Index
Page numbers in italic refer to figures. Thus, 292f10.10 refers to figure 10.10 on page 292 and 236–38ff9.1–9.3 refers to figures 9.1 through 9.3 on pages 236–38.
Abel-Rémusa, Jean-Pierre
154–55
André, Edouard, as co-founder of the Jacquemart-André house museum
218, 218–19n44
appropriation
imperialistic appropriation
245
and power differences
239–42, 245, 251
and purposeful reappropriation of the past in the service of the present
280, 282–83
unselfconscious cultural appropriation in the Musée d’Ennery
222–23
bricolage; copying and imitation; transnational exchange
architectural ornamentation Jiangnan garden design elements in the Chinese Pavilion at Laeken Park
291, 292f10.10
superficiality associated with Chinese ornaments
280
woodcarvings from vernacular buildings in the Jiangnan area
276, 291, 292f10.10
Chambers, William; Chinese latticework; Monticello; Sheraton, Thomas
Armstrong, Nancy
186
Attiret, Jean-Denis
65, 66, 66n40
Audot, Louis-Eustache
150
Auslander, Leora
219–20n49, 222, 226
authenticity and authentication
and anxieties over authenticity, reproducibility, and artificiality in debates over chrysanthemum culture
180
and architecture and gardens claimed as authentic Chinese designs by William Chambers
55, 59, 60, 65
and “authentic” art from China mobilized to defend the aesthetics of European classicism
95
and the bricolage of elements in the wall decor of Drouet’s room
12, 151, 172
and Canton’s export art studios
75–76
and Chinese characters in the hand-decorated album prepared for King Leopold
287
and Chinese gongs imported by Jefferson for Monticello
66–67, 297–98
and Chinese latticework in early American gardens
50n5
and elements added to Japanese Chinese coats for Western export
259
and European construction of the concept of “Chinese art”
115
and the Jesuits goal of investing products of the Tushanwan workshop with a degree of authenticity
279–80
and masculinity
219–20n49, 222, 226
and the presentation of servants dressed in Turkish and Chinese costumes
63
and Tushanwan ornamental elements
268–70, 275–76, 280–83
and vernacular architectural decorative elements in the Chinese pavilion in Laeken
13, 270, 276, 291–93
Bagatelle of the 4th Marquess of Hertford
1n1
Bagatelle of the Comte d’Artois
60, 61
bǎinián guóchǐ (the century of humiliation)
2
East-West relations in the nineteenth century; Opium Wars
banyans
English adaptation of a Gujarati word
245
and transnational recycling of materials
253
and the V&A European-Chinese-Japanese robe
247f9.6, 264
Baudelaire, Charles
165
Beattie, James
189
Beck, Aloysius
background in painting and woodcarving
273
collection of antique sculptures and building fragments of
276, 276n19
and the Tushanwan woodcarving workshop
273–74, 275f10.3
Benjamin, Roger
283
Bentley, Rev. William
library of
24
Unitarian church in Salem lead by
24–25
Bing, Siegfried
210, 219
Birch, William Russell, illustration of China Retreat built by Van Braam
63, 64f2.12
Boucher, François
Jupiter and Calisto engraving by René Gaillard
78, 79, 80f3.5, 81
Jupiter and Calisto reproduced on glass
78, 80f3.4, 81–82
Bowen, Emanuel
19–21, 20f1.1, 21f1.2
Boxer Uprising, lootings in the aftermath of
269
bricolage
adaptation of the term coined by Claude Lévi-Straus to Victor Hugo’s writing and decorative work
151, 164–65
psychoanalytical view of dreaming as a process of
151–52, 165, 172, 174–75
term used by Waud Kracke
151
the wall decor of Juliette Drouet’s Chinese room
12, 151, 166, 167ff6.6–6.6, 168
appropriation
British East India Company
32, 83, 246
bronzes
bronze tripod depicted in the entrance wall panel of Hugo’s chinoiserie room
168, 169f6.8, 170ff6.9–6.10, 171
Cernuschi’s collection of
4, 223–24, 225f8.8
Chinese bronze vessels compared with Greek vases
4, 116
and Delécluze’s 1862 article “Vases antiques chinois”
112, 113f4.8, 114f4.9, 115
the Goncourts’s hugely expensive bronze “monster”
217–18n40
imperial collection documented in the Qinding Xiqing Gujian (Imperially Ordained Mirror of Antiquities Prepared in the Xiqing Hall)
112, 112n45, 116
the look of oxidized bronzes imitated in European designs for the Chinese Pavilion at Laeken Park
289
nineteenth-century collecting of
4, 132, 158, 219
Peter Perring Thoms’s book on bronze vessels of the Shang Dynasty
4, 5f0.2
Bullington, Judy
62
Burbidge, Frederick William
201
Bushell, Stephen Wootton
235, 239, 242n14
Butler, Sir William Francis
152–54, 152–53n11
Catherine the Great Chinese Village at Tsarskoye Selo
289
jardin anglo-chinois at Tsarskoye Selo
60, 61
Catholicism and the Catholic Church
anti-Catholic sentiment of Salem’s Social Library
19, 20–21
Fatqua, Madonna and Child with Joseph
78, 79f3.3
Holy Childhood Association (L’Oeuvre de la Sainte Enfance)
272, 273, 282
Jesuit missionary presence in China; Tushanwan (French Jesuit Orphanage workshop in Shanghai); Xujiahui Catholic Community
ceramics and porcelain
Albert Jacquemart’s writings on
299, 299n7
“blue and white nankeen sett china”
32, 33f1.6
classical motifs on Chinese plates exported to Salem
30–32, 30f1.5
collection of the Musées d’Extrême-Orient
293
eighteenth-century chinoiserie porcelain rooms in Germany and Holland
166, 166n51, 168
and European in interest Chinese material culture
154n15
Goncourt brothers on Chinese porcelain
155–56, 156n19
James McNeil Whistler’s interest in
1, 299
Juliette Drouet’s collection featured in her Chinese room
150f6.1, 166, 167f6.5
motifs in Hugo’s chinoiserie room inspired by Chinese porcelains
171, 1716.11
porcelain set commissioned for the Society of the Cincinnati
32–33, 34f1.7
transfer-printed Brown-Westhead, Moore & Co. plate
194–96, 196f7.8
willow pattern plates
1–2
Cernuschi, Henri
collection of Chinese bronzes
4
conversion of his home into a museum
218, 218–19n44, 230
and ethnographic terms used to recognize Chinese art
4, 221
Chambers, William
architecture and gardens claimed as authentic Chinese designs
55, 59, 60, 65
on ruin and decay as themes common in Chinese garden design
270n5
Chapon, Alfred
distinctions received from foreign countries for the design of his exhibits
129
garden building from Yuanming Yuan recreated at the Exposition Universelle in Paris (1867)
127–29, 128n15
wall elevation design for the Chinese, Japanese, and Siamese exhibits at the 1867 exhibition
126–27, 129, 130f5.4
Charles, David
151, 164–65
Chesneau, Ernest
125
China Trade and colonial and Early Republican America
Chinese gongs imported by Jefferson for Monticello
66–67, 297–98
and the cosmopolitan aesthetic of jardins anglo-chinois
53, 69
and depictions of China as a site of commerce in cartouches of maps of China
20–21, 21f1.2
and direct trade between America and China established in 1784
62
fan depicting American flag with the flags of other trading countries
61–62, 62f2.11
and latticework of Chinese inspiration
57, 62
recent publications, symposia, and exhibitions on
61n27, 61
and Van Braam Houckgeest’s China Retreat
62–63, 64f2.12
Chinese latticework; Chippendale, Thomas; classical and Chinese aesthetics blended in domestic interiors and possessions; Crowninshield family; Derby, Elias Hasket; Jefferson, Thomas; Madison, James; Monticello; Salem; wallpaper
Chinese latticework
in colonial architecture after 1750
50n5
on Josiah Quincy House
62
at Monticello
45, 49–50, 55, 58f2.10, 68–69
and Monticello’s benches
50, 51f2.6
at Montpelier
56f2.9, 57
as a motif in American landscapes that referred to China
57
at Poplar Forest
50, 57, 58, 58f2.10
Chinese Pavilion at Laeken Park
Alexander Marcel’s design for it
284–86, 289n48
and the “authenticity” of its production and style
276, 280–81
current status as part of the Museums of the Far East (Musées d’Extrême-Orient)
293
external architectural features
269f10.1, 270–71
panel depicting the battle between the Three Heroes and Lü Bu
277–79, 278f10.5
rococo-inspired interior
289, 290f10.8
and the royal park commissioned by King Leopold II of Belgium
268, 269f10.1
Chinnery, George
7, 8f0.4
chinoiserie as a pre-twentieth-century term Charles Fourier’s use of it
8, 94n7
for creative products marked by fantasy, playfulness, and bizarrerie
8–9, 9n20, 150
Émile Littré’s definition of
8
Larousse’s definition of
8, 214–15, 215f8.7
women, sensuality, home decoration, and superficiality associated with it
94–95, 214, 216, 219, 219, 222, 280
chinoiserie as term for a trend in Western art most visible in the architecture and decorative arts of the eighteenth century
and cross-cultural assimilation
241–42
and the cultural assimilation of chrysanthemums into Victorian landscape and literature
193, 201
double meaning in France until after World War II
9, 213–14n24, 214, 214n26
eighteenth-century chinoiserie porcelain rooms in Germany and Holland
9, 166, 166n51, 168
exclusive use in the twentieth century for an artistic trend only and not used for a trinket
9
Grove Dictionary of Art definition of
1
mid-nineteenth-century moving “beyond chinoiserie”
125
mid-nineteenth-century revival of chinoiserie decorative schemes
2, 149–51, 154–55, 174–75
Maison de Victor Hugo—chinoiserie room
Chippendale, Thomas
34–35
chrysanthemum illustrations
on a Spode Ceramic Works toy watering pot
192f7.6
asymmetrical and layered presentation on a Brown-Westhead, Moore & Co. plate
194–96, 196f7.8
“Chrysanthemum” wallpaper by William Morris
194–96, 195f7.7
in gardening manuals and botanical periodicals from the mid-Victorian era
181, 182f7.2, 183f7.3, 187, 188f7.4, 191f7.5
and the transplantation of the chrysanthemum figure into the British domestic vernacular
194–96, 195f7.7, 196f7.8
chrysanthemums
blending of imagined Chinese and Japanese aesthetics in the gardens space of the British middle class
180–81, 183–86, 197, 200–201
and the British visual imagination
178–80, 183–86, 189–90, 192, 201
“Chrysanthemum Indicum” in The Botanical Magazine
187, 191f7.5
evils of over-cultivation and the necessity of chrysanthemum reform
179–80
and the integration of Chinese and Japanese cultivated garden flowers into the English garden
180–81, 183–86, 192–93
used as a narrative device in Haggard’s Colonel Quaritch V. C.: A Tale of Country Life
198–200
Claretie, Jules
on Hugo’s Hauteville House as a form of self-mythicization
162, 165
on the Musée d’Ennery
224
classical and Chinese aesthetics blended in domestic interiors and possessions
16–17, 25–26, 40
classical motifs on Chinese plates
30–32, 30f1.5
Crowninshield family chaises
36–40, 37f1.9, 39n56, 39f1.10
Clemenceau, Georges
221, 221n55, 222
Cliveden “Pagoda” for the 1867 Exposition Universelle in Paris
1, 1n1
clothing and textiles
American-made silk dressing gown
254, 255f9.9
Chinese garments worn by European women in the late nineteenth and early twentieth centuries
246, 248, 252–53
Chinese robes in Western fashion as material metaphors for cut-up cultures
245, 248
France’s silk industry
136–37
imperial dragon robe made in China
243, 244f9.4
Japanese-made silk dressing gowns
253, 253f9.8, 255
Japanese-made silk tea gown
256ff9.10–9.11
Liberty evening cape made from a Chinese skirt
248, 248f9.7
pre-embroidered fabric for construction into garments
27n32, 27–29, 243–46
“robe” as a term
250
symbolic uses of Chinese dragon robes
246, 248
Takashimaya Japanese-made Chinese coats
260, 261f9.14, 262f9.15, 263
Tibetan men’s robes (chubas)
245
and the turn-of-the-century interaction between chinoiserie and japonisme
239–40, 255, 263–65
V&A European-Chinese-Japanese robe
247, 247f9.6, 249–50, 264
V&A robe claimed to have been found in the Summer Palace
235, 235n1, 236–38ff9.1–9.3, 239–40, 242–43n14, 242–45, 244f9.5, 252–54, 264
banyans; Derby waistcoat; kimonos; Liberty & Co.; Yokohama robes
Clunas, Craig
on the European construction of the concept of “Chinese Art”
115, 219n45, 221
on gendered discourse associated with “Chinese Art”
230n78
Codell, Julie F.
240
collecting
and the validation of acquisitions not recognized by Parisian art institutions
213–14, 218–19
Victor Hugo’s popularizing of the collecting of “antiques”
157–60
export goods to the West; museums
Conant, Ellen
136
Confucian ideas
admired by Americans in the eighteenth century
19, 22
and classical and Deist currents
22, 24
copying and imitation
Chinese dressing jackets made at home by English women
257, 258f9.12, 259, 259f9.13
and forgery for profit
73–76
by Jean-Marius Fouque
137, 139
Jiangnan architecture copied by the Tushanwan woodcarving workshop
276–79, 278ff10.4-10.5
mirror images
83–84, 87–88
replicas of Gilbert Stuart’s George Washington portraits
72–73, 74f3.2, 76, 77
Siam’s appropriation of Western objects and ceremonial trappings
139
and Takashimaya Japanese-made Chinese coats
260, 261f9.14, 262f9.15, 263–64
and the tension between mimicry and invention inherent in reverse glass paintings
76, 78–79, 81–83, 88–91
and the V&A European-Chinese-Japanese robe
247f9.6, 248, 250, 264
appropriation; authenticity and authentication; Western pictorial strategies (perspective, shading)
Crosby, Alfred W.
187–88
Crowninshield family
chaises that blend Roman and Greek Neoclassicism with Asian aesthetics
36–40, 37f1.9, 39n56, 39f1.10
colonial coastal and Caribbean trading by
26
Curtis, William, “Chrysanthemum Indicum” introduced in his The Botanical Magazine by
187, 191f7.5
Delécluze, Étienne-Jean
art from China, and nineteenth-century French painting
93–118
and C. Toogood Downing’s observations
96–98
Grand Ceremony project, and his view of the decline of Chinese art as prior the encounter with European techniques
109, 111–12
on Lamqua
96–98, 106–7
de Lille, Abbé
60
D’Ennery, Clémence (“Gisette”)
creation of the Musée d’Ennery attributed to
204–5, 232
friendship with the Goncourt brothers
205
“monsters” collected by
216–18, 224
Musée d’Ennery
Denon, Dominique Vivant
116, 117f4.10
Derby, Elias Hasket
biography written by his grandson
28–29
China trading ventures
26, 30–32
library of
23
Derby waistcoat
Derby waistcoat
Chinese figural scenes on a Western form
29f1.4, 30
construction of
27–29, 27n32
and Derby’s personal interest in Chinese decorative arts
26
Desgranges, Clémence. see D’Ennery, Clémence (“Gisette”)
Deshayes, Emile
Clémence d’Ennery’s letter to
227n73
as the first curator of the Musée d’Ennery
209, 231
modification of the Musée d’Ennery’s layout by
230–31, 231n84
Doré, Henri, S. J.
279–80, 279nn26–27
Downing, Charles Toogood
77, 96–98, 101–2, 104, 106
dreams and dreaming
and the dreamworld of Hauteville Fairy
174
psychoanalytical view of dreaming as a process of bricolage
151–52, 165, 172, 174–75
Romantic interpretation of China as a dreamscape
154–56, 175
Yuanming Yuan described in terms of by Hugo
153, 154n13
Drouet, Juliette
Guernsey House, La Fallue
166
on Victor Hugo’s passion for antiquing
158
Hugo, Victor—Hauteville House; Maison de Victor Hugo—chinoiserie room
Du Camp, Maxime
155
Duchesne de Bellecourt, Gustave
133, 136–37
Ducuing, François
134
Du Halde, J.-B.
22, 23
Dumoulin, Louis
283
Dunn, Nathan
exhibition of “One Thousand Things”
6, 7f0.3
export goods collected by
6
Dutch East India Company
246
and Van Braam Houckgeest’s involvement with
89–90
East-West relations in the nineteenth century
as a dark period
2
Opium Wars
education
Greco-Roman ancients and the Chinese both viewed as models for the emerging American nation
10, 24–25
impact of international exhibitions on popular interest in Chinese art
4, 6, 125, 298
and publications about China available to Americans
18–19, 19n8, 298
education and museums
and the status of Asian “art”
219–20, 227n74
teaching the French public about the historical and aesthetic significance of Asian objects as a goal of
221–22, 228
Egypt and Eyptian artifacts
40, 59, 116, 158
embroideries. see clothing and textiles
Engleheart, Rev. G. H.
179, 180
Eudel, Paul
157–58
export goods to the West
and Canton’s export art studios
72–76
classical motifs on Chinese plates exported to Salem
30–32, 30f1.5
exhibitions of
6, 132–33
France’s silk industry
136–37
Japanese production of export art for European clients
134–35, 144, 252, 259, 289
stores run by Chinese expatriates
6
Takashimaya Japanese-made Chinese coats
259, 261f9.14, 262f9.15, 263–64
and the term “trade painting” (“handhua”)
76–77n8
ceramics and porcelain; China Trade and colonial and Early Republican America; ivory; lacquerware; reverse-painted glass; Salem; transnational exchange; wallpaper
Exposition Universelle in Paris (1867)
carnivalesque atmosphere of its opening
129–30
and the education of European audiences “beyond chinoiserie”
125
“Gallery of Machines” for the “France and its Colonies” display
126, 130f5.5
general view of
126, 127f5.2
invitation to participate from the French Imperial Commission
125–26, 131
iron and glass structure designed by French engineer Frédéric Le Play
126, 129
Mexico’s pavilion
129, 134
Exposition Universelle in Paris (1867)—Oriental section
Cliveden “Pagoda” made for
1, 1n1
copy of the treaty from the Second Opium War and victory booty displayed at the Chinese exhibit
125, 128–29, 131, 133
Jules de Lesseps service as the general commission for most countries in the Oriental section
126, 126n10
review of the Chinese and Japanese exhibits by Gustave Duchesne de Bellecourt
133, 136
“Salon Royal” for the Siamese exhibit at
122, 123f5.1
Gréhan, Amédée; Gréhan, Amédée, Le Royaume de Siam
Exposition Universelle in Paris (1867)—political subtext of the displays at China’s involvement
144–45
and L’Exposition universelle de 1867 illustrée published by the French Imperial Commission
131, 134
and French press accounts of the Chinese and Japanese exhibits
132–33
internal power struggles in Japan between the Tokugawa Regime and the domains of Satsuma and Hizen
124, 125–26, 135
Siam’s attempt to delimit French and British colonialist activities in Southeast Asia
124, 137, 141–43
Fan, Fa-ti
189
Federal-period furniture, and terminology established by Charles F. Montgomery
17n2
Ferrère, Raoul
128n15
Flaubert, Gustave
155
Flour, Isabelle
142n53
Frank, Caroline
17n3
French Imperial Commission
foreign countries invited to participate in the Universal Exhibition of 1867
125–26
L’Exposition universelle de 1867 illustrée published by
131, 134
French Impressionists and japonisme
214, 216, 217
Freud and Freudian psychoanalysis. see psychology and psychoanalysis
Friedländer, Saul
251
gardens
combination of Chinese and Gothic styles in eighteenth-century picturesque English gardens
163
European garden styles at Monticello
54
European garden styles at Montpelier
55–57
exotic botanicals in gardens and fictions of the British middle class
178, 180–81, 183–86, 189–90, 193–94, 197, 200–201
expansion of the gardening press from the mid-Victorian era
181
Jiangnan garden design elements in the Chinese Pavilion at Laeken Park
291, 292f10.10
landscapes produced when cultural and natural history intersect
184–85
and the visual imagination of British novels
178–79, 185–86
chrysanthemums; jardins anglo-chinois
Gautier, Hippolyte
133
Gautier, Judith (daughter of Théophile Gautier)
157
Gautier, Théophile
155, 157n24
on Hugo’s sale of his collection
158, 158n28
poem “Chinoiserie” by
8
gazes and gazing
Edward Cossey’s absorptive gaze into a Japanese chrysanthemum
199–200
and the “gazing game” that animated eighteenth-century sociability
87
gender
Chinese garments worn by European men and women in the late nineteenth and early twentieth centuries
246, 248
chinoiserie associated with women
94–95, 214, 219, 219, 222
and Clémence’s monsters
217–18
expertise identified as a particularly male attribute in nineteenth-century French collecting
219–20n49, 222
and the feminine reputation of the Musée d’Ennery
214–15, 223, 226, 230–32
Gothic style gendered as masculine in contrast to Chinese as feminine
163
japonisme associated with femininity
219
Michel Calmann’s masculine collections compared with the Chinese decor of “Mme Pierre Girod”
223–24
negative associations with Chinese masculinity
246
Goncourt, Edmond de
and Louis Gonse
227–28, 228n75
Maison d’un artiste
227–28, 232
on public museums as “hospitals” or “morgues”
226, 228
sensorial experience cultivated in his displays
227
Goncourt, Julesand Edmond de
207n11
admiration for the Musée d’Ennery
205–6, 218
on Chinese porcelain
155–56, 156n19
and Clémence d’Ennery
205, 205n5, 218
Goncourt, Jules de, description of Clémence’s collection
205, 206–7
Gonse, Louis
on the economic value of d’Ennery’s collection
231n82
promotion of the historical and aesthetic significance of Asian objects
219, 222, 227–28, 228n75
Gothic style
combined with Chinese in eighteenth-century architectural manuals
163
combined with Chinese references at Monticello
53–54, 64–65, 68
combined with Chinese style at Hugo’s Hauteville House
162–64, 166
integrated with cosmopolitan elements in jardins anglo-chinois
59
revival at Tushanwan
281–83, 291
Green, Nancy
227n74
Gréhan, Amédée, and the article “Le Roi et La Reine de Siam” published in Le Monde Illustré
142–43
Gréhan, Amédée, Le Royaume de Siam
modern-day websites documenting participation in the Shanghai Expo compared with
145
on Mongkut’s participation in the Exposition Universelle in Paris (1867)
122, 124
photogravures by the French artist Édouard Riou
122, 123f5.1, 137, 140f5.9, 142
Grootenboer, Hanneke
87
Guérin, Jacques
9
Guillaume Pauthier
4, 112n45
Guimet, Emile, “NOTE” penned on the divide separating “science” from “art” by
220, 228
Guineaudeau, Bernard
230n80
Guo Junlun
277n23
Haggard, Henry Rider
Allan and the Holy Flower
197
Colonel Quaritch V. C.: A Tale of Country Life
198–200
Gardener’s Year
200
King Solomon’s Mines
198
She
198
Harrison, Henrietta
272
Hervey de Saint-Denys, Marie-Jean-Léon, d’
126, 128, 155, 157
Hevia, James L.
129
Hobsbawm, Eric
282
Hokusai, Katsushika
as a source for Chapon’s designs for the Exposition Universelle
127
The Great Wave as a global icon
250
Holy Childhood Association (L’Oeuvre de la Sainte Enfance)
272, 273, 282
Honey, David B.
4
Honour, Hugh
on the mid-nineteenth-century revival of chinoiserie decorative schemes
149–51
on the “vision of Cathay” formed in the eighteenth century
7, 174
Houssaye, Henri
162
Hugo, Victor
bricolage associated with his writing process
164–65
catalogue of objects sold at his rue de la Tour d’Auvergne apartment
158, 159f6.2, 160, 161f6.4
Le Pot Cassé (1875)
156–57, 156n20
popularizing of collecting of antiques by the middle-class French public fostered by
157–58
the Summer Palace described in a letter to Sir William Butler
153–54, 154n13
Maison de Victor Hugo
Hugo, Victor—Hauteville House
and the combination of Chinese and Gothic styles
162–64
viewed as a form of self-mythicization
162, 165
Hunt, John Dixon
58–59n23
Huysmans, Joris-Karl
217
Impey, Oliver R.
213–14n24
ivory
and exports from China to the West
6, 154n15, 207
paintings of single eyes on tiny roundels of
87
Jacquemart, Albert
299, 299n7
Jacquemart, Nélie, as co-founder of the Jacquemart-André house museum
218, 218–19n44, 228
Japan
Catholic painting academy established by Giovanni Niccolò (1583) in
271
internal power struggles between the Tokugawa Regime and the domains of Satsuma and Hizen in
124, 125–26, 135
Japanese exhibits at the 1867 exhibition, Capon’s designing of
126–27, 129, 130f5.4
Japanese-made silk dressing gowns
253, 253f9.8, 255
Meiji period
144, 252, 263
and the production of export art for European clients
134–35, 259
Takashimaya Japanese-made Chinese coats
259, 261f9.14, 262f9.15, 263–64
upsurge of Western interest in Japanese art and culture linked to moribund interest in China
299
and the Western views of Japanese items as superior to Chinese products
134, 260
banyans; japonaiseries as a term; japonisme; kimonos; Satsuma; Yokohama robes
japonaiseries as a term
213–14n24
presented as japoniaiseries
214
and small collectible Japanese objects
213
japonisme
femininity associated with it
219
and French Impressionism
214, 216, 217
and the Goncourts
210
impact on “high” art and high-end decorative arts
2, 214
and interactions with chinoiserie in light of the cultural dynamics of fashion and the transnational
239–40, 255, 263–65
as more serious than chinoiseries
228
and Napoleon III’s government
136
and the targeting of export products for Western consumers
135–36
and Yokohama robes as fashion rather than as aesthetic statement
252
japonistes
210, 217, 219, 222, 227–28
jardins anglo-chinois
and architecture and gardens claimed as authentic by William Chambers
55, 59, 60
at Catherine the Great’s Tsarskoye Selo
60, 61
comte d’Artois’s Bagatelle
60, 61
cosmopolitan aesthetic of
53, 58–61, 69
Jardin de Monceau
58–59n23, 59, 60, 61, 63
of the prince of Kassel at Mulang
63n32
and the proto-nationalist interpretations of Carmontelle
58, 58–59n23
and the trans-Atlantic landscapes of Monticello, Montpelier, and Poplar Forest
53–58, 64–69
Water Garden at Cliveden
1, 1n1
Jefferson, Thomas
“Benches for Porticoes and Terraces”
51f2.6
garden design as an interest of
50, 53–54
and the gardens at Yuanming Yuan (Old Summer Palace)
65, 66
“General Ideas for the Improvement of Monticello”
54–55, 54n14
“Notes for Railings on the Terraces”
47f2.2
Monticello; Poplar Forest
Jeremiah Lee Mansion
62
Jesuit missionary presence in China
and the aftermath of the First Opium War
271
Bowen’s maps of China drawn from surveys made by Jesuit Missionaries
19–22, 20f1.1, 21f1.2
and Salem’s Social Library collection
19, 22
and their broader goal of accessing divine knowledge through objectivity and curiosity
19–20, 279–81, 287
Attiret, Jean-Denis; Beck, Aloysius; Kavanagh, Dennis J., S. J.; Tushanwan (French Jesuit Orphanage workshop in Shanghai); Xujiahui Catholic community
Jones, Owen
280, 299
Josiah Quincy House
62
Julien, Stanislas
155
as conservateur adjoint of Chinese manuscripts at the Bibliothèque Royale
99, 99–101n20
on the datings in Delécluze’s Grand Ceremony project
109, 111
and Delécluze
99, 101, 101n21
Kangxi emperor (r. 1662–1722)
1
and Delécluze’s Grand Ceremony
109, 111
publication of the Mustard Seed Garden Manual during his reign
99, 99n18
Kavanagh, Dennis J., S. J.
275, 276
Kawakami, Akane
213–14n24
Kim, Hae Jeon, and Marilyn R. Delong
260
kimonos
fabric used for
136–37, 138f5.8
and men’s banyans
246
and the presentation of goods in Liberty catalogs
248, 252, 252n39
tea gowns produced for Western fashion
248, 257
use of kimono cloth widths in Takashimaya Japanese-made Chinese coats
263
Yokohama robes distinguished from
252
King, Amy M.
199
King, Michelle T.
272
Kitson, Peter
4
Koechlin, Raymond
223–24
Kracke, Waud
151, 172
lacquerware
American-made imitation lacquerware
62
lacquer paintings displayed by Siam at the Universal Exhibition of 1867
141
lacquerware decoration viewed as belated and vulgarized
2
and Western views of Japanese items as superior to Chinese products
134, 263
Lamqua (Guan Qiaochang)
96–98, 106–7
Langweil, Florine
on the dismantling of the “Salle Langweil” by the Musée Unterlinden in Colmar
220–21, 228
evaluation and promotion of Chinese art
210
Larousse, Pierre, definition of “Chinoiserie” in The Grand dictionnaire universel du XIXe siècle
8, 214–15, 215f8.7
Larroumet, Gustave
160, 163–64
latticework. see Chinese latticework
Le Monde Illustré
article with the engraving “Le Roi et La Reine de Siam” published in
142–43, 143f5.10
image of the Chinese pavilion at the Exposition Universelle in Paris (1867)
128f5.3, 131
Leopold II of Belgium
buildings commissioned for the royal park of Laeken
268
Chinese Pavilion at Laeken Park
Le Rouge, Georges-Louis
59
Levine, Gregory
269–70
Lévi-Strauss, Claude
151, 164–65
Liberty & Co.
evening cape made from a Chinese skirt
248, 248f9.7
“Mandarin vestments” adapted for furniture purpose
246
presentation of goods in their catalogs
248, 252, 252n39
Littré, Émile
8
Loudon, John
181
McClintock, Anne
251
McQueen, Alison
216n31
Madison, James
Montpelier
56f2.8
plantation estate in Orange, Virginia
50
“trans-Atlantic” responses to the American landscape developed at Montpelier by
50, 53, 55–57, 56f2.9
Maison de Victor Hugo, location of
149
Maison de Victor Hugo—chinoiserie room
150f6.1
bricolage of many elements in the wall decor of
12, 151, 166, 167ff6.6–6.6, 168
entrance wall
168, 169f6.8, 170ff6.9–6.10, 171
fabrication by Hugo for Juliette Drouet’s Hauteville Fairy
149, 165–66
panel with mandarin eating fish, inscribed “SHU-ZAN”
171–72, 172f6.12, 174
red panel with incised and gold-painted decoration and insert of a Chinese shawl box lid
171, 171f6.11
wall shelf supporting two Guanyin figures
168, 169f6.7
wall with ceramic and porcelain collection
167f6.5
Manet, Édouard
216, 217
Marcel, Alexandre
286
design for the Chinese Pavilion at Laeken Park
284–86
and the Panorama of the World Tour (Panorama du Tour du Monde)
283
Sino-Japanese hybrid La Pagode (1897) on the Rue de Babylone in Paris
284
Marot, Daniel, Nouvelles Cheminée faittes en plusieurs endroits de la Hollande et autres Provinces
166, 167ff6.6–6.6, 168
Méry, Joseph
155, 175, 175n55
Meyer, Henri, China Carved up by European Nations
2, 3f0.1
modeling. see Western pictorial strategies (perspective, shading)
Mongkut, King of Siam
and the article with the engraving “Le Roi et La Reine de Siam” published in Le Nouvel Illustré
142–43, 143f5.10
and the Paris Universal Exhibition of 1867
122
portrait by Jean-Marius Fouque
137, 139
Montgomery, Charles F.
35n45
terminology in his Winterthur catalog
17n2
Monticello
Chinese gongs imported by Jefferson for
52ff2.7–2.8, 66–67, 297–98
Chinese latticework at
45, 46f2.1, 48–50, 51f2.6, 51f2.6, 55, 58f2.10, 69
“Indian hall” at
49n4
and Jefferson’s knowledge of Chambers’s designs
65–66
two-story temple/reconstructed garden pavilion at
64–65, 67–69, 68f2.13
watercolor by Aaron Vail
45, 48f2.5, 50
watercolor by Jane Braddick Peticola
45, 47f2.3, 48f2.4, 50
Morris, William
“Chrysanthemum” wallpaper by
194–96, 195f7.7
idealization of preindustrial craft by
282
Mueggler, Erik
189
Musée chinois in the Palais des Beaux-Arts (1855)
108
Musée chinois of Empress Eugénie at Fontainebleau (1863)
298
and the formative period of French museum building
224, 232
as mere “curiosities” and not a “real museum” display
224
as a symbol of Asian nations subjugated by the French empire
215–16, 216n31
Musée d’Ennery
as an alternative to the Louvre and the Musée Guimet
231–32
as Clémence d’Ennery’s creation
204–5, 208, 208n12, 210, 230–32
eight categories of objects in its collection
209
floorplan of
212f8.6, 223
and the monster theme (chimères) in Clémence’s collection
207–8, 208f8.1, 209f8.2, 218
opening in 1908 of
209, 213
and the question of what a “real museum” of Asian art should be
214–15, 217, 220–22, 224–25, 230–32
small sculptured items preferred by
208f8.1, 209f8.2, 210, 211f8.4, 211f8.3, 227
Musée Guimet
212f8.5
Musée d’Ennery archives at
208n12
Musée d’Ennery contrasted with
221, 224, 230–32
opening in 1889 by Émile Guimet
219
as a “real” museum
220, 230
museums
as accessories to civic education
227n74
aesthetic preference for “broken bodies” as a basis for Western museum collections
269–70
and the challenge of geographically and culturally pinning down an object that might more usefully be thought of as always in motion
264–65
and the rift between “science” and “art”
219–21, 228
Salem East India Marine Society
25
transformation of private residences into public museums
218–19, 221
V&A catalog entry for Chinese dragon robe claimed to have been found in the Summer Palace
235, 235n1, 240, 242–43n14, 242–44, 264
V&A catalog entry for European-Chinese-Japanese Gown
249–50
Musée d’Ennery; Musée Guimet; Pavilion of Hidden Books
Mustard Seed Garden: a Chinese Painter’s Manual (Jieziyuan Huazhuan or Jieziyuan Huapu)
“Book of Rocks” from
103f4.4
“Book of Trees” from
102f4.3
Delécluze’s assessement of Chinese art
100–103, 106, 108–9, 111–12
editions of
99, 99n18, 99n20, 101
model landscape composition from
104f4.5
Napoleonic period
and eighteenth-century chinoiserie
116, 155
and the incorporation of Greco-Roman forms
38
Napoleon III
coup d’état in December 1851
152
and Exposition Universelle in Paris (1867)
125, 129, 142
and japonisme
136
and Mexico
134
and Siam
139, 141
Niemcewicz, Julian Ursyn
63
O’Malley, Therese
50n5
Opium Wars
and Chinese exhibits at the Paris Universal Exhibition
125, 131, 133
and ending of the dream of China cherished by the Romantics
2, 154, 175
First Opium War (1839–42)
93, 271, 271, 298
increasingly negative view of China in the West in the wake of
7, 118, 213, 246
lootings in the aftermath of the Second Opium War
2, 128, 131, 133, 152–54, 215–16, 216n31, 269
Second Opium War (1856–60)
136, 152
Palace of Fontainebleau, displays of Chinese articles in
216, 216n31
Paris Universal Exhibition. see Exposition Universelle in Paris (1867)
Pauly, Philip J.
184
Pavilion of Hidden Books (Shuyinlou)
as the former residence of Shen Chu
277, 277n23
horizontal beam from
277–79, 278f10.4
Pawson, Eric
189
Perrault, Charles
105–6, 115–16
Phillips, Henry, Flora Historica
190
Pointon, Marcia
87
Poplar Forest
Chinese latticework on the roof at
50, 57, 58, 58f2.10
garden at
57–58
as an “occasional retreat”
50, 53
porcelain. see ceramics and porcelain
Porter, David
163
Prost, Lucie, and Chantal Valluy
207n11, 209, 210, 210n17, 213, 219n46, 231n82, 231n84
psychology and psychoanalysis
and dream imagery
172, 174
and the intellectual space of not knowing
240n7
interiority
239, 253
psychological disavowal and erasure
250–52
Qianlong emperor (r. 1735–1796)
abdication of
1
architecture during the reign of. see Pavilion of Hidden Books (Shuyinlou)
embroidered yardage during the period of his reign
250
Lord Macartney’s mission to the court of
187
patronage of the Jesuits
20
Qinding Xiqing Gujian commissioned by
112
Qing Dynasty
and Chian’s involvement in international and national exhibits
144
degeneration of East-West relations over the course of
2
dragon robes as part of official dress during
243, 244f9.4
emperors. see Kangxi emperor (r. 1662–1722); Qianlong emperor (r. 1735–1796)
missionary engagements with
263, 271
Taiping Rebellion and Boxer Uprising during
263, 269, 276
Rado, Mei Mei
239–40, 257
Rangan, Haripriya, Judith Carney, and Tim Denham
189
Reed, Christopher
219
reverse-painted glass
Fatqua, Madonna and Child with Joseph
78, 79f3.3
interiors with miniature mirrors incorporated into them
85, 86f3.9, 87–88
landscapes with mirrored space incorporated into them
83, 85, 86f3.8
Portrait of Catharina van Braam Houckgeest
88–90, 89f3.10
practice of
78–79, 81–83, 81f3.6
printmaking process compared with
81, 83
replicas of Gilbert Stuart’s George Washington portraits
72–73, 74f3.2, 76, 77
reproduction of François Boucher’s Jupiter and Calisto on glass
78, 80f3.4, 81–82
tension between mimicry and invention inherent in
76, 78–79, 81–83, 88–91
of William Orme’s mezzotint on a Chinese export rosewood cabinet
83, 84f3.7
Ringmar, Erik
154, 154n13
Riou, Édouard
portrait of the Siamese King Mongkut
122, 140f5.9
Salon Royal
122, 123f5.1, 137
robes. see clothing and textiles
Sabine, Joseph
187
Salem
Chinese objects collected prior to the American Revolution in
17, 17n3
classical and Chinese aesthetics blended in domestic interiors and possessions of seaport elites
17, 25–26, 40
Bentley, Rev. William; Crowninshield family; Derby, Elias Hasket
Salem East India Marine Society
25
Salem Social Library
Bowen’s Geography in
19–21, 20f1.1, 21f1.2
collection of the classics in
23
English-language books on China in
22
Jesuit treatises translated into English in
19
Sandrart, Joachim von
105–6
Sargent, William R.
31
Satsuma
earthenware exported by
135, 136f5.7
presentation as a “modern,” trade-friendly alternative to the feudal Tokugawa regime
125–26, 135
Seymour, Thomas, furniture produced for Elizabeth Derby West based on Sheraton’s drawings
35, 35n45, 35n47
Shanghai Expo
143–45
Sheraton, Thomas
The Cabinet-maker’s and Upholsterer’s Drawing-Book
35, 35n45, 35n47, 36f1.8
on chaise longue forms
37, 37n50
Grecian couch of
38
Siam
and France’s colonial holdings in Southeast Asia
124n5, 141–42, 141n51
political subtext of its participation in the Universal Exhibition of 1867
124, 137, 141–44
Mongkut, King of Siam
sinology, establishment as a new academic discipline
4
Sloboda, Stacey
216
Staunton, Sir George Leonard
22
Stuart, Gilbert, and replicas of his George Washington portraits
72–73, 74f3.2, 76, 77
Sullivan, Michael
on nineteenth-century engagement with Chinese art
4, 151n6
on the upsurge of interest in Japanese art and culture
299
Summer Palace. see Yuanming Yuan
Tachibana, Setsu, and Charles Watkins
193
textiles. see clothing and textiles
Thomas, Greg M.
16n31, 133
Thoms, Peter Perring
4, 5f0.2
Tibetan objects
Tibetan mask for ritual dance
158, 159f6.3
Tibetan men’s robes (chubas)
246
Tinqua (Guan Lianchang)
98
Tissot, James
216, 217
Tong Bingxue
145
transnational exchange
and the challenge to social order due to the inherent fluidity of transnational objects
240–42, 240n6, 256–57, 263–64
Chinese robes in Western fashion as material metaphors for cut-up cultures
245, 246, 248
and ecological imperialism
187–88
and the facade for King Leopold II’s Chinese Pavilion
268–70, 283–86, 288, 289, 291–92
and hybrid silk robes and gowns created by Yokohama merchants
251–52, 255, 256ff9.10–9.11, 257, 264
incorporation of classical and Chinese visual traditions into Federal-period visual culture
32–33, 34f1.7
integration of Chinese and Japanese cultivated garden flowers into the gardens and fictions of the British middle class
186, 193–94, 197–201
and interactions between chinoiserie and japonisme
239–40, 255, 263–65
inventory of maritime commodities itemized in the Portrait of Catharina Van Braam Houckgeest
88, 89f3.10
and the jardin anglo-chinois
59–61
nineteenth-century artistic relations between China and the West, and the complexity of artistic relations between China and the West
297–99
and the pairing of Chinese and Western forms in mid-eighteenth-century European high-style furnishings
34–40
plant exchange and dissemination rooted in cash crops
189
and Takashimaya Japanese-made Chinese coats
259, 261f9.14, 262f9.15, 263
and “trans-Atlantic” responses to the American landscape developed by Jefferson at Monticello and Poplar Forest
49–50, 53–55, 57–58, 64–69
and “trans-Atlantic” responses to the American landscape developed by Madison at Montpelier
50, 53, 55–57, 56f2.9
and the transplantation of the chrysanthemum figure into the British domestic vernacular
184–85, 194–96, 195f7.7, 196f7.8
and the V&A European-Chinese-Japanese robe
245–46, 247f9.6, 248, 264
classical and Chinese aesthetics blended in domestic interiors and possessions
Turkey and Turkish artifacts
40, 59, 60
costumed servants at the Jardin de Monceau
63
and the “Oriental section” of the Universal Exhibition of 1867
126
Tushanwan (French Jesuit Orphanage workshop in Shanghai)
carving of wooden panels for the Chinese Pavlion at Laeken Park
268–71, 275–76, 280–83
curriculum and pedagogy of
272–73
and the fostering of Chinese national identity
281, 283
Gothic revival at
281–83, 291
Jiangnan architecture copied by
276–79, 278ff10.4-10.5
promotion of woodcarvings made at
275–76
and Tushanwan ornamental elements
268–70, 275–76, 284
woodcarvings made at
273–74, 274f10.2, 275f10.3
Universal Exhibition of 1867. see Exposition Universelle in Paris (1867)
Vachon, Marius
4, 222–23, 224n64, 228
Van Braam Houckgeest, Andreas Everardus
account of Dutch ambassador Isaac Titsingh’s journey to Beijing
90
China Retreat built near Philadelphia by
62–63, 64f2.12, 90
and the Dutch East India Company (VOC)
89–90
Portrait of Catharina van Braam Houckgeest commissioned by
88–90, 89f3.10
Vasseur, Adolphe, S. J.
282
Verne, Jules
Around the World in Eighty Days (1873)
283
on the Musée d’Ennery as a “real museum”
217, 222
Twenty Thousand Leagues Under the Sea (1870)
197
Vernon House in Newport, Rhode Island
62
wallpaper
“Chrysanthemum” wallpaper by William Morris
194–96, 195f7.7
and export goods that traveled to the West after the Treaty of Nanjing (1842)
6, 62, 132
Washington, George
as the American Cincinnatus
32–33
concepts of empire and commerce inextricably linked by
18
Greco-Roman ideals in grand manner portraits of him
16
replicas of Gilbert Stuart’s George Washington portraits
72–73, 74f3.2, 76, 77
Western pictorial strategies (perspective, shading)
by Cantonese painters after Western models
9–10, 171–72
Chinese woodblock prints
299n6
and Delécluze’s assessment of the practice and state of painting in China
97–98, 102–9, 111–12
hybrid images painted by Cantonese painters after Western models
171–72, 173f6.13
Siam’s production of Christian export art
141
and the view of China and its art as static
105–6, 112, 115–16
and the work of Giotto, Fra Angelico, and Holbein
104–5
Whistler, James McNeill
Chinese porcelains collected by
299
and japonisme
214
La Princesse du pays de la porcelaine
1
Wong, Winnie
73n3, 75, 282
Wood, Gillen D’Arcy
186
Xiqing Guijian or Qinding Xiqing Gujian (Imperially Ordained Mirror of Antiquities Prepared in the Xiqing Hall)
112, 112n45, 116
Xujiahui Catholic Community
establishment by Jesuit Claude Gotteland following the Treaty of Whampoa (Huangpu)
271–72
and the orphanage at Tushawan
272–73
Yokohama robes and dressing gowns
and engagement with japonisme as fashion rather than as aesthetic statement
252–54, 256ff9.10–9.11, 257, 264
production by Western firms such as Liberty
252, 252n39, 255
Shiino Shobey’s conception of
252
Yuanming Yuan (Old Summer Palace)
garden building recreated by Chapon for the Exposition Universelle in Paris (1867)
127–29, 128n15
Jefferson’s knowledge of the emperor’s gardens at
65, 66
looting and destruction of
2, 128, 131, 133, 152–54, 215–16, 216n31, 239
V&A robe claimed to have been found in
235, 235n1, 236–38ff9.1–9.3, 239–40, 242–45, 242–43n14, 244f9.5, 254, 264
Victor Hugo’s description of it
153–54