This paper investigates the dissemination of Jesuit publications regarding China and the impact of Johan Nieuhoff’s illustrations on the emergence of English Chinoiserie during the seventeenth century. Despite England’s lagging behind the Roman Catholic powers in Chinese research, the works of Mendoza and Jesuit scholars such as Trigault, Semedo, and Martini were widely disseminated in Europe and heavily relied upon by English writers. These works played a complex role in challenging and reinforcing prevailing stereotypes about European civilization. Moreover, Nieuhoff’s illustrations, produced by a Dutch merchant, had a significant impact on English Chinoiserie and were widely employed in practical arts. The extensive readership and influence of Nieuhoff’s illustrations serve as a testament to their significance, which can be seen in the variety of ways in which they were used to reflect the popularity of English Chinoiseries. By examining the cultural trends that followed and the translated publications available in seventeenth century England, it becomes apparent that the works of the Jesuit missionaries and Nieuhoff’s illustrations played key roles in shaping English perceptions of China. Furthermore, their influence on European attitudes towards China during this period provides valuable insight into the development of cross-cultural exchange between Europe and China.

The paper aims to identify place names in illustration titles in John Nieuhoff’s An Embassy from the East-India Company of the United Provinces, to the Grand Tartar Cham Emperour of China (English in 1669, Dutch in 1665). Nieuhoff’s text was very popular with the 17th century European public. After its first publication in Dutch it was translated into French, German, Latin and English and reprinted fourteen times in many European countries. In particular, his illustrations were highly appreciated because they provided realistic and vivid images of China to Europeans at a time when there had been little information about China. It had a great influence on the fever for Chinese style in Europe in the 18th century. Nieuhoff’s illustrations were frequently applied to everyday painted objects such as furniture, screens, wallpaper, textiles, and dishes. About 80% of illustrations present scenery in the area where the Dutch embassy anchored or passed by on their journey from Guangdong to Beijing. However, the place names which were transliterated into Dutch and other European languages are a major obstacle for following Nieuhoff’s travelogue. It is not easy to infer the Chinese regional names from either the Dutch or the English text. Therefore, the paper identifies Chinese regions in the text by mainly comparing Nieuhoff’s information and transliteration with Martino Martini’s Novus Atlas Sinensis (1655).