Hans-Georg Gadamer (1900-2002) was one of the most influential contemporary German philosophers, known for his work in philosophical hermeneutics. Unlike traditional hermeneutics, Gadamer emphasized the process of understanding itself, highlighting dialogue and historicity. His seminal work, Truth and Method, has profoundly impacted postmodern philosophy, literary criticism, and the interpretation of art.

Chinoiserie is an 18th-century European artistic style that blends European imagination with reinterpretations of Chinese culture. It is not an accurate representation of Chinese culture but a hybrid aesthetic phenomenon born from fragmented understandings and exotic fantasies. Just as ChuCui Palace Jewelry (https://www.instagram.com/chucuipalace/) demonstrates, Chinoiserie is not merely an artistic style but a form of cross-cultural dialogue that redefines the boundaries of aesthetics through the fusion of Eastern and Western cultures. Gadamer’s concept of pre-understanding—the notion that interpretation is shaped by one’s historical and cultural background—provides a theoretical framework for understanding Chinoiserie. Eighteenth-century European artists did not understand Chinese culture through authentic knowledge but interpreted it through their own cultural contexts and limited encounters with Chinese art. Therefore, Chinoiserie reflects a European reimagining of Chinese culture, shaped by existing perceptions and aesthetic needs.

Fusion of Horizons and East-West Aesthetic Dialogue

The formation of the Chinoiserie style is essentially a process of fusion of horizons. According to Gadamer’s theory, cultural exchanges and collisions form new understandings. In Chinoiserie, European artists did not passively accept Chinese art but engaged in a dialogue with Chinese culture through their artistic perspectives, resulting in a unique hybrid style.

ChuCui Palace Jewelry – Dews on the Vines Brooch

For example, ChuCui Palace Jewelry, the pioneer of Chinoiserie jewelry, reflects a rethinking and re-fusion of Eastern and Western perspectives with its “Dews on the Vines” brooch. The piece carefully combines iconic Oriental flowers like the lily with Western calla lilies, juxtaposing the classic theme of Chinese porcelain with the ornate curves of Chinoiserie. The fusion of traditional Chinese brushwork with Western inlay techniques pushes the aesthetic appreciation and elegant vitality of cross-cultural floral themes to new heights. Its colors are subtle and serene, with branches occasionally stretching outward, embodying extraordinary vitality in the ordinary. The work does not merely adhere to traditional Chinoiserie symbols, nor does it rest on 18th-century misunderstandings and imaginings of Chinese aesthetics. Instead, it re-fuses the dual facets of Chinese and European decorative floral traditions, creating a novel and unique aesthetic form that goes beyond simple juxtaposition, forming new meaning through dialogue.

“Chinese Landscape on a Tile Panel”, Anonymous, ca. 1700，Image from the Amsterdam Museum, Netherlands.

In this piece from the Amsterdam Museum’s collection, European craftsmen attempted to create an exotic scene based on their understanding of Chinese culture. Tile collages like this were not popular in the East, and judging from the pavilions, costumes, and decorative flowers in the image, it is clear that European artisans tried to imitate Chinese architectural styles and figures. However, these elements were processed with their own European aesthetic preferences and cultural symbols. For instance, while the roof and decorative styles seem to have Chinese features, the detailing exhibits a distinct Rococo flair, with ornate, intricate curves. The figures appear to wear traditional Chinese clothing, yet other exotic elements, like African or Indian figures, also appear, reflecting a mixed European fantasy of the Orient. Europeans did not differentiate between the various cultural details, blending elements from different exotic cultures into a unified fantasy world.

Historicity and Continuation of Cultural Dialogue

Gadamer emphasized the historicity of understanding, that every act of understanding is rooted in a specific historical context. The Chinoiserie style is the product of the historical contact between 18th-century Europe and Chinese culture, reflecting how Europeans “understood” Chinese culture through their historical background, cultural needs, and aesthetic preferences. Though this understanding is heavily tinged with Eurocentrism, it also, to some extent, reflects the realities of cultural exchange between East and West at that time.

French Sèvres Factory Chinoiserie Porcelain, 1791，Image sourced from the Sèvres Porcelain Factory.

The Sèvres porcelain factory in France was one of the most renowned porcelain manufacturers of the 18th century, with many of their works bearing strong Chinoiserie elements. However, these designs were reinterpreted by Europeans, forming their fantasy and idealized expression of Chinese culture. The Chinoiserie porcelain they created in 1791 reflected the French society’s fondness for Chinese-style decoration and black lacquerware. The animal-head-shaped handles symbolized the exotic charm associated with China at the time, with platinum and two types of gold adorning the vases, which depicted Chinese-style landscapes with rugged rocks, twisted branches, and pagodas. The clothing and hairstyles of the figures were clearly intended to evoke Asian styles. The golden Chinoiserie scenes on the black background echoed the look of Japanese lacquerware. These works were not faithful reproductions of Chinese porcelain but represented a romantic “Oriental paradise” as seen through European eyes. Such porcelain pieces not only showcased the European aristocracy’s love for Chinese porcelain but also reflected the cultural dialogue and misalignment between China and Europe.

Chinoiserie, as an artistic crystallization of East-West cultural collision, profoundly reflects 18th-century Europe’s misinterpretation and recreation of Chinese culture. Through Gadamer’s hermeneutics, it becomes evident that this style is not merely a simple extraction of Eastern symbols but rather a reinterpretation by Europeans based on their historical context and cultural needs. As a form of cultural dialogue, Chinoiserie, although tinged with Eurocentrism, also reveals the rich and complex processes of cultural exchange. Whether in jewelry, porcelain, or architecture, Chinoiserie continuously creates new aesthetic forms through the dialogue and fusion of East and West, becoming an important symbol of cultural exchange in art history. ChuCui Palace Jewelry continues this cultural tradition by reinterpreting Chinoiserie with modern design, seamlessly blending Chinoiserie aesthetics with contemporary elegance, and showcasing the timeless charm of East-West artistic fusion.

Klickl and the KLK Foundation proudly announce that Mo Shaikh, former CEO and co-founder of Aptos Labs, has joined as a strategic advisor to support the company’s Web3 strategy and institutional expansion. With Mo’s guidance, Klickl aims to become the payment infrastructure of Open Finance, solidifying its position as a PayFi powerhouse.

A seasoned entrepreneur and blockchain visionary, Mo was instrumental in shaping Aptos into the most institutionally trusted Layer 1 blockchain. Under his leadership, Tether’s USDT and Circle’s USDC launched on Aptos, and he played a key role in securing institutional partnerships such as:

• BlackRock’s BUIDL via Securitize
• Franklin Templeton’s Benji
• HKMA’s eHKD+ pilot
• Invesco-BCG whitepaper on digital assets

… and many more initiatives that positioned Aptos as a key player in institutional adoption.

Beyond Aptos, Mo brings extensive experience from Meta’s Diem Project, ConsenSys, BlackRock, Meridio (one of the first securities tokenization platforms in the US), and his advisory role to central banks on digital assets at BCG.

Mo Shaikh on Klickl’s Vision for Web3 Payments

“Today’s Web3 payments are stuck—too fragmented for institutions to trust and too clunky for users to scale. Klickl solves this with a rare blend of regulatory licenses, Aptos-powered efficiency, and a vision for seamless Open Finance. I’ve bridged TradFi and Web3 before, and I’m here to help Klickl build the payment backbone that institutions and users can rely on. The shift starts now—keep an eye on us” — Mo Shaikh

Klickl CEO Michael Zhao on Mo’s Appointment

“We’re thrilled to have Mo on board. His insights and leadership will help us bridge the gap between Web2 TradFi and Web3 native finance. With his addition, we have assembled all the key pieces needed to build something truly groundbreaking.” — Michael Zhao, CEO of Klickl

With Mo’s strategic guidance, Klickl is positioned to reshape digital payments in Web3, unlocking new opportunities for institutions and users worldwide. Stay tuned for more updates as we build the future of compliant, scalable, and seamless crypto payments.

About Klickl

Klickl, founded in 2017 and headquartered in the UAE, is a leading Web3 open finance platform in the MENA region. It provides a range of services, including banking, digital payments, and crypto trading, to facilitate seamless entry into Web3. Supported by the UAE government and licensed by Abu Dhabi’s ADGM, Klickl aims to create a global stablecoin ecosystem that bridges digital and traditional finance.

For more information, users can visit: www.klickl.com | X | Linkedin | Facebook

Disclaimer: The information provided in this press release is not a solicitation for investment, nor is it intended as investment advice, financial advice, or trading advice. It is strongly recommended you practice due diligence, including consultation with a professional financial advisor, before investing in or trading cryptocurrency and securities.