John Dewey (1859-1952) was a renowned American philosopher, educator, and psychologist. His unique insights into aesthetics are primarily reflected in his work Art as Experience. Dewey’s aesthetic theory centers on the concept of experience, emphasizing the close connection between art and life. In Dewey’s view, the aesthetic significance of an artwork is only established when it is meaningful to humans and when individuals can derive experience from it. He also posits that art creation is an interactive process, where the artist, through interaction with materials, the environment, and the audience, creates new meanings and values. Dewey underscores the importance of agency and creativity in the creative process, viewing art as a reconfiguration and expression of the world. Moreover, Dewey believes that art has significant social functions, fostering communication and understanding within society.
When we attempt to analyze the aesthetic style of Chinoiserie, which emerged in the 17th century and has continued through to the present day, from the perspective of John Dewey’s aesthetic theory, we can explore the following aspects in depth:
The Central Role of Experience
Dewey believed that aesthetic experience is an important aspect of everyday life. During the early popularity of Chinoiserie, which coincided with the end of the 17th century and the waning influence of the Baroque style, people were growing weary of the solemnity and symmetry associated with Baroque, as well as its emphasis on “religiosity,” “political expression,” and “patriarchy,” along with its heavy, oppressive colors. In response to these sentiments and experiences, the emergence of Chinoiserie offered a new and viable form of expression. Its enthusiasts were not merely fascinated by exotic Eastern imports; they were also creating and pursuing symbols that were “softer,” “brighter,” “natural,” “light,” and “more feminine.”
A New Collection of Chinese Ornaments, Designed and Engraved by J. Pillement, 1755 — Created by Jean-Baptiste Pillement, 1755, London, England.
In the collection of the V&A Museum, there is a page from the Chinese ornament series illustrated by Jean Baptiste Pillement. Pillement was one of the prominent figures of the 18th-century Chinoiserie style, and his work in decorative arts had a profound impact. His designs, characterized by Chinese-inspired patterns and decorations, were highly favored by the European aristocracy and high society of the time. The illustrations exhibit the classic qualities of Chinoiserie, featuring abstract leaf shapes, C-shaped or shell-shaped patterns, asymmetrical borders, and curves as decorative elements, all presented in a neat yet lively, magical, and meticulously crafted form. The works embody Chinoiserie’s unique lightness, with Chinese figures depicted in a strangely suspended manner and employing asymmetrical compositions. This exoticism, lightness, and asymmetry starkly contrast with the Baroque style that previously dominated Europe.
Creativity and Interaction
In John Dewey’s aesthetic theory, the emphasis is also placed on the creativity and interaction involved in artistic works. The emergence and development of the Chinoiserie style is precisely the result of cultural interaction between East and West. Western artists and craftsmen, by studying, imitating, and recreating elements of Chinese culture, formed a unique artistic style. In this process, Western viewers and users engaged with Chinoiserie works through their appreciation and use, further enriching their cultural experience.
ChuCui Palace Fragrant Lotus Brooch
Even in contemporary times, this creativity continues to thrive. ChuCui Palace has pioneered a branch of Chinoiserie in contemporary jewelry design. In their brooch Fragrant Lotus, they innovatively combine the Chinoiserie style with traditional Chinese gongbi painting, using gemstones of varying hues to emulate the shading effects of traditional Chinese painting techniques. This creates a delicate and lifelike visual effect reminiscent of ink and color, where the tension between green and pink hues creates a vibrant, romantic palette that reflects the lively essence of the present moment. The piece, with its vivid colors, is a “heavy color” work of jewelry that expresses a romantic temperament through its color scheme. Droplets of water appear to leap from the lotus, sparkling with life, evoking a sense of vivacity and upward movement.
The design also emphasizes natural curves, with refined yet expressive lines capturing the vitality of blooming lotuses, playful and swaying. It stands as a quintessential example of the fusion between Western inlay techniques and Chinese gongbi artistry, exemplifying John Dewey’s aesthetic theory that “artistic creation is a process of interaction between East and West.”
The Social Function of Art
Dewey believed that art has an important social function, fostering communication and understanding within society. The popularity of the Chinoiserie style in 18th-century Europe reflected the Western interest in and fascination with Eastern culture. Through the Chinoiserie style, Western society gained a deeper understanding of Chinese culture, promoting cross-cultural exchange and understanding, even though this understanding was sometimes romanticized or idealized.
Chinoiserie Lacquer Cabinet, Attributed to Christian Reinow, circa 1745, Germany.
In fact, Chinoiserie was considered to embody “modern” taste in the 18th century. For example, the lacquer cabinet made in Germany around 1745, now in the collection of the V&A Museum, reflects the era’s fascination with Chinese and Japanese lacquerware. At that time, European aristocrats eagerly sought after East Asian lacquer pieces, amassing large collections, and sought to expand their collections with locally made lacquerware. In the early 18th century, Britain was in the midst of a commercial revolution, with the rise of a newly wealthy class and the expansion of a vast overseas trade network driving rapid economic growth. The aesthetics of this period reflected the values represented by Chinoiserie, leading to a rethinking of the European classical aesthetic system. During this process, binary concepts such as the sacred and the natural, reason and emotion, tradition and innovation, were reconsidered and reconciled. As economic conditions rapidly changed, “luxurious novelty” replaced “the sacred” and “the ancient” as the primary markers of social status, becoming the most valued quality among the possessions of the wealthy.
Through the lens of John Dewey’s aesthetic theory, we can gain a deeper understanding of the complexity and multilayered nature of the Chinoiserie style. This style is not only a product of cultural interaction between East and West but also a manifestation of the close connection between art and life. In its emergence and development, Chinoiserie provided a new form of aesthetic expression, breaking traditional aesthetic boundaries and promoting cross-cultural exchange and understanding in its social function. Through its unique aesthetic experience, creative interaction process, and profound social impact, Chinoiserie exemplifies the experiential value and social significance of art that Dewey emphasized. It is through this intertwining of perspectives that Chinoiserie, as a lasting aesthetic phenomenon, continues to influence and enrich our cultural experience.
