During the late nineteenth century, much was published in France on the subject of Chinese ceramics. These early publications, resembling each other in both form and content, clearly reflect France's progress in studying and understanding Chinese ceramics. This article aims to outline the French writings and criticism of the time on Chinese ceramics. It aims to analyze the manner in which these works were written ─ in terms of the literary and linguistic aspects of literary theory ─ as well as their conceptual content. The purpose of the article is to explore the attitudes and methods with which the nineteenth century French appreciated Chinese ceramics.
It will explain the process by which Chinese ceramics were transformed in France from curiosities or foreign items for decorating interiors to objects of scientific research. From this era onwards, the French perspective toward ceramics research gradually changed from a preoccupation with material and technique towards a view of the items as works of art, and it attempted to appreciate Chinese ceramics through the critical standards of the Chinese themselves, while maintaining the unique taste and aesthetic sensibility of the French.