Ernst Cassirer (July 28, 1874 – April 13, 1945) was a German philosopher renowned for his theory of symbolic forms and his philosophy of culture. His thought is deeply rooted in the Neo-Kantian tradition and has had a significant impact on 20th-century philosophy, cultural studies, and aesthetics. In his famous work, The Philosophy of Symbolic Forms (published in three volumes from 1923 to 1929), he argued that humans do not confront reality directly but rather construct and understand reality through symbolic forms.
Chinoiserie as a Symbolic Form
Analyzed through Cassirer’s theory, Chinoiserie is an 18th-century European reimagining and recreation of Chinese and East Asian culture, essentially functioning as a symbolic form. By selectively adopting and translating Chinese cultural elements such as architecture, decoration, porcelain, clothing, and garden design, European artists and designers created a symbolic system imbued with Eastern allure. Although inspired by Chinese culture, this system actually constructed an “Oriental” symbolic world as perceived by Europeans.
In Chinoiserie, the symbolic form is manifested through the representation and reorganization of Chinese cultural symbols. This symbolic form does not faithfully reproduce Chinese culture but rather redefines these symbols through a European cultural lens, aligning them with the aesthetic and cultural expectations of European society at that time.
The Cultural Mediating Role of Symbolic Forms
According to Cassirer’s theory, symbolic forms serve as intermediaries through which humans understand and interpret the world. Chinoiserie, as a symbolic form, plays a mediating role in cross-cultural exchange. European artists and audiences did not directly engage with authentic Chinese culture but rather understood and imagined the “Orient” through the symbolic system of Chinoiserie.
In symbolic forms, Chinoiserie constructs an idealized and exotic “Other,” a representation that helps Europeans define and understand their own cultural identity through contrast. Therefore, Chinoiserie is not merely an expression of Chinese culture but also a reflection of European culture itself.
The Chinoiserie armchair designed by John Linnell and made by William Linnell, housed in the V&A Museum in the UK. Image courtesy of V&A Museum
由威廉·林内尔William Linnell制作，约翰·林内尔John Linnell设计，带有日本漆装饰的Chinoiserie扶手椅
In the V&A Museum in the UK, there is a Chinoiserie armchair designed by John Linnell and made by William Linnell in 1754. Linnell drew inspiration from Chinese gardens and architecture, abstracting elements such as Chinese lattice windows and eaves as symbolic motifs and integrating them into the framework of a Western armchair. Additionally, it is evident that the designer partially referenced and replicated Chinese characters as decorative elements, painting them on the black lacquered surface. This surface, as a symbolic form, is not merely a reflection of reality but a recreation of it.
The Chinese elements in Chinoiserie have been reinterpreted by Europeans, becoming a new and imaginative symbolic form. This symbolic form is not confined to authentic Chinese elements but mixes fantasy, exaggeration, and idealization to create an aesthetic style that is both strange and familiar.
Creativity in Symbolic Forms
Cassirer believed that symbolic forms are not merely tools for expressing and communicating experiences but are also ways through which humans create and reshape the world. Through the use and development of symbols, humans continually generate new meanings and worldviews. Chinoiserie is not just a superficial imitation of China in form; it also carries deeper symbolic significance. It symbolizes the European curiosity about foreign cultures, the pursuit of a luxurious lifestyle, and the desire for an idealized world.
ChuCui Palace Crane Dancing in Clouds Brooch
As a pioneer of Chinoiserie-style jewelry, ChuCui Palace’s brooch Crane Dancing in Clouds exemplifies the ability to recreate and reshape symbolic forms. The brooch takes the traditional Chinese totem of the “crane” as its theme and uses deconstructed cloud patterns to express a deeper level of Eastern spirituality, one that transcends the material world and pursues harmony and beauty.
The depiction of the cloud pattern is vivid yet retains its ethereal charm. By reinterpreting traditional cloud motifs, the design achieves a complex yet fluid aesthetic that resonates with both traditional and modern contexts, creating a visually rhythmic effect. The recreation of the cloud pattern involves a complex order of dots and lines, adorned with gemstones of varying sizes, and seeks to balance elegance and asymmetry in the composition, evoking a sense of Chinese romanticism where stars intertwine and clouds curl.
The brooch’s design is clearly inspired by traditional Chinese culture—drawing from elements of classical Chinese art, including both meticulous gongbi painting and expressive xieyi painting. Using diamonds and gold as the “brush,” the design outlines and depicts the pure colors of ink and wash, with the meticulousness of gongbi as its foundation and Western inlay techniques as its method. Through a modern design approach, the piece retains the cultural significance of traditional symbols while adapting them to contemporary aesthetics, conveying an idealized vision of Eastern beauty and spiritual aspiration.
Symbolic Forms and Cultural Symbols
In Chinoiserie, the “Orient” is repeatedly presented and reconstructed as a symbol. This symbol not only caters to Europe’s aesthetic interest in Chinese culture but also embodies Europe’s fantasies and projections onto foreign cultures. In this process, the symbolic forms of Chinoiserie become cultural symbols, reflecting the complex attitudes of European society towards globalization, trade, and cross-cultural interaction at the time.
The luxurious Chinoiserie lacquer cabinet made in England between 1690-1700, housed in the V&A Museum. Image courtesy of V&A Museum
The V&A Museum houses a Chinoiserie lacquer cabinet (1690–1700), blending Baroque and Chinoiserie styles. Made in England. “It features gold and silver lacquerwork, tortoiseshell-like finishes, and carved, silvered details. Its doors are adorned with gilt brass mounts and painted Chinoiserie landscapes, highlighting the fusion of European craftsmanship with Eastern-inspired aesthetics.”
The combination of Baroque opulence with the delicate precision of Chinese classical style creates a perfect harmony. Europeans clearly showed a deep fascination with this intricate and luxurious exotic aesthetic. The Orient, as an “Other,” was juxtaposed with European luxury, serving as a projection of identity and embodying Europe’s wondrous fantasies of foreign cultures.
Through Cassirer’s theory of symbolic forms, we can more comprehensively examine the complexity and multilayered nature of Chinoiserie as a cultural phenomenon. It is not merely an aesthetic representation of Eastern culture, but also a process of self-positioning and identity formation for Europe when confronting foreign cultures. The symbolic forms embodied in Chinoiserie, through the selective absorption and recreation of Chinese cultural elements, have shaped an idealized and exotic “Other” image. This image not only fulfilled European society’s desire for luxury, mystery, and exoticism but also reflected Europe’s cultural attitudes and psychological states in the process of globalization. By analyzing Chinoiserie, we not only observe the evolution of an aesthetic style but also recognize the profound impact of symbolic forms in cross-cultural exchange.
References:
https://collections.vam.ac.uk/item/O53113/cabinet-on-stand-unknown
https://collections.vam.ac.uk/item/O8939/armchair-linnell-john