<DIV>In a critical reassessment of chinoiserie, a style both praised and derided for its triviality, prettiness, and ornamental excesses, Stacey Sloboda argues that chinoiserie was no mute participant in eighteenth-century global consumer culture, but was instead a critical commentator on that culture. Analysing ceramics, wallpaper, furniture, garden architecture and other significant examples of British and Chinese design, this book takes an object-focused approach to studying the cultural phenomenon of the 'Chinese taste' in eighteenth-century Britain.</p>It is essential reading for anyone interested in the critical history of design and the decorative arts in eighteenth-century Britain, and students and scholars of art history, material culture, eighteenth-century studies and British history will find a novel approach to studying the decorative arts and a forceful argument for their critical capacities.</p></div>