Historical Foundations of Chinoiserie
Trade, Colonialism, and Power
Trade, Colonialism, and Power
Chinoiserie, a European artistic interpretation of Chinese aesthetics, emerged as a direct result of global trade networks and colonial expansion in the 17th and 18th centuries. Fueled by increasing contact with China through the Dutch and British East India Companies, Chinoiserie reflected Western fantasies of an exotic East, often distorting the original cultural meanings of Chinese decorative arts.
Trade and the Spread of Chinoiserie
The expansion of maritime trade routes facilitated the large-scale import of Chinese goods such as porcelain, silk, lacquerware, and wallpaper into Europe. The porcelain trade, in particular, was a cornerstone of cultural exchange, with European demand shaping production in China itself. According to Gerritsen and McDowall, European consumers often viewed Chinese porcelain as objects of both luxury and cultural “otherness”, reinforcing Western notions of Asian craftsmanship as superior yet foreign (Gerritsen and McDowall 89).
Charleston, South Carolina, provides an illustrative case of how deeply embedded Chinoiserie became in colonial economies. In the mid-18th century, Chinese porcelain accounted for as much as 24% of all ceramics found in archaeological sites, indicating its widespread presence among the elite. Wealthy Charlestonians used these objects to display social status by integrating imported Chinese goods into their homes, aligning themselves with European aristocratic tastes (Leath 51).
A Fine and Extremely Rare Imperial Ruby-Ground ‘Yangcai’ ‘Floral’ Cup, Yongzheng Yuzhi Mark and Period. ca. 1723–1735, Carnegie Museum of Art, sold at Sotheby’s Chinese Art Auction, 18–19 Mar. 2025, New York. Sotheby’s. © Drawings and research by Emma Chen.
A Large Samson Wucai-Enamelled Vase and Cover. 19th century, Wanli six-character mark. Philadelphia Museum of Art, sold at Bonhams, Chinese Ceramics and Works of Art, 17 Mar. 2025, New York. Bonhams.
© Drawings and research by Emma Chen.
Colonialism and Cultural Appropriation
While Chinoiserie symbolized luxury, it also appropriated Chinese artistic forms while erasing their cultural significance. European designers reinterpreted and hybridized Chinese motifs to fit Western tastes, often creating whimsical or exaggerated depictions of Chinese landscapes, figures, and architecture. The historian Ina Baghdiantz McCabe discusses how European consumer culture rebranded Chinese imports—such as porcelain—as signs of refinement, detaching them from their cultural origins (Baghdiantz McCabe 163).
Beyond aesthetic fascination, Chinoiserie was also a product of colonial power dynamics. The same European powers that coveted Chinese goods also sought to dominate Asian trade through force, including Britain’s Opium Wars, which led to China’s economic subjugation. The Western reinterpretation of Chinese art thus functioned both as admiration and control, an act of cultural consumption mirroring colonial economies.
The Role of Chinoiserie in European Identity
By the 18th century, Chinoiserie had become an integral part of European material culture, influencing fashion, architecture, and interior design. This trend coincided with Europe’s self-definition against an imagined “Orient”, reinforcing narratives of European superiority. As European craftsmen began imitating Chinese porcelain, the demand for authentic Chinese imports declined, marking a shift from admiration to competition (Gerritsen & McDowall, 102).
A Blue and White ‘Hundred Boys’ Jar, Kangxi Period (1662–1722). Christie’s, Important Chinese Furniture and Works of Art, 21 Mar. 2025, Property from a Private Maine Collection. © Drawings and research by Emma Chen.