ABSTRACT
The current research fills the gap in the historiography of the manufacture and collecting activities of the works of art and the survey of Europeanerie in the long eighteenth-century China, which could also be referred to as the High Qing era (1683–1839) in China. Europeanerie, or Occidenterie, which carries the account similar to its parallel term, Chinoiserie, in the Western context, is yet understudied in the present scholarships. As the connection between Chinoiserie and feminine space has been demonstrated in numerous studies, this research will unveil a likewise fact that collecting Europeanerie was, surprisingly, not only a playful trend for the Qing imperial women living in the Forbidden City as enjoyment but also created a knowledge channel for them to study the world of material culture and the science related to porcelain production.
