French 19th Century Brule Parfum or Pot Pourri Vase

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French 19th Century Brule Parfum or Pot Pourri Vase

About the Item

A French 19th century perfume or pot pourri vase A hand-painted polychromed enamel on copper Chinese Export bowl designed with flowers and rinceaux, ormolu-mounted as an Athénienne used as Pot Pourri. Rest-ing on three claw feet, the Arabesque open-worked cover and trellis designed rim very finely chiseled. Louis XVI style Circa 1870 The aesthetic of Chinoiserie has been expressed in different ways depending on the region. Its acknowledgement derives from the current of Orientalism, which studied Far East cul-tures from a historical, philological, anthropological, philosophical, and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China 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. There were many reasons why chinoiserie gained such popularity in Europe in the 18th cen-tury. Europeans had a fascination with Asia due to their increased, but still restricted, ac-cess 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" was considered a source of inspiration; the at-mosphere 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 own's culture. For this reason, the style of Chinoiserie is to be regarded as an important result of the exchange be-tween the West and the East. During the 19th century, and especially in its latter period, the style of Chinoiserie was assimilated under the generic definition of exoticism. 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 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 was rapidly fading with the modern era.

Dimensions:
Height: 5.12 in (13 cm)Diameter: 3.55 in (9 cm)
Style:
Louis XVI (In the Style Of)
Materials and Techniques:
Enamel,Ormolu,Hand-Painted
Place of Origin:
France
Period:
1870-1879
Date of Manufacture:
circa 1870
Condition:
Wear consistent with age and use.
Seller Location:
Saint-Ouen, FR
Reference Number:
1stDibs: LU2612329502992

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