their still-life paintings considering its social and economic connotation. Moreover, the porcelain in Dutch still-life painting demonstrates how the material culture circulated and interacted around the world in the seventeenth century. This circulating process is also the process of domesticating the otherness. Like the connotations embedded in Juriaen van Streek’s painting Still Life with a Moor and Porcelain Vessels'', these commodities and even human beings depicted in the painting come from completely different continents or cultures. The foreign material culture here is used to articulate the local identity of the Dutch. France See also Chinese influences on Islamic pottery Pseudo-Kufic Notes Chinese porcelain References ● Gerritsen, Anne, and Mcdowall, Stephen. “Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800,” Journal of World History, Vol. 23, No.1, Special Issue: Global China (March 2012): 87-113. ● Honig, Elizabeth Alice. “Making Sense of Things: On the Motives of Dutch Still Life,” Anthropology and Aesthetics, No. 34 (Autumn, 1998): 166-183. ● Jörg, Christiaan J.A. Porcelain and the Dutch China Trade, The Hague: Martinus Nijhoff, 1982. ● Kaufmann, Thomas DaCosta. "The 'Netherlandish Model'? Netherlandish Art History As/and Global Art History." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 272-95. ● Schama, Simon. The Embarrassment of Riches : An Interpretation of Dutch Culture in the Golden Age. London: Collins, 1987. ● Weststeijn, Thijs. “Cultural Reflections on Porcelain in the 17th-century Netherlands”, Chinese and Japanese Porcelain for the Dutch Golden Age, Amsterdam: Rijksmuseum Amsterdam, (2014): 213-268. ● Weststeijn, Thijs. "Introduction: Global Art History and the Netherlands." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 6-27.