Misplaced Pages

#193806

90-480: Chinoiserie ( English: / ʃ ɪ n ˈ w ɑː z ər i / , French: [ʃinwazʁi] ; loanword from French chinoiserie , from chinois , "Chinese"; traditional Chinese : 中國風 ; simplified Chinese : 中国风 ; pinyin : Zhōngguófēng ; lit. 'China style') is the European interpretation and imitation of Chinese and other Sinosphere artistic traditions, especially in

180-433: A loan word , loan-word ) is a word at least partly assimilated from one language (the donor language) into another language (the recipient or target language), through the process of borrowing . Borrowing is a metaphorical term that is well established in the linguistic field despite its acknowledged descriptive flaws: nothing is taken away from the donor language and there is no expectation of returning anything (i.e.,

270-430: A "keen competition between Margaret, 2nd Duchess of Portland , and Elizabeth, Countess of Ilchester , for a Japanese blue and white plate," shows how wealthy female consumers asserted their purchasing power and their need to play a role in creating the prevailing vogue. The term is also used in the fashion industry to describe "designs in textiles, fashion, and the decorative arts that derive from Chinese styles". Since

360-554: A further decline of interest in the Oriental. China closed its doors to exports and imports and for many people chinoiserie became a fashion of the past. As British-Chinese relations stabilized towards the end of the 19th century, there was a revival of interest in chinoiserie. Prince Albert , for example, reallocated many chinoiserie works from George IV's Royal Pavilion at Brighton to the more accessible Buckingham Palace. Chinoiserie served to remind Britain of its former colonial glory that

450-552: A general sense of capriciousness. William Alexander (1767–1816), a British painter, illustrator and engraver who travelled to the East Asia and China in the 18th century, was directly influenced by the culture and landscape he saw in the East. He presented an idealized, romanticized depiction of Chinese culture, but he was influenced by "pre-established visual signs." While the chinoiserie landscapes that Alexander depicted accurately reflected

540-402: A lesser extent, Romance languages borrowed from a variety of other languages; in particular English has become an important source in more recent times. The study of the origin of these words and their function and context within the language can illuminate some important aspects and characteristics of the language, and it can reveal insights on the phenomenon of lexical borrowing in linguistics as

630-415: A major representative, but the meaning of the term could change according to different contexts. Sir William Chambers for example, in his oeuvre A Dissertation on Oriental Gardening of 1772, generically addresses China as the 'Orient'. In the financial records of Louis XIV during the 17th and 18th centuries were already registered expressions like 'façon de la Chine', Chinese manner, or 'à la chinoise', made in

720-524: A method of enriching a language. According to Hans Henrich Hock and Brian Joseph, "languages and dialects ... do not exist in a vacuum": there is always linguistic contact between groups. The contact influences what loanwords are integrated into the lexicon and which certain words are chosen over others. In some cases, the original meaning shifts considerably through unexpected logical leaps, creating false friends . The English word Viking became Japanese バイキング ( baikingu ), meaning "buffet", because

810-423: A political tinge: right-wing publications tend to use more Arabic-originated words, left-wing publications use more words adopted from Indo-European languages such as Persian and French, while centrist publications use more native Turkish root words. Almost 350 years of Dutch presence in what is now Indonesia have left significant linguistic traces. Though very few Indonesians have a fluent knowledge of Dutch,

900-401: A range of grades and prices. The patterns on chinoiserie wallpaper are similar to the pagodas, floral designs, and exotic imaginary scenes found on chinoiserie furniture and porcelain. Like chinoiserie furniture and other decorative art forms, chinoiserie wallpaper was typically placed in bedrooms, closets, and other private rooms of a house. The patterns on wallpaper were expected to complement

990-403: A review of Gneuss's (1955) book on Old English loan coinages, whose classification, in turn, is the one by Betz (1949) again. Weinreich (1953: 47ff.) differentiates between two mechanisms of lexical interference, namely those initiated by simple words and those initiated by compound words and phrases. Weinreich (1953: 47) defines simple words "from the point of view of the bilinguals who perform

SECTION 10

#1732848555194

1080-525: A separation mainly on spelling is (or, in fact, was) not common except amongst German linguists, and only when talking about German and sometimes other languages that tend to adapt foreign spellings, which is rare in English unless the word has been widely used for a long time. According to the linguist Suzanne Kemmer, the expression "foreign word" can be defined as follows in English: "[W]hen most speakers do not know

1170-478: A significant cultural "otherness". An important and archetypical exoticist is the artist and writer Paul Gauguin , whose visual representations of Tahitian people and landscapes were targeted at a French audience. While exoticism is closely linked to Orientalism , it is not a movement necessarily associated with a particular time period or culture. Exoticism may take the form of primitivism , ethnocentrism , or humanism. Jean-Auguste-Dominique Ingres (1780–1867)

1260-452: A variety of ways. The studies by Werner Betz (1971, 1901), Einar Haugen (1958, also 1956), and Uriel Weinreich (1963) are regarded as the classical theoretical works on loan influence. The basic theoretical statements all take Betz's nomenclature as their starting point. Duckworth (1977) enlarges Betz's scheme by the type "partial substitution" and supplements the system with English terms. A schematic illustration of these classifications

1350-472: Is given below. The phrase "foreign word" used in the image below is a mistranslation of the German Fremdwort , which refers to loanwords whose pronunciation, spelling, inflection or gender have not been adapted to the new language such that they no longer seem foreign. Such a separation of loanwords into two distinct categories is not used by linguists in English in talking about any language. Basing such

1440-464: Is no outside without an inside, the foreign only becomes exotic when imported – brought from the outside in. From the early 17th century, "exotic" has denoted enticing strangeness – or, as one modern dictionary puts it, "the charm or fascination of the unfamiliar". First stimulated by Eastern trade in the 16th and 17th centuries, interest in non-western (particularly Oriental, i.e. Middle Eastern or Asian) art by Europeans became more and more popular with

1530-466: Is rooted in the Greek word exo 'outside' and means, literally, 'from outside'. It was coined during Europe's Age of Discovery , when "outside" seemed to grow larger each day, as Western ships sailed the world and dropped anchor off other continents. The first definition of exotic in most modern dictionaries is 'foreign', but while all things exotic are foreign, not everything foreign is exotic. Since there

1620-484: Is the word tea , which originated in Hokkien but has been borrowed into languages all over the world. For a sufficiently old Wanderwort, it may become difficult or impossible to determine in what language it actually originated. Most of the technical vocabulary of classical music (such as concerto , allegro , tempo , aria , opera , and soprano ) is borrowed from Italian , and that of ballet from French . Much of

1710-585: The Dictionnaire de l'Académie . After the spread of Marco Polo's narrations , the knowledge of China held by the Europeans continued to derive essentially from reports made by merchants and diplomatic envoys. Dating from the latter half of the 17th century a relevant role in this exchange of information was then taken up by the Jesuits, whose continual gathering of missionary intelligence and language transcription gave

1800-639: The Callot Soeurs , and Jean Paquin . In the early 20th century, European and fashion designers would use China and other countries outside of the Eurocentric-fashion world to seek inspiration; Vogue magazine also acknowledged that China had contributed to the aesthetic inspiration to global fashion. Chinese motifs grew popular in European fashion during this period. China and the Chinese people also supplied

1890-525: The Chinese Symphony (1914) by Bernard van Dieren , and the light music orchestral fantasy In a Chinese Temple Garden by Albert Ketelbey (1923). In Britain, many 20th century song composers set English translations of Chinese poetry (by orientalists such as Launcelot Cranmer-Byng , Herbert Giles , Edward Powys Mathers and Arthur Waley ) to music, including Benjamin Britten in his cycle Songs from

SECTION 20

#1732848555194

1980-500: The English language include café (from French café , which means "coffee"), bazaar (from Persian bāzār , which means "market"), and kindergarten (from German Kindergarten , which literally means "children's garden"). The word calque is a loanword, while the word loanword is a calque: calque comes from the French noun calque ("tracing; imitation; close copy"); while

2070-413: The decorative arts , garden design , architecture , literature , theatre , and music . The aesthetic of chinoiserie has been expressed in different ways depending on the region. It is related to the broader current of Orientalism , which studied Far East cultures from a historical, philological, anthropological, philosophical, and religious point of view. First appearing in the 17th century, this trend

2160-595: The oriental riff , making use of the pentatonic scale , often harmonized with open parallel fourths. The term is also used in literary criticism. The so-called 'Mandarin style' "is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one". Critics also describe a mannered "Chinese-esque" style of writing, such as that employed by Ernest Bramah in his Kai Lung stories, Barry Hughart in his Master Li & Number Ten Ox novels and Stephen Marley in his Chia Black Dragon series. Loanword A loanword (also

2250-478: The rococo style. Entire rooms, such as those at Château de Chantilly , were painted with chinoiserie compositions, and artists such as Antoine Watteau and others brought expert craftsmanship to the style. Central European palaces like the Castle of Wörlitz or the Castle of Pillnitz all include rooms decorated with Chinese features, while in the palace of Sanssouci at Potsdam features a Dragon House (Das Drachenhaus) and

2340-475: The tang evolved into a mid-Georgian side table and squared slat-back armchairs suited English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream chinoiserie. Chinoiserie media included "japanned" ware imitations of lacquer and painted tin (tôle) ware that imitated japanning , early painted wallpapers in sheets, after engravings by Jean-Baptiste Pillement , and ceramic figurines and table ornaments. In

2430-431: The terminology of the sport of fencing also comes from French. Many loanwords come from prepared food, drink, fruits, vegetables, seafood and more from languages around the world. In particular, many come from French cuisine ( crêpe , Chantilly , crème brûlée ), Italian ( pasta , linguine , pizza , espresso ), and Chinese ( dim sum , chow mein , wonton ). Loanwords are adapted from one language to another in

2520-604: The ʻokina and macron diacritics. Most English affixes, such as un- , -ing , and -ly , were used in Old English. However, a few English affixes are borrowed. For example, the verbal suffix -ize (American English) or ise (British English) comes from Greek -ιζειν ( -izein ) through Latin -izare . Pronunciation often differs from the original language, occasionally dramatically, especially when dealing with place names . This often leads to divergence when many speakers anglicize pronunciations as other speakers try to maintain

2610-421: The 14th century had the highest number of loans. In the case of Romanian, the language underwent a "re-Latinization" process later than the others (see Romanian lexis , Romanian language § French, Italian, and English loanwords ), in the 18th and 19th centuries, partially using French and Italian words (many of these themselves being earlier borrowings from Latin) as intermediaries, in an effort to modernize

2700-506: The 17th and 18th centuries Europeans began to manufacture furniture that imitated Chinese lacquer furniture. It was frequently decorated with ebony and ivory or Chinese motifs such as pagodas. Thomas Chippendale helped to popularize the production of chinoiserie furniture with the publication of his design book The Gentleman and Cabinet-maker's Director: Being a large Collection of the Most Elegant and Useful Designs of Household Furniture, In

2790-573: The 17th century, Chinese arts and aesthetic were sources of inspiration to artists and creators, and fashion designers when goods from oriental countries were widely seen for the first time in Western Europe. In the 18th century and throughout the 19th century, chinoiserie fashion was especially celebrated in France, and the origin of most Chinese-inspired fashion was French during this period. Chinoiserie had also inspired designers such as Mariano Fortuny ,

Chinoiserie - Misplaced Pages Continue

2880-473: The 18th century. Europeans had a fascination with Asia due to their increased, but still restricted, access to new cultures through expanded trade with East Asia, especially China. The 'China' indicated in the term 'chinoiserie' represented in European people's mind a wider region of the globe that could embrace China itself, but also Japan, Korea, South-East Asia, India or even Persia. In art, the style of "the Orient"

2970-805: The Chinese for high voice and guitar (1957). More recent operatic examples include A Night at the Chinese Opera ( Judith Weir , 1987) and Nixon in China ( John Adams , 1987). The influence of Chinese and East Asian music has also been evident in popular music, from musical comedy ( A Chinese Honeymoon , 1899), Tin Pan Alley ( Limehouse Nights by George Gershwin , 1920), Broadway musicals and jazz ( Chinoiserie by Duke Ellington , 1971) through to modern rock music ( China Girl by David Bowie , 1976 and many more). These pieces often incorporate Western cultural shorthand clichés of Chinese musical style, such as

3060-704: The Chinese House (Das Chinesische Haus). Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German and Russian palaces, and in tile panels at Aranjuez near Madrid . Chinese Villages were built in the mountainous park of Wilhelmshöhe near Kassel, Germany; in Drottningholm , Sweden and Tsarskoe Selo , Russia . Thomas Chippendale 's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, c. 1753–70, but sober homages to early Qing scholars' furnishings were also naturalized, as

3150-509: The Chinese way. In the 19th century the term 'chinoiserie' appeared for the first time in French literature. In the novel L'Interdiction published in 1836, Honoré de Balzac used chinoiserie to refer to the craftworks made in the Chinese style. From this moment on the term gained momentum and started being used more frequently to mean objects produced in the Chinese style but sometimes also to indicate graceful objects of small dimension or of scarce account. In 1878 'chinoiserie' entered formally in

3240-678: The European public a new deeper insight of the Chinese empire and its culture. While Europeans frequently held inaccurate ideas about East Asia, this did not necessarily preclude their fascination and respect. In particular, the Chinese who had "exquisitely finished art... [and] whose court ceremonial was even more elaborate than that of Versailles" were viewed as highly civilized. According to Voltaire in his Art de la Chine , "The fact remains that four thousand years ago, when we did not know how to read, they [the Chinese] knew everything essentially useful of which we boast today." Moreover, Indian philosophy

3330-520: The Indonesian language inherited many words from Dutch, both in words for everyday life (e.g., buncis from Dutch boontjes for (green) beans) and as well in administrative, scientific or technological terminology (e.g., kantor from Dutch kantoor for office). The Professor of Indonesian Literature at Leiden University , and of Comparative Literature at UCR , argues that roughly 20% of Indonesian words can be traced back to Dutch words. In

3420-501: The Most Fashionable Taste. His designs provided a guide for intricate chinoiserie furniture and its decoration. His chairs and cabinets were often decorated with scenes of colorful birds, flowers, or images of exotic imaginary places. The compositions of this decoration were often asymmetrical. The increased use of wallpaper in European homes in the 18th century also reflects the general fascination with chinoiserie motifs. With

3510-616: The Romance language's character. Latin borrowings can be known by several names in Romance languages: in French, for example, they are usually referred to as mots savants , in Spanish as cultismos , and in Italian as latinismi . Latin is usually the most common source of loanwords in these languages, such as in Italian, Spanish, French, Portuguese, etc., and in some cases the total number of loans may even outnumber inherited terms (although

3600-556: The West's then utopian, nostalgic view of Chinese landscape and culture in pieces such as Pagodas ( Debussy, 1903 ). There followed three major 20th century examples of musical chinoiserie: Mahler 's Das Lied von der Erde (1908), Stravinsky 's The Nightingale (1914), and Puccini 's Turandot (1926). Other notable pieces include Tchaikovsky 's 'Chinese Dance' (from Act Two of The Nutcracker 1892), Ravel 's 'Laideronnette, impératrice des pagodes' (from Ma mère l'Oye , 1910),

3690-539: The actual Chinese art and architecture. Finally, still others believed that an interest in chinoiserie indicated a pervading "cultural confusion" in European society. Chinoiserie persisted into the 19th and 20th centuries but declined in popularity. There was a notable loss of interest in Chinese-inspired décor after the death in 1830 of King George IV , a great proponent of the style. The First Opium War of 1839–1842 between Britain and China disrupted trade and caused

Chinoiserie - Misplaced Pages Continue

3780-414: The ancestral language, rather than because one borrowed the word from the other. A loanword is distinguished from a calque (or loan translation ), which is a word or phrase whose meaning or idiom is adopted from another language by word-for-word translation into existing words or word-forming roots of the recipient language. Loanwords, in contrast, are not translated. Examples of loanwords in

3870-468: The bufu), the jiaoling ruqun , kanjia , mamianqun , yunjian , yaoqun (short waist-skirt), piling (collar), as well as traditional Chinese embroideries , and traditional Chinese Lào zi , pankou , high collars , etc. According to the Ladies' Home Journal of June 1913, volume 30, issue 6: Interest in the political and civic activities of the new China, which is more or less world-wide at this time, led

3960-621: The centre of the gardens, designed and built by William Chambers , exhibits strong English architectural elements, resulting in a product of combined cultures (Bald, 290). A replica of it was built in Munich 's Englischer Garten , while the Chinese Garden of Oranienbaum includes another pagoda and also a Chinese teahouse. Though the rise of a more serious approach in Neoclassicism from the 1770s onward tended to replace Oriental inspired designs, at

4050-434: The chinoiserie style, complete with Chinese-styled bed, phoenix -themed wallpaper, and china . Later exoticism added imaginary Turkish themes, where a "diwan" became a sofa . One of the things that contributed to the popularity of chinoiserie was the 18th-century vogue for tea drinking. The feminine and domestic culture of drinking tea required an appropriate chinoiserie mise en scène . According to Beevers, "Tea drinking

4140-476: The decorative and pictorial arts of the East permeated the European and American arts and craft scene. For example, in the United States, "by the mid-18th century, Charleston had imported an impressive array of Asian export luxury goods [such as]...paintings." The aspects of Chinese painting that were integrated into European and American visual arts include asymmetrical compositions, lighthearted subject matter and

4230-458: The decorative arts and interior decoration was associated with fantasies of opulence. Exoticism, by one definition, is "the charm of the unfamiliar". Scholar Alden Jones defines exoticism in art and literature as the representation of one culture for consumption by another. Victor Segalen 's important "Essay on Exoticism" reveals Exoticism as born of the age of imperialism, possessing both aesthetic and ontological value, while using it to uncover

4320-402: The decorative objects and furniture in a room, creating a complementary backdrop. European understanding of Chinese and East Asian garden design is exemplified by the use of the word Sharawadgi , understood as beauty, without order that takes the form of an aesthetically pleasing irregularity in landscape design. The word traveled together with imported lacquer ware from Japan where shara'aji

4410-467: The designers of this page [p.26] and the succeeding one [p.27] to look to that country for inspiration for clothes that would be unique and new and yet fit in with present-day modes and the needs and environments of American women [...] Western approximations of Chinese music first began to be used in the mid-17th century in operas such as Purcell 's The Fairy-Queen (1692) and Gluck 's Le cinesi (1754). Jean-Jacques Rousseau included what he claimed

4500-609: The direct imitation of Chinese designs in faience began in the late 17th century, was carried into European porcelain production, most naturally in tea wares, and peaked in the wave of rococo chinoiserie (c. 1740–1770). Earliest hints of chinoiserie appear in the early 17th century, in the arts of the nations with active East India Companies, Holland and England , then by the mid-17th century, in Portugal as well. Tin-glazed pottery (see delftware ) made at Delft and other Dutch towns adopted genuine blue-and-white Ming decoration from

4590-500: The early 17th century. After a book by Johan Nieuhof was published the 150 pictures encouraged chinoiserie, and became especially popular in the 18th century. Early ceramic wares in Meissen porcelain and other factories naturally imitated Chinese designs, though the shapes for "useful wares", table and tea wares, typically remained Western, often based on shapes in silver. Decorative wares such as vases followed Chinese shapes. The ideas of

SECTION 50

#1732848555194

4680-547: The empire, such as Albanian , Bosnian , Bulgarian , Croatian , Greek , Hungarian , Ladino , Macedonian , Montenegrin and Serbian . After the empire fell after World War I and the Republic of Turkey was founded, the Turkish language underwent an extensive language reform led by the newly founded Turkish Language Association , during which many adopted words were replaced with new formations derived from Turkic roots. That

4770-481: The encounter between Euro-America and the non-Western world and more broadly of any center and a periphery. As recent anthropological enquiries suggest, terms such as Orientalism and exoticism have been at times simplistically applied to merely equate the interest in the Other with the attribution of negative qualities. A study of the sphere of Othering in contexts, such as the relationship between Greece and Germany during

4860-406: The eye to move cohesively across the canvas. Although Ingres' intention was to make the woman beautiful in his work, his model was a courtesan, which aroused debate. Édouard Manet 's Olympia , finished in 1863, was based on Titian 's Venus of Urbino . Olympia was a popular play about a courtesan of that name. The painting diverged scandalously from the accepted academic style by outlining

4950-406: The figure and flattening space to draw the viewer in: Olympia seems provocatively naked rather than classically nude. Looking out boldly, she puts the viewer in the position of a man coming to a prostitute, although the placement of her hand suggests coyness. Particularly following the publication of Edward Said 's book Orientalism , exoticism has become a key term in political assessments of

5040-736: The first restaurant in Japan to offer buffet -style meals, inspired by the Nordic smörgåsbord , was opened in 1958 by the Imperial Hotel under the name "Viking". The German word Kachel , meaning "tile", became the Dutch word kachel meaning "stove", as a shortening of kacheloven , from German Kachelofen , a cocklestove . The Indonesian word manset primarily means "base layer", "inner bolero", or "detachable sleeve", while its French etymon manchette means "cuff". Exoticism The word exotic

5130-507: The gardens of the East. These gardens often contain various fragrant plants, flowers and trees, decorative rocks, ponds or lake with fish, and twisting pathways. They are frequently enclosed by a wall. Architectural features placed in these gardens often include pagodas, ceremonial halls used for celebrations or holidays, pavilions with flowers and seasonal elements. Landscapes such as London's Kew Gardens show distinct Chinese influence in architecture. The monumental 163-foot Great Pagoda in

5220-564: The height of Regency "Grecian" furnishings, the Prince Regent came down with a case of Brighton Pavilion , and Chamberlain's Worcester china manufactory imitated " Imari " wares. While classical styles reigned in the parade rooms, upscale houses, from Badminton House (where the "Chinese Bedroom" was furnished by William and John Linnell , ca 1754) and Nostell Priory to Casa Loma in Toronto, sometimes featured an entire guest room decorated in

5310-519: The landscape of China, "paradoxically, it is this imitation and repetition of the iconic signs of China that negate the very possibility of authenticity, and render them into stereotypes." The depiction of China and East Asia in European and American painting was dependent on the understanding of the East by Western preconceptions, rather than representations of Eastern culture as it actually was. Various European monarchs, such as Louis XV of France , gave special favor to chinoiserie, as it blended well with

5400-708: The language, often adding concepts that did not exist until then, or replacing words of other origins. These common borrowings and features also essentially serve to raise mutual intelligibility of the Romance languages, particularly in academic/scholarly, literary, technical, and scientific domains. Many of these same words are also found in English (through its numerous borrowings from Latin and French) and other European languages. In addition to Latin loanwords, many words of Ancient Greek origin were also borrowed into Romance languages, often in part through scholarly Latin intermediates, and these also often pertained to academic, scientific, literary, and technical topics. Furthermore, to

5490-692: The late 17th century, the Dutch Republic had a leading position in shipbuilding. Czar Peter the Great , eager to improve his navy, studied shipbuilding in Zaandam and Amsterdam . Many Dutch naval terms have been incorporated in the Russian vocabulary, such as бра́мсель ( brámselʹ ) from Dutch bramzeil for the topgallant sail , домкра́т ( domkrát ) from Dutch dommekracht for jack , and матро́с ( matrós ) from Dutch matroos for sailor. A large percentage of

SECTION 60

#1732848555194

5580-507: The late-16th century, as the Casino of San Marco remained open from 1575 to 1587. Despite never being commercial in nature, the next major attempt to replicate Chinese porcelain was the soft-paste manufactory at Rouen in 1673, with Edme Poterat, widely reputed as creator of the French soft-paste pottery tradition, opening his own factory in 1647. Efforts were eventually made to imitate hard-paste porcelain , which were held in high regard. As such,

5670-489: The learned borrowings are less often used in common speech, with the most common vocabulary being of inherited, orally transmitted origin from Vulgar Latin). This has led to many cases of etymological doublets in these languages. For most Romance languages, these loans were initiated by scholars, clergy, or other learned people and occurred in Medieval times, peaking in the late Middle Ages and early Renaissance era - in Italian,

5760-476: The lexicon of Romance languages , themselves descended from Vulgar Latin , consists of loanwords (later learned or scholarly borrowings ) from Latin. These words can be distinguished by lack of typical sound changes and other transformations found in descended words, or by meanings taken directly from Classical or Ecclesiastical Latin that did not evolve or change over time as expected; in addition, there are also semi-learned terms which were adapted partially to

5850-404: The loanword). Loanwords may be contrasted with calques , in which a word is borrowed into the recipient language by being directly translated from the donor language rather than being adopted in (an approximation of) its original form. They must also be distinguished from cognates , which are words in two or more related languages that are similar because they share an etymological origin in

5940-514: The materials and aesthetics to American fashion. Original Chinese fashion also influenced various designs and styles of deshabille . There was also a fashion trend for day-wear jackets and coats to be cut in styles which would suggest various Chinese items as was published the Ladies' Home Journal in June 1913, where the garments displayed showed influences of the Qing dynasty mandarin court gown (especially

6030-403: The meaning of these terms is reasonably well-defined only in second language acquisition or language replacement events, when the native speakers of a certain source language (the substrate) are somehow compelled to abandon it for another target language (the superstrate). A Wanderwort is a word that has been borrowed across a wide range of languages remote from its original source; an example

6120-533: The mid-to-late 17th century; the work of Athanasius Kircher influenced the study of Orientalism . The popularity of chinoiserie peaked around the middle of the 18th century when it was associated with the Rococo style and with works by François Boucher , Thomas Chippendale , and Jean-Baptist Pillement. It was also popularized by the influx of Chinese and Indian goods brought annually to Europe aboard English , Dutch , French , and Swedish East India Companies . There

6210-463: The original phonology even though a particular phoneme might not exist or have contrastive status in English. For example, the Hawaiian word ʻaʻā is used by geologists to specify lava that is thick, chunky, and rough. The Hawaiian spelling indicates the two glottal stops in the word, but the English pronunciation, / ˈ ɑː ( ʔ ) ɑː / , contains at most one. The English spelling usually removes

6300-510: The rise of European colonialism . The influences of Exoticism can be seen through numerous genres of this period, notably in music, painting, and decorative art. In music, exoticism is a genre in which the patterns, notes, or instrumentation are designed to feel like the audience is in exotic places or old times (e.g., Ravel 's Daphnis et Chloé and Tzigane , Debussy 's Syrinx , or Rimsky-Korsakov 's Capriccio espagnol ). Like orientalist subjects in 19th-century painting, exoticism in

6390-425: The rise of the villa and a growing taste for sunlit interiors, the popularity of wallpaper grew. The demand for wallpaper created by Chinese artists began first with European aristocrats between 1740 and 1790. The luxurious wallpaper available to them would have been unique, handmade, and expensive. Later wallpaper with chinoiserie motifs became accessible to the middle class when it could be printed and thus produced in

6480-455: The sovereign debt crisis years and the art show Documenta14 may point to volatile ingredients in "exoticism", including fascination mixed with condescension, aversion, admiration and hopes for an escape from an oppressive northern European lifestyle. Similarly, tourism and intra-national relations between urban centers and rural peripheries are spheres where exoticizing dynamics are at a play, even if, as noted above, these dynamics may well involve

6570-412: The style of chinoiserie was assimilated under the generic definition of exoticism . Even though the root of the word 'chinoiserie' is 'Chine' (China), the Europeans of the 17th and 18th centuries did not have a clear conceptualization of how China was in reality. Often terms like 'Orient', 'Far East' or 'China' were all equally used to signify the region of Eastern Asia that had proper Chinese culture as

6660-487: The transfer, rather than that of the descriptive linguist. Accordingly, the category 'simple' words also includes compounds that are transferred in unanalysed form". After this general classification, Weinreich then resorts to Betz's (1949) terminology. The English language has borrowed many words from other cultures or languages. For examples, see Lists of English words by country or language of origin and Anglicisation . Some English loanwords remain relatively faithful to

6750-465: The way the name would sound in the original language, as in the pronunciation of Louisville . During more than 600 years of the Ottoman Empire , the literary and administrative language of the empire was Turkish , with many Persian and Arabic loanwords, called Ottoman Turkish , considerably differing from the everyday spoken Turkish of the time. Many such words were adopted by other languages of

6840-655: The word loanword and the phrase loan translation are translated from German nouns Lehnwort and Lehnübersetzung ( German: [ˈleːnʔybɐˌzɛt͡sʊŋ] ). Loans of multi-word phrases, such as the English use of the French term déjà vu , are known as adoptions, adaptations, or lexical borrowings. Although colloquial and informal register loanwords are typically spread by word-of-mouth, technical or academic loanwords tend to be first used in written language, often for scholarly, scientific, or literary purposes. The terms substrate and superstrate are often used when two languages interact. However,

6930-695: The word and if they hear it think it is from another language, the word can be called a foreign word. There are many foreign words and phrases used in English such as bon vivant (French), mutatis mutandis (Latin), and Schadenfreude (German)." This is not how the term is used in this illustration: [REDACTED] On the basis of an importation-substitution distinction, Haugen (1950: 214f.) distinguishes three basic groups of borrowings: "(1) Loanwords show morphemic importation without substitution.... (2) Loanblends show morphemic substitution as well as importation.... (3) Loanshifts show morphemic substitution without importation". Haugen later refined (1956) his model in

7020-551: Was Western styled goods produced in 18th century China for Chinese consumers. Although this was a notable interest of the Kangxi Emperor and Qianlong Emperor , as shown by the architecture of Xiyang Lou , it was not restricted only to the court. "Occidenterie" artifacts and art were accessible to a wider variety of consumers, as they were domestically produced. There were many reasons why chinoiserie gained such popularity in Europe in

7110-496: Was a French Neoclassical painter. The revival of ancient Greek and Roman art left behind the academy's emphasis on naturalism and incorporated an idealism not seen since the Renaissance. As classicism progressed, Ingres identified a newfound idealism and exoticism in his work. Grand Odalisque , finished in 1814, was created to arouse the male view. The notion of the exotic figure furthers Ingres' use of symmetry and line by enabling

7200-406: Was a fundamental part of polite society; much of the interest in both Chinese export wares and chinoiserie rose from the desire to create appropriate settings for the ritual of tea drinking." After 1750, England was importing 10 million pounds of tea annually, demonstrating how widespread this practice was. The taste for chinoiserie porcelain, both export wares and European imitations, and tea drinking

7290-959: Was a revival of popularity for chinoiserie in Europe and the United States from the mid-19th century through the 1920s, and today in elite interior design and fashion. Though usually understood as a European style, chinoiserie was a global phenomenon. Local versions of chinoiserie were developed in India, Japan, Iran, and particularly Latin America. Through the Manila galleon trade , Spanish traders brought large amounts of Chinese porcelain, lacquer, textiles, and spices from Chinese merchants based in Manila to New Spanish markets in Acapulco, Panama, and Lima . Those products then inspired local artists and artisans such as ceramicists making Talavera pottery at Puebla de Los Angeles. Chinoiserie had some parallel in "occidenterie", which

7380-468: Was an authentic Chinese melody, the air chinois , in his 1768 Dictionary of Music , and it was re-used by Weber in his Overtura cinesa (1804). Offenbach 's satirical one-act operetta Ba-ta-clan (1855) was a big success in Paris. The 1889 Paris World Fair played a significant role in bringing world music to the attention of modern Western composers. In the early 20th century French composers responded to

7470-467: Was an idiom in appraisal of design in decorative arts. Sir William Temple (1628–1699), referring to such artwork, introduces the term sharawadgi in his essay Upon the Gardens of Epicurus written in 1685 and published in 1690. Under Temple's influence European gardeners and landscape designers used the concept of sharawadgi to create gardens that were believed to reflect the asymmetry and naturalism present in

7560-412: Was considered a source of inspiration; the atmosphere rich in images and the harmonic designs of the oriental style reflected the picture of an ideal world, from which to draw ideas in order to reshape one's own culture. For this reason the style of chinoiserie is to be regarded as an important result of the exchange between the West and the East. During the 19th century, and especially in its latter period,

7650-503: Was increasingly admired by philosophers such as Arthur Schopenhauer, who regarded the Upanishads as the "production of the highest human wisdom" and "the most profitable and elevating reading which...is possible in the world." Chinoiserie was not universally popular. Some critics saw the style as "…a retreat from reason and taste and a descent into a morally ambiguous world based on hedonism, sensation and values perceived to be feminine." It

7740-452: Was more associated with women than men. A number of aristocratic and socially important women were famous collectors of chinoiserie porcelain, among them Queen Mary II , Queen Anne , Henrietta Howard, and the Duchess of Queensbury, all socially important women. This is significant because their homes served as examples of good taste and sociability. A single historical incident in which there was

7830-426: Was part of the ongoing cultural reform of the time, in turn a part in the broader framework of Atatürk's Reforms , which also included the introduction of the new Turkish alphabet . Turkish also has taken many words from French , such as pantolon for trousers (from French pantalon ) and komik for funny (from French comique ), most of them pronounced very similarly. Word usage in modern Turkey has acquired

7920-555: Was popularized in the 18th century due to the rise in trade with China (during the High Qing era ) and the rest of East Asia. As a style, chinoiserie is related to the Rococo style. Both styles are characterized by exuberant decoration, asymmetry, a focus on materials, and stylized nature and subject matter that focuses on leisure and pleasure. Chinoiserie focuses on subjects that were thought by Europeans to be typical of Chinese culture . Chinoiserie entered European art and decoration in

8010-595: Was rapidly fading with the modern era. From the Renaissance to the 18th century Western designers attempted to imitate the technical sophistication of Chinese export porcelain (and for that matter Japanese export porcelain – Europeans were generally vague as the origin of "oriental" imports), with only partial success. One of the earliest successful attempts, for instance, was the Medici porcelain manufactured in Florence during

8100-407: Was viewed as lacking the logic and reason upon which Antique art had been founded. Architect and author Robert Morris claimed that it "…consisted of mere whims and chimera, without rules or order, it requires no fertility of genius to put into execution." Those with a more archaeological view of the East, considered the chinoiserie style, with its distortions and whimsical approach, to be a mockery of

#193806