cultural merchandise of mimicry and bricolage with slightly familiar nostalgia. 　This “China” in music, named as “Chinoiserie,” can be considered as a reverse embezzlement claimed by Chinese. While exchanging ideas and cultures, Chinese entitle the Western style pop music merged with “Chinese taste” to be “Chinoiserie,” and thus turn the term from the Western point of view to the Eastern one. In the context of globalization, “Chinoiserie” has also become the statement that the Eastern seeks to stand firmly in the tide of globalization and to avoid losing oneself at the same time. 　In this study, the author broadly collected information related to “Chinoiserie” songs from 2000 to June 2010 in order to describe their developments in the past decade. In addition, the researcher has not only spent two years to collect, analysis, listen to, and observe the past and present of Chinese pop music, but also interviewed 18 key roles in different professions, including Vincent Fang, Hsing-Ming Chung, and Kevin Lin. 　Even though the “Chinoiserie” songs in the past decade can’t be viewed as the benchmark of the decade in Chinese pop music, at least they have caused “a vogue,” which some people praise, some are not optimistic, some imitate, and some disdain. In any case, “Chinoiserie” has made a statement for the visualized auditory era of pop music, and it would continue playing to deeply impress everyone of the time.

碩士
輔仁大學
織品服裝學系
90
In the cultural context of globalization, fashion magazines continue to articulate a modern field of vision of content change. At the same time, with the playful acts of sign consumption, fashion magazines are carriers of fashion codes, spreading fashion messages to their audience. Enacted by its exchange value and sign value, fashion, as a network comprised by words and images, rises above the dimension of use value, and therefore boosts the development of fashion culture. That multiple dimensions of fashion culture are what motivate this research. This research attempts to study fashion trends from the perspective of “sign”, hoping to understand the concrete details of the symbolic production and consumption of fashion magazines in the context of sign system. Seeing that fashion industry masters in the commodification of culture and visual objects, researcher proposed to read the successful commodification of Chinoiserie in recent fashion trends as an access to understand 1) how fashion magazines produce fashion signs and what are its conditions of production in relation to media industry and fashion culture; 2) how audience recognizes fashion magazines as a media and how local audience in Taiwan interacts with the Chinese versions of fashion magazines; and 3) what is the politics of fashion culture, especially in the current trend of Chinoiserie, as conceived by both fashion workers in media and its audience. In terms of methodology, researcher has adopted the post-empirical paradigm incorporated with qualitative study and interviews. In the analysis of interview, researcher has endeavored to reconstruct the reality of the symbolic production and consumption in media industry, so as to understand how the sign system of Chinoiserie has influenced the local culture and its epistemology of images after it has crossed various cultural contexts. In the conclusion, this research has found that not only how fashion industry has attempted to create fashion trends but also by what means media-produced fashion signs have triggered consumption. In addition, using notions such as surface aesthetics, cultural wardrobe, and post-modernity / modernity in collage, this research has managed to present the critical reflection of fashion media workers and the audience on the cultural production of Chinoiserie, as well as the struggle between cultural identification and transnational sign system that resulted from the fashioning of Chinoiserie.

碩士
國立成功大學
藝術研究所
106
After the American Revolutionary War (1775-1783), the United States focus on economy and technology developed. The portrait painting with Chinese decoration and design had become a trend in the early 20th century, especially, Boston School painter, William McGregor Paxton (1869-1941). Paxton was born at the time the business relationship between the United States and China become increasingly frequent, the many products, porcelain, silk and other works, are in the market. These goods make middle classes start collecting. These socio-economic circumstances affect Paxton dramatically, so his portrait paintings contain Chinoiserie style. The research object is that analyzing the reasons of artists who like to use the interpretation of Chinese art based on the history and paintings at this particular time. According to history and works, it also can explain the art taste and the Chinoiserie desire of middle classes at that moment.