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Chinese wallpaper has been an important element of western interior decoration for three hundred years. As trade between Europe and China flourished in the seventeenth century, Europeans developed a strong taste for Chinese art and design. The stunningly beautiful wall coverings now known as 'Chinese wallpaper' were developed by Chinese painting workshops in response to western demand. In spite of their spectacular beauty, Chinese wallpapers have not been studied in any depth until relatively recently. This book provides an overview of some of the most significant Chinese wallpapers surviving in the British Isles. Sumptuously illustrated, it shows how these wallpapers became a staple ingredient of high-end interiors while always retaining a touch of the exotic.
Wallpaper’s spread across trades, class and gender is charted in this first full-length study of the material’s use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper’s evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper’s growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mâché and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.
The East India Company at Home, 1757–1857 explores how empire in Asia shaped British country houses, their interiors and the lives of their residents. It includes chapters from researchers based in a wide range of settings such as archives and libraries, museums, heritage organisations, the community of family historians and universities. It moves beyond conventional academic narratives and makes an important contribution to ongoing debates around how empire impacted Britain. The volume focuses on the propertied families of the East India Company at the height of Company rule. From the Battle of Plassey in 1757 to the outbreak of the Indian Uprising in 1857, objects, people and wealth flowed to Britain from Asia. As men in Company service increasingly shifted their activities from trade to military expansion and political administration, a new population of civil servants, army officers, surveyors and surgeons journeyed to India to make their fortunes. These Company men and their families acquired wealth, tastes and identities in India, which travelled home with them to Britain. Their stories, the biographies of their Indian possessions and the narratives of the stately homes in Britain that came to house them, frame our explorations of imperial culture and its British legacies.
We agonise and argue when choosing it; we admire, compliment and criticise it (or keep politely quiet about it); and the rest of the time we don't even notice it. Wallpaper has been the backdrop to our homes for hundreds of years. It can make a house feel cosy or trendy, modern or traditional, and it is one of the key elements of home décor through which to express personal taste. Despite the threat from plain-painted minimalism, wallpaper maintains a strong presence in modern domestic decoration. Zoë Hendon traces the history of wallpaper in Britain and its foremost designers, examining how social mobility and new technologies have influenced design trends. From early Chinoiserie, through William Morris and on to the 'feature wall', this book looks at wallpaper's surprisingly controversial place in shaping our sense of home.
Global goods were central to the material culture of eighteenth-century country houses. Across Europe, mahogany furniture, Chinese wallpapers and Indian textiles formed the backdrop to genteel practices of drinking sweetened coffee, tea and chocolate from Chinese porcelain. They tied these houses and their wealthy owners into global systems of supply and the processes of colonialism and empire. Global Goods and the Country House builds on these narratives, and then challenges them by decentring our perspective. It offers a comparative framework that explores the definition, ownership and meaning of global goods outside the usual context of European imperial powers. What were global goods and what did they mean for wealthy landowners in places at the ‘periphery’ of Europe (Sweden and Wallachia), in the British colonies of North America and the Caribbean, or in the extra-colonial context (Japan or Rajasthan)? By addressing these questions, this volume offers fresh insights into the multi-directional flow of goods and cultures that enmeshed the eighteenth-century world. And by placing these goods in their specific material context - from the English country house to the princely palaces of Rajasthan - we gain a better understanding of their use and meaning, and of their role in linking the global and the local.
With contributions from outstanding specialists in glass art and East Asian art history, this edited volume opens a cross-cultural dialogue on the hitherto little-studied medium of Chinese reverse glass painting. The first major survey of this form of East Asian art, the volume traces its long history, its local and global diffusion, and its artistic and technical characteristics. Manufactured for export to Europe and for local consumption within China, the fragile artworks studied in this volume constitute a paramount part of Chinese visual culture and attest to the intensive cultural and artistic exchange between China and the West.
From its origins in Liverpool in 1816, one unusual British firm has threaded a way through two centuries that have seen tumultuous events and epochal transformations in technologies and societies. John Swire & Sons, a small trading company that began by importing dyes, cotton and apples from the Americas, now directs a highly diversified group of interests operating across the globe but with a core focus on Asia. From 1866 its fate was intertwined with developments in China, with the story of steam, and later of flight, and with the movements of people and of goods that made the modern world. China Bound charts the story of the firm, its family owners and staff, its operations, its successes and its disasters, as it endured wars, uprisings and revolutions, the rise and fall of empires - China's, Britain's, Japan's – and the twists and turns of the global economy. This is the story of a business that reshaped Hong Kong, developed Cathay Pacific Airways, dominated China's pre-Second World War shipping industry, and helped pioneer containerization. Robert Bickers' remarkable new book is the history of a business, and of its worlds, of modern China, Britain, and of the globalization that entangled them, of compradors, ship-owners, and seamen, sugar travellers, tea-tasters, and stuff merchants, revolutionaries, pirates and Taipans. Essential reading for anyone with an interest in global commerce, China Bound provides an intimate history that helps explain the shape of Asia today.
Chinoiserie, a decorative style inspired by the art of the Far East, gripped Britain from the late seventeenth to the early nineteenth century. Despite taking its name from the French word for 'Chinese', the style also incorporated influences from other Asian countries, helping to shape the period's popular fantasy of the 'exotic Orient'. Wealthy consumers jostled to obtain imported wallpaper, lacquered cabinets and hand-painted porcelain, while domestic manufacturers such as Royal Worcester and Chippendale met demand with mass-produced items of their own. Though interest in the style waned as the Gothic Revival took hold, many examples of Chinoiserie have been preserved. In this beautifully illustrated book, Richard Hayman tells the story of this fascinating phenomenon, and explores the profound impact of Chinoiserie on the material culture of the West.
The open access publication of this book has been published with the support of the Swiss National Science Foundation. This book examines the European commercial landscape of the early China trade, c.1700–1750. It looks at the foundational period of Sino-European commerce and explores a world of private enterprise beneath the surface of the official East India Company structures. Using rich private trade records, it analyses the making of pan-European markets, distribution networks and patterns of investment that together reveal a new geography of a trading system previously studied mostly at Canton. By considering the interloping activities of British-born merchants working for the smaller East India Companies, the book uncovers the commercial practices and cross-Company collaborations, both legal and illicit, that sustained the growth of the China trade: smuggling, wholesale trading, private commissions and the manipulation of Company auctions.
"This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare's plays and poems, the contributors' lines of enquiry extending from the Bard's own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed by the book's team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare's ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts"--