Market & Gendered Value of Chinoiserie
One of the most significant reasons Chinoiserie has been historically undervalued is its classification as “decorative art” rather than “fine art”. This distinction has deep roots in gendered hierarchies within art history and market valuation.
The Decorative vs. Fine Art Divide
Western art institutions have long drawn a distinction between fine art (painting, sculpture) and decorative art (ceramics, textiles, and furniture). The latter, despite requiring exceptional craftsmanship and technical expertise, has traditionally been devalued because of its association with domesticity and femininity (Pierson 13).
Porcelain, as a medium, exemplifies this division. As Helen Glaister notes, collectors in Britain often viewed Chinese porcelain as both an artistic marvel and a commodity, leading to its relegation to the realm of interior design rather than high art (Pierson 25). This perception contributed to the persistent undervaluation of Chinoiserie in both museum collections and auction houses.
A Very Rare Large Famille Rose Painted Enamel Baluster Vase, Qianlong Six-Character Seal Mark in Blue Enamel and of the Period (1736–1795). Christie’s, Important Chinese Furniture and Works of Art, 20–21 Mar. 2025, Property from an Important North American Private Collection. © Drawings and research by Emma Chen.
A Pair of Large Famille Rose Black-Ground Jars and Covers, Qianlong Period (1736–1795). Christie’s, Important Chinese Furniture and Works of Art, 20–21 Mar. 2025, Property from a Distinguished Private Collection.
© Drawings and research by Emma Chen.
Gendered Market Biases
The undervaluation of Chinoiserie is further reinforced by market biases that disproportionately impact artworks associated with women and domestic spaces. Studies on gender and art markets reveal that art created by women consistently sells for less than that of men, even when controlling for factors like medium and historical significance ((Adams et al. 239). Similarly, Chinoiserie’s association with decorative arts, femininity, and leisure-class collecting habits has contributed to its lower economic and institutional recognition.
An Economist study found that artworks by women sell for up to 42% less than comparable works by men, a reflection of deep-seated cultural biases that equate feminine-coded artistic practices with lower value. (“Portrait by a Lady”) This framework applies directly to Chinoiserie, which has historically been categorized as ornamental rather than intellectual.
Contemporary Market Trends
Despite its historical undervaluation, Chinoiserie has seen a resurgence in market interest, particularly in the context of museum exhibitions and feminist art historical revisionism. High-profile auctions of Chinese export porcelain and 18th-century decorative objects indicate growing recognition of its significance. However, the hierarchy that privileges fine art over decorative art persists, shaping how Chinoiserie is positioned in museum collections and market spaces (Economist Intelligence Unit).
Caddy (part of a set). Meissen Manufactory. 1735–40. Hard-paste porcelain, h. 5 in. The George B. McClellan Collection, Gift of Mrs. George B. McClellan, 1941. The Metropolitan Museum of Art, New York. Object no. 42.205.74a, b.
© Drawings and research by Emma Chen.
© Drawings and research by Emma Chen.
A Large Sancai-Glazed Tripod Censer, Ming Dynasty. Sotheby’s, Chinese Art, 18–19 Mar. 2025, Sold by the Montreal Museum of Fine Arts to Benefit Future Acquisitions.
© Drawings and research by Emma Chen.
Reclaiming Value: Feminist and Postcolonial Reinterpretations
Recent curatorial and artistic efforts have sought to reframe Chinoiserie as a site of critical engagement with gender, race, and colonial history. Artists such as Millie Chen and Karen Tam use Chinoiserie motifs to subvert its original function as an exoticized European fantasy. Their work challenges who get to define cultural authenticity and value, raising new questions about the legacy of imperial aesthetics.
Additionally, contemporary market analysis suggests that the increased visibility of female and non-Western artists in major collections is gradually reshaping perceptions of what constitutes high-value art. However, entrenched biases remain a significant barrier to the full recognition of Chinoiserie as an intellectual and artistic form (Adams et al. 240).