chinoiserie

/sheen wah'zeuh ree", -wah"zeuh ree/; Fr. /shee nwannzeu rddee"/, n., pl. chinoiseries /-reez", -reez/; Fr. /-rddee"/ for 2. (sometimes cap.)

1. a style of ornamentation current chiefly in the 18th century in Europe, characterized by intricate patterns and an extensive use of motifs identified as Chinese.

2. an object decorated in this style or an example of this style: The clock was an interesting chinoiserie.

[1880-85; < F, equiv. to chinois CHINESE + -erie -ERY]

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Fanciful European interpretations of Chinese styles in the design of interiors, furniture, pottery, textiles, and gardens.

The expansion of trade with East Asia produced a lively vogue for Chinese fashions in the 17th–18th centuries. The most outstanding chinoiserie interior was the Trianon de Porcelaine (1670–71), built for Louis XIV at Versailles. The style featured lavish gilding and lacquering, the use of blue and white (as in delftware), asymmetrical forms, unorthodox perspective, and Asian motifs. In the 19th century, the fashion gave way to Turkish and other styles considered exotic.

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▪ design

 17th- and 18th-century Western style of interior design, furniture, pottery, textiles, and garden design that represents fanciful European interpretations of Chinese styles. In the first decades of the 17th century, English and Italian and, later, other craftsmen began to draw freely on decorative (decorative art) forms found on cabinets, porcelain vessels, and embroideries imported from China. The earliest appearance of a major chinoiserie interior scheme was in Louis Le Vau's Trianon de porcelaine of 1670–71 (subsequently destroyed), built for Louis XIV at Versailles. The fad spread rapidly; indeed, no court residence, especially in Germany, was complete without its Chinese room, which was often, as it had been for Louis, the room for the prince's mistress (e.g., Lackkabinett, Schloss Ludwigsburg, Württemberg, 1714–22). Chinoiserie, used mainly in conjunction with Baroque (Baroque period) and Rococo styles (Rococo style), featured extensive gilding and lacquering; much use of blue-and-white (e.g., Delftware); asymmetrical forms; disruptions of orthodox perspective; and Oriental figures and motifs. The style—with its lightness and asymmetry and the capriciousness of many of its motifs—also appeared in the fine arts, as in the paintings of the French artists Antoine Watteau and François Boucher.

      The cult of the East prepared Europe for the reception of greater informality in garden design. During the 18th century, pagodas and tea pavilions invaded European parks as gazebos. In England European ideas about Chinese philosophy were joined with English notions about the sublime, the romantic, and the “natural” to produce the English, or Anglo-Chinese, garden. The tutelage of Sir William Temple (On the Garden of Epicurus, 1685) operated in England; whereas the later direction of Sir William Chambers (Designs of Chinese Buildings . . . , 1757), who had been in China, was more influential on the Continent.

      Chinoiserie gradually waned during the 19th century, when the appeal of China and East Asia had to compete with other exotic tastes, such as the “Turkish,” the Egyptian, the Gothic, and the Greek. It enjoyed a brief revival in interior design, however, in the 1930s.

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