CHINOISERIE STYLE WITHIN THE CULTURAL AND ARTISTIC TRADITIONS OF THE FAR EAST IN EUROPEAN CONTEXT

Abstract

The purpose of the article is to study the development of oriental traditions on the example of the Chinoiserie style in Europe, in particular Ukraine. To examine the artistic phenomenon formed under the influence of the cultural traditions of the Far East and to trace its manifestations in painting, architecture, theatre, decorative and applied arts, and porcelain of the European space of the seventeenth and eighteenth centuries. This analysis also aims to identify the peculiarities of the perception of Oriental culture by the European audience and to outline the prospects for further study of Chinoiserie in Ukrainian art history.
The methodology is based on an interdisciplinary approach, in which analytical, historical and cultural, arthistorical, cross-cultural, hermeneutical, and contextual methods were applied.
The results. The Chinoiserie style in European art has become an expression of interest in another culture, a source of inspiration, and a unique way of artistic exploration of the exotic world. This phenomenon demonstrates the complexity of intercultural interactions and how cultural images can be transformed depending on the context. The study of chinoiserie as an artistic phenomenon allows us to take a fresh look at the processes of stylization, imitation, and cultural adaptation. In Ukrainian art history, the study of chinoiserie is a promising area that allows us to broaden our understanding of European art, as well as to include examples of Ukrainian estates with the interiors in question in the international discourse, by exploring in more detail the estates and gardening ensembles of Ukraine, which show the influence of oriental motifs and the chinoiserie style, which was adapted to local orders.
The novelty. To date, there have been no fundamental works analyzing the Chinoiserie style in the context of the history of art, architecture, painting, and decorative and applied arts in the European space. This complicates both the formation of a holistic picture of artistic relations between Europe and the Far East and the understanding of the influence of  Eastern culture on the European aesthetics of the modern period, as well as its influence in the art of Ukraine (interior design of estates, garden and park complexes, porcelain collections), which have not previously attracted the attention of researchers.
Practical significance. The study can be continued in the context of a comparative analysis of Chinoiserie and Orientalism, an analysis of the influence of the Chinoiserie style on local artistic traditions in Eastern Europe, as well as the study of collections of decorative and applied arts with Chinese motifs in museums in Europe, the United States, and Ukraine to trace interdisciplinary, cultural ties and traditions.