Log in

Relevant bibliographies by topics / Chinoiseries / Journal articles

Journal articles on the topic 'Chinoiseries'

To see the other types of publications on this topic, follow the link: Chinoiseries.

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Chinoiseries.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Milesi, Laurent. "Chinoiseries : Hallucinating Derrida Hallucinating China." Oxford Literary Review 40, no. 1 (July 2018): 95–107. http://dx.doi.org/10.3366/olr.2018.0240.

Full text

Abstract:

Derrida's treatment of Chinese script as essentially non-phonetic in Of Grammatology has been a recurrent leitmotif among several sinologists and scholars of Chinese origin, particularly in Rey Chow's famous 2001 essay ‘How (the) Inscrutable Chinese Led to Globalized Theory’. Despite forceful refutations of this misconception, the accusation of a fantasizing ‘ethnocentrism thinking itself as anti-ethnocentrism’ has endured and could still be found in a recent 2015 article suggestively titled ‘A Sort of European Hallucination: On Derrida's “Chinese Prejudice”’. This essay will probe into the recurrent accusation of a Derridean hallucination of the other as the other's own hallucination in order to analyse the sustained misreading of Derrida's phrase ‘outside of all logocentrism’ used about the Chinese ideogram.

APA, Harvard, Vancouver, ISO, and other styles

2

Fišera, Julien. "Vieux crocodiles, basket-ball et autres chinoiseries." Vertigo 36, no. 2 (2009): 27. http://dx.doi.org/10.3917/ver.036.0027.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Wall, Anthony. "Joseph-Marie Vien (1716-1809) et ses nobles Chinois." Convergences francophones 5, no. 1 (January 26, 2018): 66–72. http://dx.doi.org/10.29173/cf445.

Full text

Abstract:

Dans « Jean-Marie Vien et ses nobles Chinois », Anthony Wall examine les chinoiseries de François Boucher et Joseph-Marie Vien. Si ces deux artistes s’intéressent aux nobles asiatiques leur approche est résolument différente, le premier conforme aux stéréotypes de l’époque, le deuxième proposant une altérite plus radicale et perturbatrice.

APA, Harvard, Vancouver, ISO, and other styles

4

Soudée Lacombe, Chantal, and Christian de La Hubaudière. "Faïences de Rouen à décor de chinoiseries d’Augsbourg." Sèvres. Revue de la Société des amis du Musée national de la céramique 21, no. 1 (2012): 46–56. http://dx.doi.org/10.3406/sevre.2012.995.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Trey, Juliette. "Chinoiseries à Besançon, La Chine rêvée de François Boucher." Revue de l'art N° 212, no. 2 (May 23, 2021): 78–83. http://dx.doi.org/10.3917/rda.212.0078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Smentek, Kristel. "Chinoiseries for the Qing: A French Gift of Tapestries to the Qianlong Emperor." Journal of Early Modern History 20, no. 1 (January 26, 2016): 87–109. http://dx.doi.org/10.1163/15700658-12342490.

Full text

Abstract:

In 1766 a set of chinoiserie tapestries produced by the Beauvais manufactory was presented to the Qianlong emperor on behalf of the French administration. Chinoiserie has conventionally been understood as a frivolous or superficial European response to China’s material culture; viewed from this perspective, the tapestries would seem to be a most unsuitable gift for the emperor. Yet Qianlong not only received the hangings, but he had a European-style palace built to house them. This article examines the circumstances surrounding the French offering, the Chinese priests who brought the gift from France to Beijing, and the meanings the tapestries could communicate in a diplomatic context marked not by official contact between the French and the Qing, but through an informal diplomacy negotiated through objects.

APA, Harvard, Vancouver, ISO, and other styles

7

Tang, Guo. "De l’artifice au réalisme : l’évolution des « chinoiseries » théâtrales dans la première moitié du 18e siècle." Dix-huitième siècle 49, no. 1 (2017): 645. http://dx.doi.org/10.3917/dhs.049.0645.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Ferrão, Pedro Miguel. "A Casa da Livraria da Universidade de Coimbra ao tempo de D. João V." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 63–72. http://dx.doi.org/10.14195/1647-8436_46_47_4.

Full text

Abstract:

A biblioteca universitária conimbricense seria transferida para um novo edifício, construído de raiz entre 1717 e 1728, por iniciativa do rei D. João V. Este elegante projecto arquitectónico seria transfigurado no seu interior com uma das mais sumptuosas e eloquentes decorações barrocas em talha dourada, enriquecida pela representação de chinoiseries e ainda pelas pintura dos seus tectos em trompe l’oeil, a qual se tornaria, segundo palavras do erudito conde Raczinski, la bibliothèque la plus richement ornée que j’aie jamais visitée.Com efeito, na Casa da Livraria reside, de forma indelével, o espírito da esclarecida acção mecenática do Magnânimo – consagrada mais tarde na nomenclatura adoptada que a passará a designar por Biblioteca Joanina –, lugar privilegiado em que Arte, Cultura e Ciência se conjugam em perfeita harmonia. Autêntico Palácio do Saber, o seu aparatoso cenário traduz uma autêntica cosmovisão do Homem e da Cultura Barroca do séc. XVIII.

APA, Harvard, Vancouver, ISO, and other styles

9

Ferrão, Pedro Miguel. "A Casa da Livraria da Universidade de Coimbra ao tempo de D. João V." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 63–72. http://dx.doi.org/10.14195/2184-7681_46_47_4.

Full text

Abstract:

A biblioteca universitária conimbricense seria transferida para um novo edifício, construído de raiz entre 1717 e 1728, por iniciativa do rei D. João V. Este elegante projecto arquitectónico seria transfigurado no seu interior com uma das mais sumptuosas e eloquentes decorações barrocas em talha dourada, enriquecida pela representação de chinoiseries e ainda pelas pintura dos seus tectos em trompe l’oeil, a qual se tornaria, segundo palavras do erudito conde Raczinski, la bibliothèque la plus richement ornée que j’aie jamais visitée.Com efeito, na Casa da Livraria reside, de forma indelével, o espírito da esclarecida acção mecenática do Magnânimo – consagrada mais tarde na nomenclatura adoptada que a passará a designar por Biblioteca Joanina –, lugar privilegiado em que Arte, Cultura e Ciência se conjugam em perfeita harmonia. Autêntico Palácio do Saber, o seu aparatoso cenário traduz uma autêntica cosmovisão do Homem e da Cultura Barroca do séc. XVIII.

APA, Harvard, Vancouver, ISO, and other styles

10

Etienne, Noémie, Chonja Lee, Maria Cristina Volpi, and Carolina Casarin. "Lustro, laca e Liotard." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, no. 31 (April 15, 2021): 439–55. http://dx.doi.org/10.26563/dobras.i31.1308.

Full text

Abstract:

Com a ajuda de exemplos provenientes dos domínios das artes decorativas e das belas-artes, mostramos que o brilho das superfícies se torna um dos objetivos maiores da economia das chinoiseries. Os artesãos e artistas suíços tinham conhecimento das porcelanas, das lacas e dos tecidos que se difundiram por toda a Europa, e sua circulação estava ligada às ambições diplomáticas e econômicas dos países envolvidos (China, Japão, Sião, França, Alemanha, Inglaterra, Holanda...). No continente é, portanto, uma questão de dominar essas técnicas para desenvolvê-las e comercializá-las. Além disso, os atores procuram traduzir o brilho e a textura em diferentes meios: os objetos importados da China ou do Japão transformam desse modo o universo sensorial europeu, estimulando a imitação de certas matérias e resultados plásticos, como o brilho e o perolado. Por exemplo, na natureza morta da coleção Getty, o pintor genebrino Jean-Etienne Liotard é diretamente confrontado com as propriedades materiais e formais das lacas asiáticas, introduzindo um novo horizonte visual e tátil na Europa.

APA, Harvard, Vancouver, ISO, and other styles

11

Zheng, Chantal. "Botanique et chinoiseries : le Jardin de Kew et l’histoire de la collecte en Chine et à Formose." Moussons, no. 1 (July 19, 2000): 106–14. http://dx.doi.org/10.4000/moussons.8874.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Arizzoli-Clémentel, Pierre. "Au musée des Arts décoratifs de Lyon : note sur une paire de vases en porcelaine de Sèvre à fond laque et décor de chinoiseries." Bulletin des musées et monuments lyonnais 1987, no. 4 (1987): 12–14. http://dx.doi.org/10.3406/bmml.1987.1727.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Shin, Sangchel. "The History of Art Exchanges Between China and France by Jesuit Missionaries in the 18th Century : The Intellectual Foundation of French Chinoiseries and Beavais Tapestries." Art History 32 (August 31, 2016): 263. http://dx.doi.org/10.14769/jkaahe.2016.08.32.263.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Wirz-Ridolfi, Andreas. "CHINOISERIEN." Akupunktur & Aurikulomedizin 45, no. 4 (December 2019): 6–7. http://dx.doi.org/10.1007/s15009-019-5624-y.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Mooney, Mary Francis. "Chinoiserie." Books Ireland, no. 227 (1999): 378. http://dx.doi.org/10.2307/20631977.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Yu, Zhengyang. "The originality of Chinoiserie-style garden architecture in England in the XVIII century." Культура и искусство, no. 6 (June 2024): 76–87. http://dx.doi.org/10.7256/2454-0625.2024.6.70772.

Full text

Abstract:

The article "The originality of Chinoiserie-style garden architecture in England in the XVIII century" explores the development and specifics of Chinoiserie style in the landscape architecture of England. Chinoiserie style refers to the use of Chinese motifs and stylistic techniques in European architecture. The aim of the work is to identify the specifics of the arrangement of English gardens and parks in the Chinoiserie style. The subject of the study is the stylistic features of the embodiment of Chinoiserie gardens and parks. The object of the study is parks and garden architecture in the Chinoiserie style in England. The study covers the 18th century, revealing the contribution of individual architects and the influence of Chinese art on the development of garden architecture. The presented analysis demonstrates how architectural styles of Western and Eastern culture can mix. English gardens and parks are evidence of the influence of Chinese aesthetics on landscape gardening, which later spread to continental Europe. In the course of the research, the following methods were mainly used: historical, historical-genetic, historical-comparative. In the study of specific objects of landscape architecture, methods of art criticism analysis were applied — formal, stylistic and comparative methods. The article examines specific English monuments of landscape architecture of the XVIII century taken as examples the Chinoiserie style. The novelty of the study lies in the fact that the features of the Chinoiserie style in the landscape architecture of England were highlighted and a comparison of English architectural objects in the Chinoiserie style with Chinese analogues was carried out. The conducted research revealed the English specifics in the approach to interpreting Chinese designs of gardens and parks and architectural projects in the XVIII century. English gardeners and architects were inspired by Chinese aesthetics and used oriental elements for decoration, but did not follow all architectural canons and traditions. This gave rise to a new Chinoiserie style, a combination of Chinese and European landscape art that spread throughout Europe.

APA, Harvard, Vancouver, ISO, and other styles

17

Huang, Hongbo, and Sheng Yu. "The English Translation of Chinoiserie Songs from the UGT Perspective: A Case Study of Qian Qiu Meng." Journal of Social Science Humanities and Literature 7, no. 2 (April 25, 2024): 40–49. http://dx.doi.org/10.53469/jsshl.2024.07(02).05.

Full text

Abstract:

Qian Qiu Meng is a Chinoiserie song composed from the eyes of Empress Wu Zetian, one that belongs to mass media. Using the uses and gratifications theory (UGT) to analyze the English version of this song clarifies the purpose and what needs users want to gratify. This theory can also help to study how the English translation of Chinoiserie songs affects users behaviorally and psychologically. This study is somewhat innovative in that it uses a theory in communications studies to analyze the English translation of the Chinoiserie song Qian Qiu Meng. This helps the author to understand translation methods and techniques of Chinoiserie song translation into English, as well as of the character, deeds and contributions of Empress Wu.

APA, Harvard, Vancouver, ISO, and other styles

18

He, Xing. "Chinoiserie in Russian culture before XX century." World of Russian-speaking countries 4, no. 10 (2021): 127–41. http://dx.doi.org/10.20323/2658-7866-2021-4-10-127-141.

Full text

Abstract:

The article deals with the content and meaning of the Chinoiserie art style, which appeared in Europe in the 17th century and is based on traditional Chinese culture. It has distinct Chinese features and reflects a lot of Chinese elements. Chinoiserie still has a great influence on world culture in various spheres of art. The main focus is on the formation and spread of chinoiserie in Russia, which was related to the beginning of the Enlightenment era, the development of Chinese-Russian trade, and the published works on sinology that appeared at that time. In addition, the geographical proximity of the two countries is also considered a major factor in the spread of chinoiserie in Russia. There are several stages in the existence and evolution of chinoiserie in Russia: the era of Emperor Peter the Great (18th century), when elements of Chinese architecture, sculpture, art, clothing, decor and ornaments, household items and utensils appeared. At the same time there also appeared imitations of Russian masters of Chinese decorative and applied arts. During this period of time, ordinary people are also introduced to Chinese items and products, such as cotton cloth, silk, porcelain, tea, rhubarb, etc., which are now an integral part of life in Russia. The next era of introducing Chinese culture is the 19th century. It is connected with the spread of international relations and political ties. But chinoiserie evolution at this time was no longer as rapid and multifaceted as it had been a century earlier. The author concludes that chinoiserie reached its peak in Russia in the XVIII century, gradually began to decline in the XIX century, but in the XX century and nowadays it is becoming popular again.

APA, Harvard, Vancouver, ISO, and other styles

19

Fabre, Daniel. "Chinoiserie des Lumières." L Homme, no. 185-186 (April 2, 2008): 269–300. http://dx.doi.org/10.4000/lhomme.17432.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Fabre, Daniel. "Chinoiserie des Lumières." L'Homme, no. 185-186 (January 1, 2008): 269–99. http://dx.doi.org/10.4000/lhomme.24171.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Sen, O. K. "The New Chinoiserie." Theater 37, no. 1 (January 1, 2007): 55–68. http://dx.doi.org/10.1215/01610775-2006-010.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Cook, Christina. "Chinoiserie (review)." Prairie Schooner 86, no. 3 (2012): 181–85. http://dx.doi.org/10.1353/psg.2012.0100.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Pullins, David. "“Robert Adam’s Neoclassical Chinoiserie”." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 24, no. 2 (September 2017): 177–200. http://dx.doi.org/10.1086/696998.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Christie, Stuart. "Twenty-First Century “Chinoiserie”." Literature Compass 12, no. 8 (August 2015): 363–70. http://dx.doi.org/10.1111/lic3.12242.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Prazniak, Roxann. "Menzies and the New Chinoiserie." Medieval History Journal 13, no. 1 (April 2010): 115–30. http://dx.doi.org/10.1177/097194580901300105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Wensziao, W., Li Si, and F. Atadjanov. "CHINESE PAINTING AS A SYMBOL OF CHINOISERIE IN MODERN SOCIETY." Oriental Journal of History, Politics and Law 02, no. 01 (January 1, 2022): 1–4. http://dx.doi.org/10.37547/supsci-ojhpl-02-01-01.

Full text

Abstract:

The article highlights general information about chinoiserie in modern society, describes a series of representative Chinese artificial styles, and makes a scientific generalization about the Mogu painting.

APA, Harvard, Vancouver, ISO, and other styles

27

Tsoumas, Johannis, and Paraskevi Kertemelidou. "Designers, makers, influencers: the contribution of William Halfpenny and Thomas Chippendale to the development English Chinoiserie furniture design." Res Mobilis 13, no. 18 (February 9, 2024): 23–39. http://dx.doi.org/10.17811/rm.13.18.2023.23-39.

Full text

Abstract:

The term Chinoiserie, i.e. the tendency to incorporate elements of Chinese culture into European art and architecture, redefined the concept of style in seventeenth-century France and influenced the aesthetic formation of European arts and design in the century that followed. The term became particularly popular in England, as it was also associated with the need for renewal after the excessive ornamentation, elaborate symbolism and intense theatricality of Baroque, as well as the aesthetic and ideological perfection of Classicism. As early as the first half of the eighteenth century, the architect and designer William Halfpenny (1723-1755) showed a keen interest and skill in the transition from classical design to the mysterious Chinese motifs, contributing thus to the stylistic formation of English Chinoiserie, especially in the field of architecture and by extension furniture design. His experimentally pioneering approach through his publications was the beginning of a new aesthetic and ideological era that had a catalytic effect on the shaping of the design concept, taste and construction techniques of the equally important English furniture designer, Thomas Chippendale (1718-1779). This research aims to highlight the establishment of Chinese culture and aesthetics, known as Chinoiserie, in the eighteenth-century England, as regards the formation of furniture design, through the pattern books and design experimentation of William Halfpenny, as well as the inspired publications and the manufacturing mastery of Thomas Chippendale.

APA, Harvard, Vancouver, ISO, and other styles

28

Medvedeva, Yulia P. "“Chinese style” in music at the turn of the 19th-20th centuries." Contemporary Musicology, no. 2 (2020): 50–74. http://dx.doi.org/10.56620/2587-9731-2020-2-050-074.

Full text

Abstract:

The study focuses on the features of perception and interpretation of China and Chinese culture in European music at the turn of the 19th/20th centuries—yet another heyday for chinoiserie (“Chinese style”) in art. The author uses an integrated approach which encompasses cultural-historical, sociological, comparative-historical and musical-analytical methods. The analysis of Russian and European music associated with the “Chinese style” proves that the development of chinoiserie in the late 19th-early 20th century was influenced by changing cultural and political relations between China and the major European powers. The main milestones were the European colonial policy of the 19th century, growing export of exotic goods as well as the acquaintance with the culture of the Far East at the World Exhibitions. This was followed by the aggravation of relations, the Boxer Rebellion, extermination of Christians, the invasion of China by troops of eight European counties, the Battle of Beijing. Under the influence of these events, the romantic view of the Celestial Empire, sophistication and oriental bliss are gradually fading into the past, and China begins to be portrayed as wild, spontaneously unbridled and deadly. The evolution of the "Chinese style" also reflected the change in artistic landmarks of that time: from late romantic incarnations of exoticism through "playing rococo" and the exaggerated beauty of modernity to the barbaric wild sounds of expressionism; from the "generalized East"—to an increasingly national character and an expansion of the range of specific means (texture, mode, timbres, tempos, etc.). It is the first time that musical chinoiserie of the turn of the centuries is considered as an integral phenomenon, which makes the study relevant. The paper outlines its evolution and characteristic features and concludes that the path of chinoiserie in music development at the turn of the 19th/20th centuries is the path to the emerging dialogue between the cultures of the East and West.

APA, Harvard, Vancouver, ISO, and other styles

29

Porter, David. "Chinoiserie and the Aesthetics of Illegitimacy." Studies in Eighteenth Century Culture 28, no. 1 (1999): 27–54. http://dx.doi.org/10.1353/sec.2010.0120.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Prosser, Lee. "The Great Pagoda at Kew: Colour and Technical Innovation in Chinoiserie Architecture." Architectural History 62 (2019): 69–88. http://dx.doi.org/10.1017/arh.2019.3.

Full text

Abstract:

AbstractThe Great Pagoda in Kew Gardens is the most important surviving chinoiserie building in Europe. Restoration of the building in 2017–18 was attended by extensive documentary and forensic research, which revealed two markedly different eighteenth-century schemes of decoration undertaken by the architect William Chambers in 1761 and 1784. Both schemes were characterised by the use of innovative and experimental building materials and the application of a varied colour palette which can be shown to have close affinities with temporary, ephemeral buildings. With so few surviving contemporary examples for reference, colour and building materials appear as important characteristics of chinoiserie architecture. The discoveries at Kew demonstrate that these elements were fundamental to the style, which was never constrained by any fixed set of rules. Chambers drew on no single source for the building, but instead imaginatively adapted the Chinese style in a structure of great virtuosity.

APA, Harvard, Vancouver, ISO, and other styles

31

Ivashko, Yulia, Peng Chang, Andrii Dmytrenko, Justyna Kobylarczyk, and Michał Krupa. "Specifics of stylised shapes of Chinoiserie-style pavilions as the basis of their restoration." Muzeológia a kultúrne dedičstvo 12, no. 2 (2024): 27–41. http://dx.doi.org/10.46284/mkd.2024.12.2.2.

Full text

Abstract:

This article analyses the phenomenon of Chinoiserie style in European architecture. The basic principles of Chinese landscape design and the role of pavilions in the natural environment are highlighted. The fundamental difference between European and Chinese pavilions is shown at different levels – from the structure of the park to the composition to individual details – and it is also shown that European Chinoiserie-style pavilions were a much simplified and averaged version of the Chinese ones.The ambiguity of purpose and variety of functions inherent in ancient Chinese pavilions are lost in European ones, as the “Chinese-style” pavilion is intended for only one purpose – aesthetic entertainment. The appearance of the European pavilion, sometimes called a “tea pavilion”, does not follow that of ancient Chinese tea ceremony pavilions. In addition, the European park pavilions cannot be compared to the most famous Chinese “landscape pavilions”, as none of the former are located in such a majestic landscape with the possibility of viewing from a long distance.

APA, Harvard, Vancouver, ISO, and other styles

32

Tong, Joanne. "Romantic c/China: The Literature of Chinoiserie." Literature Compass 6, no. 3 (May 2009): 599–614. http://dx.doi.org/10.1111/j.1741-4113.2009.00626.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Lee, Yeon-Seo, and Yeon-A. Kim. "A Study on Body Art Reflecting the Esthetic Form and Value of Chinoiserie." Journal of Korean Traditional Costume 24, no. 3 (September 30, 2021): 199–211. http://dx.doi.org/10.16885/jktc.2021.09.24.3.199.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Berger, Günther, Takeshi Watabe, and Georges Métailié. "Une chinoiserie insolite : étude d'un papier peint chinois." Arts asiatiques 51, no. 1 (1996): 96–116. http://dx.doi.org/10.3406/arasi.1996.1388.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Smith, Philip. "Postmodern Chinoiserie in Gene Luen Yang'sAmerican Born Chinese." Literature Compass 11, no. 1 (January 2014): 1–14. http://dx.doi.org/10.1111/lic3.12115.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Yan, Fang. "Chinoiserie and The (Un)staging of French Hegelianism." Contemporary French and Francophone Studies 28, no. 1 (January 2024): 87–96. http://dx.doi.org/10.1080/17409292.2024.2272514.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Park, Ji-young. "A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France." Korean Journal of Art History 311 (September 30, 2021): 5–43. http://dx.doi.org/10.31065/kjah.311.202109.001.

Full text

Abstract:

Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neighboring countries like Korea and Japan and even to France via Jesuit missionaries. There are copies of more than twelve extant woodblock-printed and lithographic editions in East Asia, as well as copies reprinted with copper plates in France. Also, copies of the book with color illustrations remain in China and France. In Korea, colored illustrations of Dijian tushuo are kept under different titles such as Gunwang jwaumyeong (君王左右銘; The King's Motto) and Dohae yeokdae gungam (圖解歷代君鑑; The Mirror of Rulers throughout the Ages, An Illustrated Explanation) at the Gyeonggi Provincial Museum and the Jangseogak, the archive of the Academy of Korean Studies, respectively.<br/>In China, Dijian tushuo formed part of the education of the crown princes during the Ming and Qing Dynasties. More than eight different editions were made by the flourishing commercial publication industry during the two dynasties. In Joseon royal court, the book was recognized as one of the didactic books for the discipline of kingship. As for Japan, the shoguns of the Edo Bakufu used the book to advertise themselves as ideal rulers or to make Chinese royal palace genre paintings as an exotic hobby. Isidore Stanislas Henri Helman (1743~1809), a French engraver, made reprinted copies of the book amid Chinoiseries popularized in eighteenth-century France. The French edition reflects not only the public criticism of King Louis XVI and Marie Antoinette but also Helman’s implicit intention to receive financial support from Marie Louise Josephin de Savoie and the Count of Provence (later Louis XVIII), first in line to the throne at the time.<br/>Dijian tushuo was adopted in various countries in East Asia and Europe between the end of the sixteenth century and the early twentieth century, although the way it was used differed from country to country depending on their respective political, social, and cultural situations. However, all these countries had one thing in common– they had future rulers read the book. Perhaps, the fact that it was written for the education of the crown princes of China served as the stimulus for leaders and intellectuals alike. Studies on the ways in which books like Dijian tushuo were distributed as an aggregation of knowledge, information, and culture are thought to be significant and useful in identifying certain characteristics shared by diverse countries and in shedding light on differences in their political and social backgrounds and their art history.

APA, Harvard, Vancouver, ISO, and other styles

38

long, xingyang. "Chinoiserie in European painting of the XVII-XVIII centuries." Философия и культура, no. 5 (May 2023): 1–10. http://dx.doi.org/10.7256/2454-0757.2023.5.40630.

Full text

Abstract:

After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.

APA, Harvard, Vancouver, ISO, and other styles

39

de Bruijn, E. "Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain." Journal of Design History 28, no. 2 (February 18, 2015): 210–11. http://dx.doi.org/10.1093/jdh/epu037.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Almazán Tomás, David. "La seducción de Oriente : de la "chinoiserie" al "japonismo"." Artigrama, no. 18 (December 9, 2022): 83–106. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2003188359.

Full text

Abstract:

El intercambio cultural entre Extremo Oriente y Occidente es uno de los acontecimientos artísticos más importantes de nuestra historia. La llegada a Europa de piezas de arte y manufacturas chinas no supuso una transformación del arte occidental, pero sí una importante tendencia en los lenguajes ornamentales (Chinoiserie) que floreció desde el siglo XVII. En el siglo XIX, la influencia de Japón sobre el arte occidental fue mucho más decisiva. Este impacto del arte japonés se denominó como el fenómeno del Japonismo.

APA, Harvard, Vancouver, ISO, and other styles

41

Chang, Ting. "Le japonisme, la chinoiserie et la France d'Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 55–68. http://dx.doi.org/10.3406/cejdg.2011.1053.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Thomas, Greg M. "Neoclassical Chinoiserie at Menars: the Marquis de Marigny’s Chinese kiosk." Studies in the History of Gardens & Designed Landscapes 41, no. 4 (October 2, 2021): 268–87. http://dx.doi.org/10.1080/14601176.2021.2009709.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Ma, Sheng-mei. "Amy Tan's The Chinese Siamese Cat: Chinoiserie and Ethnic Stereotypes." Lion and the Unicorn 23, no. 2 (1999): 202–18. http://dx.doi.org/10.1353/uni.1999.0017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Ou, Hsin-yun. "David Garrick's reaction against French Chinoiserie inThe Orphan of China." Studies in Theatre and Performance 27, no. 1 (January 3, 2007): 25–42. http://dx.doi.org/10.1386/stap.27.1.25_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Binbas, E. "Islamic Chinoiserie: The Art of Mongol Iran * By YUKO KADOI." Journal of Islamic Studies 22, no. 2 (April 4, 2011): 254–56. http://dx.doi.org/10.1093/jis/etr012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Cui, Enyu. "Chinoiserie in Eighteenth Century France: Francois Boucher’s Imagination of China." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 682–89. http://dx.doi.org/10.54097/eadyv236.

Full text

Abstract:

Through the eyes of Francois Boucher, one of the most prominent court painters of the Rococo period, this essay delves into the enthralling world of Rococo art. Through the analysis of several of Boucher's paintings, such as "The Portrait of Madame de Pompadour" and "The Chinese Garden", the author intends to determine how various aspects of Chinese culture and aesthetics, as interpreted by Boucher's active imagination, were fluidly incorporated into the Rococo aesthetic. This study examines how Boucher deftly incorporated Chinese design elements, such as porcelain and scent sachets, into his works of art. These components, which are frequently considered symbolic of the Orient, provide a one-of-a-kind glimpse into Europeans' fascination with Chinese culture during the Rococo period. This article demonstrates that the influence of Orientalism on the aesthetics of European art is not limited to paintings but rather encompasses architecture as well as everyday objects, like tapestries, by demonstrating how the fusion of Chinese culture and Rococo aesthetics led to this influence.

APA, Harvard, Vancouver, ISO, and other styles

47

唐, 彦. "The Application of the "Beauty of Artistic Conception" in Chinese Painting in Interior Space Design." Pacific International Journal 6, no. 3 (September 28, 2023): 84–91. http://dx.doi.org/10.55014/pij.v6i3.411.

Full text

Abstract:

"Artistic conception" is the aesthetic core of Chinese painting and the essence and soul of Chinese painting. The "artistic conception" of Chinese painting is the high unity of art, nature, life and soul, forming a unique aesthetic system of Chinese painting. The "beauty of artistic conception" of Chinese painting is applied to the design of modern interior space to create space with the expression of mutuality of emptiness and reality, reckon blank as inked and symbolic implication, which can also make Chinese painting produce new visual impact in modern society. The application of the "beauty of artistic conception" of Chinese painting in interior design does not simply present the "Chinoiserie", nor is it limited to the direct imitation of Chinoiserie elements, but allows the implication of interior design to be deeply expanded, and also allows viewers to perceive the rich feelings and internal beauty associations contained in the design in the interior space. This paper will elaborate the connotation and performance characteristics of the "beauty of artistic conception" of Chinese painting, and analyze the measures and implementation methods of applying the "beauty of artistic conception" of Chinese painting to interior space design, as well as its unique value. The purpose of this paper is to innovate the design concept of modern interior space and provide a Chinese design idea, so that the interior design can reach the space design realm of "Unity of Heaven and humanity in One".

APA, Harvard, Vancouver, ISO, and other styles

48

Ko, Hee-Ja, and Jang-Soon Park. "In the Western painting of Chinoiserie from the perspective of cosmetology Factor analysis for female hair design." Journal of Industrial Convergence 19, no. 6 (December 31, 2021): 139–44. http://dx.doi.org/10.22678/jic.2021.19.6.139.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Temple, Martine. "La morphologie dérivationnelle au pays du traitement lexicographique, ou les tribulations d’un chinois hors de Chine." Revue québécoise de linguistique 21, no. 2 (June 1, 2009): 77–104. http://dx.doi.org/10.7202/602738ar.

Full text

Abstract:

Résumé Cet article, prenant pour exemple le mot chinoiserie, démontre que la description sémantique des mots construits tire profit de l’application des principes d’une morphologie dérivationnelle associative. Deux avantages relatifs à ce moyen d’investigation du lexique sont particulièrement mis en évidence. D’une part les opérations sémantiques liées aux procédés morphologiques mettent en lumière la façon dont les mots déterminent leurs classes référentielles; elles permettent, d’autre part, de distinguer dans les sens des mots construits ce qui ressortit à l’application de « figures » et ce qui est produit par des règles dérivationnelles.

APA, Harvard, Vancouver, ISO, and other styles

50

Faryś, Przemysław Krystian. "Jedwabne tafty drukowane i malowane z XVIII wieku. Technologia wytwarzania na przykładzie wzorzystej tafty." Gdańskie Studia Azji Wschodniej, no. 23 (August 31, 2023): 55–72. http://dx.doi.org/10.4467/23538724gs.23.003.18149.

Full text

Abstract:

The article concerns silk clothing fabrics with hand-painted patterns. They were fashionable in eighteenth-century Europe. The original design of these fabrics competed with silk fabrics with woven patterns. Painted silks were produced in China (for the European market) and in Europe. They were more or less in the chinoiserie style. Examples of these fabrics and costumes made of these materials have survived. The article focuses on taffeta with a painted pattern. One of the fabrics is subjected to a deeper analysis in terms of the manufacturing technique.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!