This style [Chinoiserie] in the 17th century was characterized by the fusion of Western Baroque with Chinese artistic tradition, while in the 18th century — it was a combination of Rococo with elements of Chinese art. Works of art, including decorative and applied ones, served as a way of reflecting the process of interaction between Chinese and Western culture: European masters who analyzed foreign artworks looked for various methods and ways of reading them. Thus, works of art — porcelain items — can be considered as a ‘text’ or ‘message’ requiring the study of composite linguistic elements.
The fashion for Chinese porcelain in different European countries in the 18th century contributed to an increase in porcelain production in China and the creation of special “export” products that took into account the tastes of European consumers.
In her article “Interpretation of Chinese Porcelain
in Europe”, Yekaterina Lyakhovich continues,
The export products coming from China to the European market, in turn, were represented by three types: works in which the décor and shape practically did not differ from products fired for the domestic market of China, porcelain items made specifically for export purposes in accordance with the aesthetic tastes and requirements of Europeans, as well as objects embodying the ideas of Chinese masters about the Western world.
In the 19th century, with the rise in contacts and mutual influence of Chinese and European cultures, the thematic range of images in porcelain painting expanded. The plots became more complex, which prior was not typical of traditional Chinese fine art.
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