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洛可可音乐风格与18世纪“中国热”。Part 3 Rococo music and Chinoiserie in the 18th century.

18世纪欧洲音乐中的“中国热”。Part 2 Chinoiserie of European music in the 18th century.

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“中国风”对西方时装的影响可谓久矣。Chinoiserie has been influenced western fashion for a long time.

吉祥图案和宝塔壁饰皆是中国风格的形式。Auspicious designs and pagodas as wall decor are all model chinoiserie.

美国模特泰勒·希尔身穿一件华美的中国风印花长袍。American model Taylor Hill donned a rather beautiful Chinoiserie printed robe.

论文最后总结了德尔夫特陶器之中国风格的特点与影响。The final part summarizes the features and impacts of Delftware's Chinoiserie.

掺合洛可可与中国风格的陶瓷屋欧洲共有两座。There are two major porcelain rooms in Europe with pieces combining chinoiserie with the Rococo.

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“中国式装饰风格”是一个法国术语，它赋予这类物品优雅的格调、异国情趣和某种“别致”的款式。"Chinoiserie", a French term, bestowed a note of elegance, exoticness and a certain 'Chic' on its owners.

变形的龙凤、莲花，是中式装饰中最常见的元素。Exaggerated dragon, phoenix and lotus motifs are the most popular to be found in the Pavilion chinoiserie.

新华鸡尾酒行政内阁充分酒吧配件和服务的个人酒保的混合酒。Chinoiserie cocktail cabinet with full bar accessories and the services of a personal bartender to mix your tipple.

本文探讨的主要内容是18世纪欧洲“中国热”背景下，欧洲音乐的面貌以及欧洲音乐与“中国热”的关系。The visages of European music and its connection with Chinoiserie of the 18th century are summarized in this paper.

本论文的研究是以17-18世纪欧洲的中国风设计为核心展开的。This study focuses on the design aspects of various Chinoiserie objects in the realm of decorative design in 17th-18th century Europe.

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两边是具有中国风情的画屏和帝国风格的丝绸墙纸，罗雄先生详细阐述了翻新世界上最具标志性建筑的方法。Flanked by Chinoiserie screens and Imperial-stylesilkwallpapers, Mr. Rochon elaborates on his approach to renovating some oftheworld's most iconic buildings.

欧洲国家的装饰绘画来自于中东和远东地区，法国历史上的中国风类装饰物件来自于模仿中国的相关艺术。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.

主要通过对约1世纪到18世纪中欧文化交流的历史描述，说明18世纪“中国热”形成的历史根源。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.

这幅画摄自西柏林嘉洛顿堡皇宫，与法国艺术家安东尼．华特1719年的中国风版画十分雷同，只有女人手中的东西，由伞换成了扇子。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.

就像十九世纪哥德式风格在欧洲复兴，两者都是对一个「遥远」世界的幻想，只不过前者指的是距离，后者则是时间。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.