Rejecting grand narratives
Jean-François Lyotard and Fredric Jameson are important figures in postmodern aesthetics, whose critiques of modernism opened new perspectives on art and culture. Chinoiserie, an artistic and design style originating in 18th-century Europe, embodies Europe’s imagination and emulation of the East, especially Chinese culture. Within Lyotard’s postmodern framework, Chinoiserie can be seen as a challenge to the “pure” or “orthodox” perceptions of art and culture. It is not merely a reproduction of Chinese art but rather a reinterpretation and reimagination from a Western perspective. The existence of this style challenges the singular and universal “grand narratives” about cultural and artistic perception.
In fact, it was the rise of the Chinoiserie style and its indirect contribution to the Rococo style that began to challenge the then-mainstream Baroque style. People started to grow tired of the seriousness and oppressiveness of the Baroque style, shifting instead toward the gentler tones and more relaxed expressions influenced by Eastern aesthetics in the Rococo style. Rococo also developed a more feminized aesthetic, drawing inspiration from the Chinoiserie style. This shift not only influenced the visual representation of art but also reflected an overall change in cultural preferences.
Red velvet Baroque-style wallpaper, made around 1735
Chinoiserie wallpaper made in England around 1770
By comparing the Chinoiserie wallpaper made in England in 1770, housed in the V&A Museum, with the Baroque-style wallpaper made in 1735, it is evident that the former adopts lighter colors and features the asymmetrical compositions typical of Chinoiserie, derived from Eastern influences. The depiction of branches and mountains is lighter and carries an exotic flair, contrasting sharply with the latter’s symmetry and heavy colors.
Emphasizing small narratives and individual experiences
Chinoiserie merges Chinese elements with local (European) artistic styles, creating a unique visual language and aesthetic standards. This fusion embodies the value of “small narratives” as described by Lyotard, emphasizing locality, personalization, and art expression specific to certain contexts. In Chinoiserie, each piece can be seen as an independent cultural expression, unique in its own right, with each creator’s personal interpretation and creativity towards the concept of “China.” In fact, from the late 18th to early 19th century in European society, as consumer culture developed, Chinoiserie items embellished with Chinese elements became a significant means for the upper class and the emerging middle class to showcase their identity and taste. They posed new challenges to the hereditary European classical upper-class framework, securing a significant place in aesthetic and consumer culture.
ChuCui Palace Kirin in Clouds Brooch
In the contemporary Chinoiserie jewelry division, the works of ChuCui Palace exemplify personalized and emotional artistic expression. Their piece, “Kirin in Clouds” brooch, distills from traditional, complex, or more ferocious kirin motifs into an elegant, modernized expression. It transforms traditional Chinese cloud patterns, intertwining them alongside the kirin to depict the mythical creature soaring through clouds with a celestial grace. The addition of lotus decorations further enhances the beautiful imagery of lotuses blossoming at every step. ChuCui Palace innovatively adopts the Chinese meticulous painting technique of layered color gradation, applying colors that are close in hue but different in saturation to create a vivid and delicate visual effect, similar to the gradient effect in meticulous heavy color paintings, making this expression both unique and emotive.
Cultural diversity and historical discontinuity
From the perspectives of aesthetic theory by Jean-François Lyotard and Fredric Jameson, Chinoiserie showcases the fluidity and diversity of cultural identity and expression. The artworks in this style often combine a variety of visual elements and symbols, neither fully conforming to the norms of traditional Chinese art nor entirely belonging to the Western art category. From a postmodern viewpoint, the existence of this style proves the blurring of cultural boundaries and the non-linear nature of historical narratives. Each piece represents an exploration of the fractures and connections between past and present, East and West.
Chinoiserie ceramic basket made by the Worcester factory in England in 1757
In the V&A Museum, there is a Chinoiserie ceramic made by the Worcester factory in England in 1757. However, it is not a mere imitation of Chinese ceramic products. Instead, it combines Chinese patterns and materials with a Western-style “basket.” This combination includes a variety of visual elements and symbols that neither fully conform to the norms of traditional Chinese art nor completely belong to the Western art category. Yet, it is the intercultural elements within that culminate in the hybrid charm of East and West found in Chinoiserie.
In the postmodern perspectives of Jean-François Lyotard and Fredric Jameson, Chinoiserie is not merely a product of cultural emulation but also a vivid testament to cross-cultural communication. It breaks the boundaries of traditional aesthetics, challenges the singularity of cultures and the continuity of history, and shows how art can reconstruct identities and memories in a globalized context. Through Chinoiserie, we witness how one culture is interpreted, transformed, and recreated by another, enriching artistic expression and fostering dialogue and understanding between different cultures. The ongoing popularity and evolution of this style reflect the profound understanding of diversity, discontinuity, and reconnection in postmodern society, making it a key perspective for understanding contemporary cultural dynamics.