Asian art – More than just Chinese porcelain vases

China , one of the oldest civilizations in human history, boasts a tradition spanning more than 5,000 years. During China's—and other Asian countries'—diverse cultural flourishing periods, exquisite handicrafts were produced, resulting in highly sought-after collector's items made of porcelain, silver, and bronze.

It's not just antique dealers who are interested in Chinese art, Japanese antiques, and Far Eastern handicrafts from all eras . Many private collectors have also fallen in love with Asian art . Particularly noteworthy are well-preserved porcelain vases from the Ming and Qing dynasties , which are highly valued by collectors.

The fascination with the East as a social trend of the 20th century

In recent decades, a remarkable trend has emerged in the German art and collecting scene: a fascination with the East, particularly Asian art and culture . More and more collectors in Germany are discovering the uniqueness and timeless appeal of Asian art, representing an exciting enrichment of the local collecting culture.

It is not unusual to find a small, intricately decorated Chinese porcelain vase , its delicate motifs telling stories from centuries past. Elsewhere, a Thai female figurine might be prominently displayed, serving not merely as decoration but as an expression of a deep cultural appreciation for Asian craftsmanship.

And of course, the Tibetan Buddha a must – a symbol of inner peace and spirituality that resonates with countless people and inspires reflection. These objects are more than just decorative items; they embody philosophies of life and cultural values ​​that have been preserved over the centuries.

The increased popularity of Asian art seems to have gone hand in hand with a broader embrace of Asian food and movement arts . Since the 1970s, the image of the "Chinese" changed; it has become fashionable to visit an Asian restaurant at least occasionally and be inspired by the diversity of flavors. The fascination with Asian cuisine is reflected in the way many people are changing their diets and exploring new gastronomic traditions.

Furthermore, Asian martial arts have also gained a foothold in the public consciousness. Combat sports such as Kung Fu, Karate, and Judo have long since moved beyond the confines of club sports and have become integral parts of many people's leisure time. In numerous small towns, these disciplines are now firmly established in the club offerings, which promotes broad public participation.

Traditional Chinese shadowboxing, Tai Chi, has taken on a special place in this development. It has long been recognized alongside Qi Gong as a preventative health measure and thus enjoys the support of health insurance companies. People of all ages find in Tai Chi a way to achieve greater body awareness and inner peace – a harmonious combination of movement and meditation that counteracts the demands of modern life.

Overall, it is clear that the fascination with the East is not just a fleeting trend, but a profound cultural movement that brings unexpected joy in encountering foreign cultures. This development motivates more and more people to engage more intensively with Asian traditions – be it through collecting artworks or learning traditional arts. 

East Asia and its centuries-old appeal to European collectors

From antiquity to the Middle Ages

East Asia had already exerted a special attraction on art lovers and collectors in Europe long before the 20th century. Objects from the Far East had been reaching the Western world via the Silk Road since antiquity . Until the 16th century, however, these precious artifacts found their place exclusively in the collections of European monarchies.

16th century

With the discovery of the sea route to China in 1516, direct trade links with the Far East could be established. Chinese and Japanese handicrafts now flowed in considerable quantities into the homes of wealthy merchants and to princely courts. Nevertheless, access to markets, both in China and Japan, remained limited.

European traders were only allowed to operate in a few coastal towns, and even then only during certain times of the year. Only selected items – especially export porcelain produced for the Western market – were permitted to be exported.

19th century

This changed in 1842 with the forced opening of China following the First Opium War and the signing of a series of "unequal treaties." Japan opened in 1854 , and Korea British, French, and German merchants, engineers, and diplomats were given the opportunity to settle in East Asia for the first time. This coincided with the opening of the previously almost completely closed art market.

In the western concessions of China, Japan, and Korea, visiting so-called curiosity shops became a popular pastime. This led to the creation of numerous European collections, such as that of the Leipzig physician Heinrich Botho Scheube (1853–1923), who worked as a professor at the medical school in Kyoto from 1877 to 1881 and assembled his extensive ethnological collection there.

In the last third of the 19th century, interest in art and crafts from the Far East, particularly Japan, grew noticeably in Europe. This phenomenon was largely driven by the World's Fairs , which served as a platform for East Asian aesthetics. The color woodblock prints from the "Land of the Rising Sun ," presented in Paris in 1867, unleashed a wave of enthusiasm among intellectuals and led to a remarkable surge in collecting East Asian art .

With growing interest, the trade in East Asian objects in Europe also increased. Numerous dealers specializing in this art and craftsmanship established themselves, primarily in Paris, which quickly became the most important metropolis for East Asian exhibits. While in 1869 there had been only five curiosity shops chinoiserie and japonerie , this number had already grown to 36 ten years later – a steady increase.

These merchants also opened branches in trading centers such as Hong Kong, Yokohama, and Shanghai to import their goods directly from East Asia. Their inventory encompassed a wide range of curiosities and handicrafts: from elaborate lacquerware and traditional furniture to exquisite silk paintings and porcelain , as well as decorative display boards, tea, soap, and exotic culinary specialties.

For European dealers and collectors, these were particularly favorable times for acquiring Japanese objects. The Meiji Restoration fostered a more open approach to the West, while the Kiryu Kosho Kaisha , boosted the sale of handicrafts. This went hand in hand with support for the establishment of private art dealerships that specifically targeted the West as their market. At the same time, the overthrow of old feudal lords led to the dispersal of countless feudal collections in Japan, many of which were sold directly to Western collectors and dealers.

Europe's pioneers in the Asian trade

In Paris, the Japanese Hayashi Tadamasa (1853–1906) and the Hamburg-born Siegfried Bing (1838–1905), from whom the present-day GRASSI Museum also acquired pieces, established themselves as specialists in Japanese art and ukiyo-e, the sought-after Japanese woodblock prints. Both promoted their work far beyond the borders of France through exhibitions and publications.

Hayashi was responsible for the publication of the first history of Japanese art ( Histoire de l'Art du Japon ) in 1900. Bing was the editor of Japon Artistique , the first journal for East Asian art, which was published in three languages ​​(French, English, and German) and also distributed in Germany.

Here, at the latest with the establishment of the German protectorate of Kiautschou in 1898, art and crafts from the Far East became fashionable. Thirty-two auctions and eighteen exhibitions of East Asian art in the first quarter of the 20th century alone testify to a growing interest in East Asian art in Germany at that time.

In 1902, the first German exhibition of ancient Chinese arts and crafts took place in Leipzig . Prior to this, an ethnological museum had already opened, focusing early on East Asia, particularly Japan, and acquiring significant collections, partly through expeditions. The Museum of Decorative Arts also followed this trend and collected East Asian art. At the beginning of the 20th century, art objects from the Far East were present in private collections, such as those of the merchant Alexander Moslé and the netsuke collection of the publisher Albert Brockhaus , both of which contributed to the international recognition of East Asian art.

Scholarly discourse was advanced through publications, leading to the establishment of a special department for East Asian art in Berlin in 1906 and later to a dedicated museum in Cologne. Leipzig thus established itself as a center for groundbreaking publications and research on East Asian art.

Paris remained the center for German collectors of East Asian art, despite growing competition within Germany. Market conditions were changing, though: Japanese art became more expensive and less accessible, while interest in Chinese antiquities increased sharply, fueled by railway construction and archaeological excavations.

Political reforms in China also led to an increased presence of Chinese traders in Europe. Zhang Renjie opened a curiosity shop in Paris in 1902, followed by Lu Huan, who founded an established trading company under the name CT Loo . The overthrow of the last emperor in 1912 opened further markets for valuable antiques, making Lai-Yuan & Co. a go-to source for antique porcelain and art objects.

These developments enabled major collectors such as Vera Stadelmann-Mädler to acquire both Japanese woodblock prints and antique Chinese ceramics, while at the same time the global economic crisis brought numerous collections to market and auctions flourished, as at the Hôtel Drouot in Paris in 1927 with remarkable sales from the estate of Siegfried Bing.

The Museum of East Asian Art , opened in Cologne in 1913, symbolized at that time the desire for an open dialogue with the world and was intended to offer a new perspective on East Asian art. At a time when the German Empire propagated colonial ideas, the museum's founding in 1909 represented a conscious rejection of this sense of superiority.

The destruction caused by the two World Wars, however, led to a break in the founders' legacy. It wasn't until 1977, with the construction of the new building at Aachener Weiher, that the original idea could be revived. Since then, the museum has been committed to combating racism and colonialist thinking, thereby promoting an appreciation for Far Eastern art and culture.

The core collection originates from the Adolf and Frieda Fischer and comprises important works of Buddhist painting, Japanese screen painting, and Korean ceramics. This core collection is complemented by other valuable holdings such as Chinese sacred bronzes and calligraphy, making the museum an outstanding forum for European East Asian art.

Asian art today – What is the state of the trade in art objects from East Asia?

The auction market for Asian art is currently showing interesting developments. While sales in the mid- to lower-price segments are stagnating, the high-price segment is experiencing a veritable boom. The increasing number of collectors from Asia is a major contributing factor to this trend. A notable example is Chinese painting , which continues to be a focus for collectors.

At an auction held by Koller, a work by Li Keran, who died in 1989 and was a student of the renowned Qi Baishi, fetched an impressive price. The painting, titled "Sunrise on Mount Tai," from 1957, started at 150,000 Swiss francs and ultimately sold for over 2 million. In Hong Kong, another masterpiece was auctioned: a self-portrait by the painter Zhang Daqian with a Tibetan mastiff achieved the equivalent of 5.15 million euros (48 million HKD) at Sotheby's in April. This work was part of the auction "Icons: Masterpieces from across time and space .

Sotheby’s outgoing Asia head , points out that a growing number of wealthy collectors from younger generations are interested in these mixed auctions. These events offer an exceptional mix of luxury items such as Watches , wine, handbags, and art, making them particularly attractive to a broad, culturally and luxury-conscious audience.

Joachim Rodriguez y Romero

Owner and Managing Director of Kunstplaza. Journalist, editor, and passionate blogger in the field of art, design, and creativity since 2011. Successful completion of a degree in web design as part of a university study (2008). Further development of creativity techniques through courses in free drawing, expressive painting, and theatre/acting. Profound knowledge of the art market through years of journalistic research and numerous collaborations with actors/institutions from art and culture.

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