1 Introduction

The "Chinese style" art style that emerged in 17th century Europe, after a century of development, became the fashion of the European continent. This style is reflected in various fields such as decorative arts, literature, drama, music, and architecture, and can be divided into three periods: Baroque, Rococo, and Neoclassicism. The study of "Chinese style" began in Europe, and O-Net's "Chinese Style: Chinese Elements Lost in the West for 800 Years" is a pioneering work in this field. At the beginning of the 21st century, Chinese scholars began to pay attention to the study of "Chinese style". Yuan Xuanping's "Chinese Style Design in 17th and 18th Century Europe" systematically studied its background and relationship with mainstream European art styles. At present, scholars have extensively explored various categories of "Chinese style", but there is relatively little research in the field of architecture. This may be because the reference sources for "Chinese style" architecture are mostly travelogues and illustrations, which reflect more of Europeans' perception of China. Architects have already undergone conscious processing when receiving information about Chinese architecture, making the research more abstract. Existing research mostly focuses on the description of architectural art, lacking in-depth analysis of its characteristics and causes from a cultural cognitive perspective. This article attempts to analyze the phased characteristics of German "Chinese style" architecture through the theory of "alienation", and explore the reasons for its emergence in different periods of German architecture at the cultural and cognitive levels.

The influence of two strangers on cultural perception

Strangers play a crucial role in cross-cultural research, revealing the differences and interactions between internal and external cultures. Germany's perception of China is influenced by its social and cultural background, forming a subjective understanding of China's image. This perceptual process involves continuous cognitive adjustment of the "id" and "other", closely related to cultural identity.

3 Imagined "Strangers": "Chinese Style" Architecture in the Baroque Era with Exotic Styles

From the mid-17th century to the early 18th century, the German architectural field's interest in exotic styles turned to China, forming a unique "Chinese style". The "Chinese style" architecture of this period was in line with Baroque aesthetics, emphasizing personal aesthetics and sensory experience, and satisfying the aristocrats' curiosity about distant places through exotic elements. Chinese artifacts began to be displayed inside the building, followed by the integration of Chinese elements into the structure and decoration, such as lacquered and porcelain houses, as well as curved roofs with Chinese style. The image of Chinese people is presented in architecture, but it often has European characteristics, reflecting the German's subjective imagination of China.

4 Beautiful 'Strangers': The Weird' Chinese Style 'Architecture of the Rococo Period

The "Chinese style" of German architecture during the Rococo period reflects a rebellion against rules, in line with the main theme of the Rococo style, pursuing asymmetry and bright colors. German architects use Chinese elements to create buildings with grotesque styles, such as the Chinese tea pavilion in Potsdam's Carefree Palace and the Chinese house in Rhinesberg. The Chinese figures, animals and plants in these buildings reflect the German imagination and exaggeration of Chinese culture. There are differences between the Chinese Loong in German architecture and the dragon in Chinese culture, which shows the cultural differences and the German's projection of the "id" cultural element. The decline of the aristocratic class and the pursuit of novelty have promoted the development of "Chinese style" architecture, while the bourgeoisie values the rational spirit in Chinese culture. Although Germans have a deeper understanding of China, the decorative elements in "Chinese style" buildings are not from Asia, but the combination of western imagination and real Chinese architectural information. The different imaginations of the aristocracy and bourgeoisie towards China coexist in the field of architecture, with the "beautiful" imagination of the aristocracy dominating in "Chinese style" architecture.

5 Ideal 'Strangers': Imitation of' Chinese Style 'Architecture in the Neoclassical Era

The German "Chinese style" architecture during the neoclassical period mainly served the bourgeoisie, which was different from the Rococo style of the aristocratic class. Architects began to try to imitate real Chinese architecture. The "Chinese style" architecture of this period can be divided into two categories: one is the fusion of Chinese style architecture with classical and Gothic architecture, and the other is the combination of Chinese architecture with British garden style. Hafpenny and Chambers are representative architects of this style, and their works such as the "Chinese Pavilion" and the Chinese Tower in the English Garden in Munich reflect a yearning for classicism and a pursuit of structural rationality. The rise of neoclassicism is related to the German Enlightenment, where the bourgeoisie admired ancient Greek and Roman culture, and their "rational" impression of Chinese philosophy prompted architects to imitate Chinese architecture. Chambers' book "Design of Chinese Architecture, Furniture, Clothing, Machinery, and Utensils" had an impact on German "Chinese style" architecture, but German architects' imitation of Chinese architecture mostly remained in form. With the deepening of the Enlightenment and the rise of Eurocentrism, German views on the image of China reversed, leading to the gradual decline of "Chinese style" architecture in Germany.

6 Conclusion

The popularity of German "Chinese style" architecture from the 17th to the 19th century was not based on a deep understanding of Chinese architecture, but reflected the German's perception of self and Chinese image. With increasing understanding of China, Chinese elements in German architecture have become more authentic, reflecting a shift from "Chinese imagination" to "Chinese impression". The "Chinese style" architecture in Germany reflects the mainstream artistic style of the time, and its design is influenced by Germany's national strength and social conditions. German imagination and imitation of China is not out of respect for Chinese art, but out of egotism. The development history of German "Chinese style" architecture reveals that Germans observe and examine themselves through Chinese culture, rather than real cultural integration. The two extremes of German "Chinese style" architecture - exaggerated imagination and simple imitation - have lost their existence foundation with the reshaping of the German artistic energy field. The development of "Chinese style" architecture in Germany has inspired the importance of a correct understanding of the "other" culture, emphasizing the necessity of truly understanding the material characteristics and ideological connotations of the "other" culture. In the context of globalization, the importance of cultural exchanges between China and Germany is increasingly prominent, but mutual understanding and respect at the cultural cognitive level have not yet reached a height that matches economic and trade cooperation. The German "Chinese style" architecture provides a reflection on respecting cultural differences, emphasizing the need to shift perspectives when understanding "other" cultures, break away from ethnocentrism, and build cognitive bridges that go beyond a single cultural identity. At the same time, the "other" culture should actively promote itself and avoid passive output in cultural exchange. The report of the 20th National Congress of the Communist Party of China emphasized the importance of China's cultural stance, proposing to tell China's story well, spread China's voice well, and showcase China's trustworthy, lovely, and respectable image, which will help promote the positive and healthy development of the global public opinion ecology. Cultural equality is the key to successful cultural exchange, which requires the "id" to sincerely listen to the voice of the "other". When spreading culture, the "other" should also pay attention to the social background and way of thinking of the destination country, innovate propaganda paths, improve communication quality, and promote positive interaction in cross-cultural exchange.