1. Touch Would originates from Chang's video piece A Chinoiserie Out of the Old West, 2006, which depicts the translation of Walter Benjamin's text from German to English.

2. These adaptations of Chinese art, called Chinoiserie, remained popular in Europe throughout the 18th century.

3. "Chinoiserie", a French term, bestowed a note of elegance, exoticness and a certain 'Chic' on its owners.

4. Part 2 Chinoiserie of European music in the 18th century.

5. Chinoiserie cocktail cabinet with full bar accessories and the services of a personal bartender to mix your tipple.

6. Flanked by Chinoiserie screens and Imperial-stylesilkwallpapers, Mr. Rochon elaborates on his approach to renovating some oftheworld's most iconic buildings.

7. Chinoiserie has been influenced western fashion for a long time.

8. Part 3 Rococo music and Chinoiserie in the 18th century.

9. The top is decorated with a mountainous landscape and the panelled doors in Chinoiserie designs.

10. There are two major porcelain rooms in Europe with pieces combining chinoiserie with the Rococo .

11. Auspicious designs and pagodas as wall decor are all model chinoiserie.

12. Exaggerated dragon, phoenix and lotus motifs are the most popular to be found in the Pavilion chinoiserie.

13. This painting photographed at West Berlin's Kaltenburg Palace is very similar to a Watteau Chinoiserie engraving of 1719, except that the woman is holding a fan instead of an umbrella.

13. is a sentence dictionary, on which you can find good sentences for a large number of words.

14. Through the description of the culture communion history between China and Europe from about 1st century to 18th century, the historical root of Chinoiserie is explained in the paper.

15. Decorative painting was introduced to the European countries from the Middle and Far East. The French chinoiserie pieces were decorated in imitation of Chinese art.

16. Just as 19th century Gothic and neo- Classical styles are both the products of imagining a world distant in time, so chinoiserie is produced by the imagination of a world remote in space.

17. The final part summarizes the features and impacts of Delftware's Chinoiserie.

18. The visages of European music and its connection with Chinoiserie of the 18th century are summarized in this paper.

19. Borrowing directly from these early 18th century forms of Chinoiserie, I conduct a similar pattern of stylistic plagiarism, whereby Chinese archetypes are rendered through lesser sophisticated means.

20. This study focuses on the design aspects of various Chinoiserie objects in the realm of decorative design in 17th-18th century Europe.