In 1665, two Dutch, Heyer and Kayser, published more than 150 landscape paintings that they had drew in China. More importantly, these paintings borrowed the ideas of the perspective exclusively adopted by ancient Chinese landscape painting and were evidently the imitations of Chinese original landscape works. A great quantity of block prints with Chinese themes marketed on the bazaar in Paris during the reign of Louis XIV originated from such imitations. In 1667, Kachil published the Illustrated Chinese Scenic Spots. The Chinese culture and arts fever in 17th-century Europe was also reflected by the rapid increase in the quantity of dealers engaged in works of Chinese arts. According to the Directory published in Paris in 1692, there were 20 such dealers in Paris at the time, evidencing the wide impact of Chinese arts in France.
Adolf Reichwein, American scholar, found something in the Pilgrimage to Cythera created by the famous French Rococo painter Jean-Antoine Watteau similar to the landscape painting of the Song Dynasty of China. He said, “Anyone who is familiar with landscape paintings of the Song Dynasty of China knows at a glance that the perspective landscapes in Watteau’s paintings are similar to Chinese landscape paintings. The slope outline is of Chinese-painting style; the way of drawing clouds is also like Chinese painting’s. The nearly monochromatic foreground landscapes in Watteau’s paintings are one of the most important characteristics of Chinese landscape painting. Watteau’s such slightly melancholy drawing processing of nature led to idyllic sentiment of his contemporary painter Boucher and those adorers of nature.”
Some scholars pointed out that elements similar to those in the landscape paintings by Dong Qichang could even be found in the 17th-century Baroque landscape paintings.