Historical examples and modern application of the "Chinese style" in the art of British interior design

Sya Zhongyuan Postgraduate student of the Department of History and Theory of Arts, St. Petersburg State University of Industrial Technologies and Design 191186, Russia, Saint Petersburg, Bolshaya Morskaya str., 18 xiazhongyuan@gmail.com

          The application of the Chinese style in the art of British interior decoration is the subject of scientific research, which deserves the attention of both interior design specialists and researchers of cultural interactions between different fields of art.

The relevance of this topic is due not only to the growing interest in the cultural heritage and art of Chinese and British architects, designers, and artists, but also to the need to study the influence of cultural traditions on modern trends in interior design. Despite the fact that research on the influence of Chinese style on British interiors has been conducted before, many aspects of this topic remain insufficiently studied.

 The object of this research is historical samples and elements of Chinese style in British interiors of various eras, and the subject is their modern application in interior design.

 The aim of the work is to identify the main features of the Chinese style, its evolution in the context of the development of British interior art, as well as to determine the possibilities of its use in modern interior design.

 The objectives of the study include the analysis of historical and modern design examples, identification of the main characteristics of the Chinese style, as well as an assessment of its potential to create unique and modern interior solutions based on their motives. 

 The widespread use of the Chinese style in the British estates of the XVIII century is closely connected with the royal traditions, the aristocratic system and the commercial expansion of the East India Company. Country estates were not only a place where nobles could demonstrate their wealth and status and enjoy picturesque landscapes, but also a way to strengthen their political and social influence by hosting the royal family, hunting, feasting, etc. Despite the influence of Italy and France on the development of European decorative art, the leading role in architecture and decorative decoration The estates were played by British architects and local designers who returned from travels in Asia and the East. The architectural interior design of this time fully corresponds to the desire of members of the aristocratic society for fashion and civilized life, and reflects the coexistence of authenticity and fantasy in the British-Chinese style.

The British country estate is a unique architectural cultural heritage that plays a very important role in the lives of the royal nobility, gentlemen and ordinary people. The accumulation of wealth and the growth of the power of the nascent bourgeoisie led to the emergence of country mansions and provincial nobility ^{[1, p. 22]}. In addition to using the residences in the city, they also had the opportunity to build magnificent and luxurious estates in a natural environment of untouched nature, based on their own aesthetic tastes. The estates not only reflected the wealth, status, personality and taste of the owner, but also showed the history and prosperity of the family. Thus, the privilege of the nobility — "Chinese" gardens gradually turned into a phenomenon of mass art, characterizing the English urban entertainment system ^{[2, p. 185]}. The architectural decorations, furnishings and art collections of the estate of various styles in different periods also represented a vivid history of cultural exchange between China and the West, different from the traditional history of art.

       These preserved country estates carry an exquisite artistic style, have a unique historical status, important artistic significance and are a valuable asset for those who study the reconstruction and methods of recreating country estates.

In 18th-century Britain, Chinese taste gradually became popular in various regions and was reflected in all aspects of culture, art and life, encompassing architecture, painting, interior decoration, music, drama, fashion and book design and other forms ^{[3, p. 99]}.

         Since the beginning of the XVII century, household items with precious stones, corals and exotic works of art such as wallpaper, silk, ceramics and lacquerware from China began to arrive on the European continent.  The high cost of Chinese art objects inspired European craftsmen to imitate exquisite originals and copy them using their own methods of decor production. This trend is called "Chinese style", design in Chinese style or Oriental taste, or in French - "Chinoiserie" ^{[4, p. 247]}.

       Researchers of this art trend have not come to a common opinion on whether chinoiserie can be considered an independent style and sometimes it is called one of the branches of the Rococo style, with the difference that pastoral "Chinese" plots are used there ^{[5, p. 152]}.

       The inhabitants of Europe were dominated by romantic ideas about the culture of the Far East and the Chinese style, consisting of imaginary exotic patterns and expensive materials. Distant China seemed to be a country of tranquility, beauty, luxury and pleasure, but this was the kind of world that the upper class of Europe of the XVIII century dreamed of.

        European architects and artists who fell in love with Asian chic began to design and decorate buildings, create interior elements in the Chinese style, but were not immediately able to fully grasp the canonical foundations of Chinese architecture and art, and, ultimately, rather personified their own interpretations of the Oriental theme ^{[6, p. 565]}.

       The trend towards Chinese-style interior decoration peaked between 1750 and 1765, thereby absorbing Rococo decorative art, which also represented lightness and asymmetry.

       With the advent of the Chinese style throughout Europe, a large number of so-called "Chinese rooms" appeared in the planning of residential interiors. There were not many truly livable Chinese-style buildings in the 18th century, but the royal court and the upper class of British society often created one or more Chinese rooms in palaces, manors or in their mansions. The nobility liked to arrange bedrooms, and mostly women's dressing rooms in the Chinese style. In addition, Chinese-style decorations often appeared in the interiors of estates, such as music halls and salons.  The most widespread are the so-called "lacquer rooms" decorated with multiple lacquer decor and "porcelain rooms" decorated with Chinese porcelain and patterned ceramic tiles. Wallpapers or murals made in the Chinese style, as well as inlaid, gilded Chinese furniture imported from the East or produced in Europe, have become widespread.

The Chinese style brought a more elegant and refined romantic atmosphere and a leisurely unique pastoral spirit to the European Rococo interior of the XVIII century.

         The influence of the Chinese style on the British interior, interior furniture and decorations was mainly due to the imitation of the form and design of Chinese works of art, as well as the use of appropriate materials popular at that time.

       The decorative art of the British Rococo period had a pronounced Chinese flavor. It displays Chinese characters, landscapes, animals and plants, and other decorative patterns. Architects and decorators of that time also partially rely on oriental artistic features in terms of color selection and composition ^{[7, p. 115]}. A large number of decorative Chinese-style patterns are used in the interior, which is reflected in carvings, wallpapers or various furniture in the living room, bedroom or dressing room, such as natural landscapes, uneven mountain roads, golden willows, Buddhist pagodas, imaginary Chinese characters or exotic birds and beasts, dragons, kiwi birds. This decorative style, combining Chinese and Western styles, has a strong unique effect and unique appeal.

        Gypsum carving, which is one of the main decorative techniques of the British Rococo period, completely forms curved planes with a soft bend, facilitating even bulky elements of architectural decor. This decorative technique was most often used on doors, mirrors and decorations of frames, columns indoors.

        The British decorators of the XVIII century used plaster carved elements, which best reflected creative thought when designing the interior. So in the Claydon house in Buckinghamshire, the construction of which lasted for two decades, and was completed in 1771, preserved the most aristocratic and creative interior in the Chinese style of the XVIII century in Great Britain.  The mansion was known for its exaggerated and eccentric carvings created by Luke Lightfoot, who was an architect, bricklayer, works inspector and woodcarver in Claydon. The designer, based on the architectural appearance of Chinese pagodas, various window glass patterns and human figures, added his romantic fantasy.

 In the imagination of European designers, Chinese buildings with inverted cornices and changeable twisting bends of decorative patterns were imagined. A large number of meandric plaster ornaments are combined with furniture and picturesque patterns in the Chinese style.

       European aristocrats had a long tradition of decorating their walls with fabrics such as tapestries, embroidery and brocade fabrics. China also proposed such an innovation as wallpaper, which began to be exported to Europe at the end of the XVII century. Wallpapers and murals were supplied in sets and were often combined into collages to form a continuous image on the wall. Most of them used light milky white, beige, light green, light pink as the background color, and pastel colors were used to depict flowers, birds, trees, non-standard scenes, often expressing unhurried pastoral feelings. These Chinese-style wallpapers, filled with rich oriental moods, give rococo art elements of exoticism ^{[8, p. 84]}.

        Great Britain was the largest wallpaper manufacturer in Europe, where many rooms decorated with Chinese wallpaper have been preserved.  Nostell Priory is a Palladian house in Nostell, West Yorkshire dating back to 1733 and was built for the Wynn family on the site of a medieval monastery, where there is a large amount of Chinese—style wallpaper.  This wallpaper combines unusual flowers, trees, birds and butterflies with landscape themes displayed on a light background, which mainly conveys scenes from the lives of Chinese visiting exotic gardens. The images on the wallpaper are fresh, natural, bright and elegant, fully expressing the "Chinese mood" of relaxation, nature, peace and joy. However, compared to rare Chinese wallpapers, Chinese-style wallpapers with decorative motifs created by the British have a richer pattern with more artistic elements. For example, trees seem more curved, their branches and leaves are thicker, and the proportions of flowers, birds and butterflies are exaggerated, which gives this style an extravagant and spectacular exotic look. In the most exclusive residences of the United Kingdom, Chinese wallpapers combine the exotic mysticism of the East with refined British sensuality.

       British furniture and interiors in the Chinese style of the XVIII century were widely used in Chinese architectural decoration ^{[9, p. 211]}. Decorative patterns of window grilles, called "carving" or "lattice" in English, are often found in traditional Chinese windows, partitions, railings, as well as in interior decorations and furniture. Such flexible geometric patterns are one of the symbols of traditional Chinese decorative art, as well as an important design element in the British Chinese style.

In 1740, Thomas Chippendale (1718-1779), the largest master of the English furniture art of the Rococo and early Neoclassical periods, designed a large number of Chinese—style furniture. Chippendale furniture is based on simplicity: high-quality furniture, durable and practical, but at the same time richly decorated, with unique decorative effects. For example, images such as Chinese pagodas, flying dragons, and phoenixes were often carved on the backs of chairs, beds, bookshelves, and mirrors to express exotic customs and culture. The Nostell Priory monastery house in Yorkshire retains a Chinese-style bedroom designed by Thomas Chippendale in 1765, where he made full use of Chinese decorative elements and combined them with the form of British furniture. Thomas Chippendale created a complete set of green lacquered furniture in the bedroom, combined with hand-painted wallpaper, which is the most typical British Chinoiserie interior. The technique of spraying gold powder is used to convey the landscape and figures in the Chinese style on the lacquer surface.    

John Linnell (1792-1882) English landscape painter famous for meticulous elaboration of the details of his works became famous as a cabinetmaker. The Chinoiserie-style bed, designed by Linnell and his father William, who was a woodcarver and gilder in 1754, is currently on display at the Victoria and Albert Museum in London, representing a unique example of the craftsmanship of the manufacturers. This oddly shaped bed is a skillful combination of a traditional Chinese four-poster bed and a gazebo design. The bizarre shape of the bed was inspired by Chinese pagodas and gazebos for outdoor recreation. The frame material is beech, painted with red and dark blue lacquer, and covered with gilding, further emphasizes the temperament and the unique charm of the bed. The patterned back panel resembles garden tea pavilions built in the Chinese style and found in large gardens throughout the UK and Europe since about 1730. The high canopy in the shape of a gazebo is decorated with gilded carvings of flying dragons in the four corners of the bed.

This is one of the most spectacular and magnificent design solutions in the British Chinese style ^{[10, p. 17]}.                          

        In addition to studying and imitating traditional Chinese decorative patterns and shapes, British designers and craftsmen have also conducted in-depth research on decorative techniques and murals from China.

        In the XVII–XVIII centuries, China imported to Europe a large number of lacquered furniture, including various cabinets, caskets, screens, which were highly valued in Europe and became collectible treasures. Most of this furniture is painted with black lacquer and gold and decorated with patterns such as landscapes, yard figures, flowers, birds, bamboo, stones or folk tales. Chinese lacquer is a paint made from the sap or other resins of the bark of lacquer trees. Applied to wooden dishes, it can prevent rotting and enhance shine ^{[11, p. 61]}. The design of the lacquered furniture created a sense of luxury and had a significant impact on European decorative craftsmanship. For example, the lacquer ware of Fujian province has been popular in the UK since the middle of the XVII century. English furniture makers studied Chinese lacquer manufacturing technology in detail and selectively mastered and improved it on the basis of copying and production, developing a technology for manufacturing lacquerware that differs from the Eastern technical system.

In the middle to the end of the XVIII century, neoclassicism had already begun to prevail, and European humanist scientists considered all non–classical and non-European achievements uncivilized and vulgar. The Chinese style gradually declined, but Chinese elements were still closely associated with Gothic and even classical ^{[12, p. 61]}. It was only in the middle of the 19th century, after the Opium War, that the Chinese style in Europe sharply declined. The main reason for this was that China was defeated in competition with the West, and the attitude of Europeans towards China and its culture was becoming more and more negative.

      Due to changes in Europe's own artistic style and a deep understanding of traditional Chinese decorative art, Chinese-style design has continued to change over time. Since Europeans did not fully understand the sacred meaning of Chinese decorative art, most Chinese elements in their secondary embodiment were given not only pretentious romantic, but also exaggerated execution in the material.

      Thanks to the constant deepening of China's policy of openness to the outside world and cultural exchange, China's traditional artistic style is manifested in an authentic way in the modern international arena. A new Chinese style is opening up in the world of interior design, where classic Chinese decorative elements partially absorb classic European design solutions and change them. Apart from a certain simplification and redesign, traditional Chinese decorative elements are often made using modern technologies or materials to achieve a balance between modernity and classicism in the design of the interior environment. The Chinese style in design, common space, decorative elements, furniture, lamps made of bamboo with papyrus paper reflects modernity in the traditions of the Neo-Rococo and classicism in modernity.

        Summarizing the research data, it can be concluded that the Chinese style has a significant influence on British and Western interior design art. From the point of view of research, Chinese style is a unique combination of traditional elements and modern trends that attracts the attention of designers and consumers.

        Traditional Oriental decorative patterns and techniques brought new inspiration to British designers and played an indispensable role in enriching the natural senses and the variety of artistic styles of Rococo decorative art of that time.

        The author believes that Chinese style has a special charm and elegance that attracts people from all over the world. He notes that the Chinese style can be successfully applied in various types of interiors, from classic to modern, adding uniqueness and sophistication.

         The research materials confirm the fact that the Chinese style has strongly influenced the British and Western art of interior design in various aspects over a very long historical period, as well as the modern vision of the interior in British society.

         Firstly, the use of traditional Chinese elements, such as chinoiserie, involves creating an appropriate atmosphere of comfort and harmony with nature.

         Secondly, the Chinese style brings a fresh look to modern interior design, adding exotic and original elements.

         As a result, Chinese-style design is becoming increasingly popular in British and Western interior design art. It offers new opportunities for experimentation and creativity, allowing you to create unique and attractive spaces. Chinese style also contributes to the enrichment of cultural heritage and the expansion of design boundaries.

         Chinoiserie's influence on the British and generally Western style of interior design is undeniable. Chinoiserie gives the interiors a special character and uniqueness. Its use allows you to create an atmosphere of tranquility and harmony, as well as add bright accents and color combinations.  The exquisite country estates that have survived to the present day testify to the fanatical desire of the British for oriental art for a century. However, the design of the Chinese style at that time seemed too exaggerated and complicated, and there was no deep understanding of the expression of its artistic form. In addition, the aesthetic taste of the Chinese style itself has also undergone corresponding changes over time.

Throughout the XVII–XVIII centuries and at the present historical stage, the Chinese style underwent periods of rise and fall, but in all periods the economic issue was important. After a large number of Chinese goods were sold to Europe, European local manufacturers of textiles, ceramics and furniture were seriously affected. In this situation, some European countries have consistently introduced policies to support and finance local enterprises, promoting the local craft industry and its development.

The author believes that the rise and fall of Chinese style in Europe is related not only to how Europeans perceive foreign cultures outside Europe (especially Asia), but also to how they view their own cultural traditions.

Confirming the relevance of this study, in addition to reviving the theme of the influence of Chinese culture on European culture, the issue of modern cultural and economic intensive development of the West and East as a consequence of a productive equal dialogue of cultures is also raised. The open attitude, interest and enthusiasm for research shown in the history of European and Chinese culture are still necessary for cultural exchange and cooperation between China and the West in the current difficult political and economic situation.

          The study showed that the "Chinese style" is an important element of modern British and Western interior design and suggests new opportunities for creativity and experimentation, as well as allows you to embody the uniqueness and individuality of each space. The use of Chinese style in interior design allows us to enrich the cultural heritage of Great Britain and give a new impetus to research in this field of design art.