This history was tightly related to the history of the Dutch East India Company. As a monopoly in the early-modern Europe-Asia trade, the Dutch East India Company acts as a mediator between the two cultures and imports tons of porcelain along with other commodities like spices, silk, and tea. Since then, Chinese ceramic was not the exclusive luxury that only appeared in the upper class's mansion but became increasingly common in the domestic setting of the relatively humble household. Although the imported Chinese ceramics gains its popularity among wealthy merchants, the erudite scholars and philosophers are not satisfied merely with the commercial value of the porcelain. For them, the country and the civilization that created this fascinating material culture are the core of the interest. The appeal of China is deeply rooted in a long western tradition that may begin with the renowned Italian explorer Marco Polo. This impression of China was reinforced by the exotic Chinese goods and luxuries that appeared in Europe, such as spices, silk, tea, and porcelain. Motivated by the splendid material culture, intellectuals ceaselessly explore Chinese civilisation. This positive view of Chinese civilization also existed among the Dutch early-modern authors. For instance, scholars like Willem ten Rhijne, Peter van Hoorn, and Joost van den Vondel demonstrate strong interests in sinology and actively spread their thoughts through their books. This “Chinese fever” culminated with the first Dutch translation of Confucius in 1675. Intellectuals’ taste could influence artists to a large extent since they are also important patrons of art. Although whether the artists are able to understand the cultural connotations of Chinese porcelains is quite ambiguous, the wave of the chinoiserie may permeate into the artistic group. Chinese porcelain represents not only advanced craftsmanship and technology but also the symbol of civilization that is far away from Europe. Meanwhile, the relatively opened art market and the distinct status of the artists in the Dutch Republic give a chance to artists to explore their own interest. Thus, still-life painters are mediators who seize the commodity, which is highly esteemed by society and represent it in their painting. And in a prosperous commercial society, the value of the goods resides in its marketing price. Under the hegemonic Dutch economy, everything obeys the law of the business, including art. In this sense, porcelain traded by Dutch East India company was a good choice for the artists to contain in